#can you tell I have no idea how to write endings?

[pastel-peach-writes]

Hii, i just read all and i mean ALL of ur fics, but i saw you wrote for arcane women and was wondering if you could write headcanons abt them with a socially awkward/anxious reader?? If not thats A-Ok 👌 with me

Sure! How is everyone doing after the first three eps? I still haven't seen it but the edits I've seen... oh boy.

"I Got You." | Arcane Ladies Headcanons

╰┈➤ PLOT: How the ladies of Arcane(Jinx, Vi, Caitlyn, Sevika, Mel) act with a socially awkward and/or anxious partner

╰┈➤ WARNINGS: Spoiler Free, On The Shorter Side, Cursing, Not Proofread

⍣ ೋ Enjoy!⍣ ೋ

JINX

– At first, Jinx didn't get that you were socially awkward. She was used to people being awkward or even scared around her so she thought it was the same case with you until you two got closer.

– After knowing that your awkwardness was just you and not your fear of her, she observed you in social situations and noted what made you more anxious than normal.

– For example, she noticed you're more anxious and timid in bigger, louder spaces but if a space was quiet and quaint, you would be just fine so she often took you to quiet places for dates.

– If Jinx notices you're anxious in places you typically aren't, without a doubt she's removing you from the situation and taking you home where you can relax. No words, just grabs and tugs.

– She's tried the pep talk route before but it ended up in her rambling and somehow planning a terrorist scheme aloud... (yeah, a few patrons quickly left the area after hearing that), so she decided to scrap that idea altogether.

– At home though she would prepare what she calls, "A Safety Nest". It was a place in your shared space that had all your favorite things and trinkets, and she usually kept the space dimly lit and played your favorite music to calm you down.

– In social interactions where you take the lead in conversation, Jinx would quietly encourage you with big, almost alarming smiles and "gentle" pats on your back. Let's face it, Jinx can be socially awkward herself.

– Once the conversation concludes, she'll jump on you proudly, ruffle up your clothing, and pinch your cheeks endearingly all while calling you weird nicknames and quoting what you said while mimicking your tone and cadence.

––

VI

– Before you've had your first real conversation together, Vi could sense that you were an anxious individual.

– You fidgeted with your body while speaking, didn't hold eye contact long, and used a decent amount of filler words to casualize your sentences.

– She thought it was endearing to watch you act and move as if you thought no one truly cared about what you were saying or were afraid of boring others but you never bored her. She didn't think it was possible.

– You had tells and quips that revealed themselves with each conversation you two had. You showed more and more of your personality the more you got comfortable with her too. Vi loved it.

– When you spoke to her, especially when you went on tangents about things you were interested in, she always showed signs of active listening by nodding and asking follow-up questions. Even days later, she'll bring up the topic again to see if you have any updates.

– She made you feel seen and heard, something you've subconsciously craved. And when you went on your worry rambles, she consoled you and tried her best to stop you from spiraling.

– You thought about a lot of things and oftentimes about things no one else thought about. Vi thought your brain must've been exhausted with all the worries, doubts, and judgments that were usually wrapped up as others' but were truly your own; it was a lot for one person to handle so she strove to let you know that you were not alone.

– Is there a night you can't sleep because of your racing mind? Vi is there, holding you or reassuring you that everything is going to be okay. She can't sleep until you do anyway so why not speed the process along?

– You often had yourself stuck with your head stressing and worrying about multiple things at once and Vi was always there to bring you down to Earth.

__

CAITLYN

– Caitlyn's an encourager and a comforter with you.

– She's patient and silently allows you to take your time when gathering your thoughts midconversation but she'll also be the one to say, "It's okay, take your time," in the sweetest way possible.

– If there's an instance when you two are out and about and you really want something but are too scared to get it, she'll spring into action and get that thing for you. (Even if it was just a napkin).

– The only time she's frazzled socially is when you both are in an unfamiliar area and need to ask for directions. She'll stumble over her words and try to get someone's attention but they're moving too fast to hear her soft words.

– She'll get frustrated and you end up comforting her, but after a few backrubs, she's ready to try again. Her voice is strong and powerful, and people have no problem hearing her.

– You secretly thank whomever you have to for her determination but there was no way in hell you were going to walk up to a stranger and ask for directions like a tourist... which you were.

– Since Caitlyn's job has her socializing with a lot of people, she can get burnt out easily. Especially if work hasn't been going her way lately but even if she's burnt out and tired, if you seem to be more awkward or anxious than her, she's more than happy to step up socially.

– When you both have someplace to attend to or some event that holds significance, Caitlyn will not hesitate to stage a "social rehearsal" with you. She'll make flashcards of topics you could bring up, you'll both dress accordingly for the event in her living room, and she'll pretend to be an assortment of people so you can get used to different personalities all at once.

– It may seem like this is all for you, but honestly it helps her too. Sometimes she misses the personal cues of conversation leading the other to think she's a black-and-white thinking who has no time for pleasanties. Not true! She's very pleasant... sometimes she's just shy.

– Shyness is not a crime!

– After talking with the host and a few others she has to talk to due to her job, her social battery is depleted. She's extremely thankful you're able to recognize this and suggest leaving early. What would you two do without each other?

––

SEVIKA

– Oh, man. This lady found your awkwardness charming as hell.

– Your awkwardness was different than all the nerds and scaly-beings she's forced to be around. You were cute, looked perfect sitting next to her, and your awkwardness, as mentioned before, had a certain charming quality she can't quite place.

– She'll see you in your workplace trying to make casual conversation or small talk but none of your topics seemed to be landing. Your coworkers would give you a thin pressed-lips smile that she wanted to strike off of them to your attempts and then scoff at you behind your back.

– You were authentically yourself and those bastards didn't know what to do with it. They were scared, not her though.

– When you two got closer and comfortable enough with each other that you could tease one another or make playful jabs at the other's expense, no doubt she would tease you about your awkwardness.

– With those gorgeous eyes of yours, you would look everywhere else but her own, prompting her to say, "You know you can look me in the eyes, right? I won't bite", with the stupidest most shit-eating smirk on her face. And then when you look at her, a bit shocked and playfully annoyed, her smirk would only grow. "Unless you want me to."

– Sevika never made your awkwardness seem like a flaw. Your awkwardness came with you and she wanted all of you so she often encouraged your awkwardness.

– If she caught you trying to "reel" it in or realizing that you've talked for a few seconds too long, she'll playfully scold you and tell you to continue or to "let it out". Y'know. As someone who seethes dominance does.

– There would be an instance in which you go to Sevika asking for advice to be "less awkward" and her only response would be, "Why? I like your awkwardness, you don't need to change it. Anyone else who thinks otherwise is a sad loser and don't deserve to be in your life anyways."

– like damnnnn, okay!

– Safe to say you never asked her a question like that again.

--

MEL

– Mel understands your worries about what others think and the awkwardness that can come with it so she likes to help you in any way she can.

– If you're stressed about a council meeting and afraid of what everyone's going to think about the new perspective you'd like to bring to the table, she'll reassure you and tell you she's right by your side.

– If she can't physically with her hand on the small of your back, she give you nods of encouragement, raise her brows proudly, and look at you with that sense of pride and admiration in her golden eyes.

– After the meeting goes well, which she knew would, she'll congratulate you with your favorite drink and a night in doing all your favorite things.

– Even if there were parts in the meeting that were rocky, like the council people asking questions you weren't prepared for or getting rowdy, she'll say you did an excellent job and what you presented will help the people of Piltover.

– Oh, and don't think for a second that she wasn't sending glares and daggers to those who stirred up your anxiety even more. If looks could kill.

– Mel sees that sometimes your awkwardness and anxiety result in people-pleasing and she would shut that down real quick. She's fallen into that dangerous pool before and knows how hard it feels when you disappoint others and how much harder it is to get out of that mindset.

– She can get quite spirited with her encouragement...

– "Well, if they don't like it, that's on them! They don't know something good when they see it." "I've learned that hard way that you can't please everyone. You might as well say what you have to now. They can get over themselves later."

– It's actually quite attractive to see her stand up for you, even if she was standing up for the possibility.

– Always keeping her words in your mind, you find yourself navigating through life easier and you only have her to thank.

WC: 1,705

[oediex]

You know what, yeah, that bell hooks quotation wasn't appropriate, it doesn't say what the person who added it think it says.

But I don't think it's fair to say that that man who everyone is pissing on somehow claimed we had to "hold his hand" or "coddle" him or whatever. Or even that women had to do it.

He never once even mentioned the word 'woman' in that post. I'm not excluding that that what he was implying - it's very possible! - but what he said was "the left", and let's be clear, this is his understanding of what the left is. I saw people saying that a "self-proclaimed leftist" should understand that his answer was still drenched in patriarchal thinking. But he never once proclaimed he was a leftist. Perhaps he thinks he is, but all he said was that he got "out" of the "alt-right". For all we know, that means he voted for the Democratic Party and we, who are on the left, all know that's not the fucking left.

The question that was posed was how do we keep young men from turning right wing, and he offered an explanation. An explanation! Not an excuse! Again something that a lot of people just assumed.

And yes, it was a flawed explanation, and yes he has some things to learn, and yes it was uncritical and terribly phrased.

But can we recognise that not everyone has the necessary critical thinking skills to completely dig their way out of the overarching ideology that fucking rules our lives? Critical thinking skills aren't something that we are born with. It's something that is learned, something that you have to train. It's a never-ending project. And from what I know of the educational system in the US? That's not where you get it.

Speaking of bell hooks, at least she understands this. In that book (The Will to Change) she writes that "most men never think about patriarchy - what it means, how it is created and sustained." She writes how the patriarchy sees men's violence and the one emotion they're allowed to have, anger, as "natural". Understanding the patriarchy is something that has to be learned, and you either figure it out yourself by reading, but most of us probably had someone in our lives who talked to us about it, taught us about it, and then we might have started reading more about it.

What if you don't have someone like that? What if all you hear is that the things feminists tell you is bad is what was imprinted on you as "natural" to you?

Here's bell hooks:

Yet no one talks about the role patriarchal notions of manhood play in teaching boys that it is their nature to kill, then teaching them that they can do nothing to change this nature—nothing, that is, that will leave their masculinity intact.

Here's what she says of her own brother:

As patriarchal thinking and action claimed him in adolescence, he learned to mask his loving feelings. He entered that space of alienation and antisocial behavior deemed “natural” for adolescent boys.

She clearly pinpoints the moment of these patriarchal ideas taking hold to be in adolescent, and the question that was posed was, what can we do to stop that from happening? I've seen people say that nothing can be done until we change the material conditions that make it so that men systematically have power over women. And yeah, undoubtedly that is a fight we need to have. But is that truly the only way we can keep (some) boys from falling into the grasp of the (alt-)right? Is there no hope in at least reaching them in the meantime?

I've seen a post saying, "omg of course he goes for misandry" and while misandry isn't real in that men are not systematically oppressed, that doesn't mean that there aren't some out there who express hatred or disgust of men. That's not what the left stands for, obviously, but it is not absent. Here are some comments from the notes on some of these reaction posts (and presumably these are all people who consider themselves leftists):

"you should be hunted for sport"

"makes me want to commit homocide"

"kys right now"

"'leftists constantly said i should die' yeah fucking right"

"we need to double male loneliness and I'm not even kidding"

"I HATE MEN AND THERE IS NOTHING WRONG WITH THAT. THEY HATE US MORE AND THEY HAVE ALL THE POWER TO DO ACTUAL HARM TO US. Misandry is NOT FUCKING REAL but I wish it was"

"we should kill people who don't get it"

Is that hatred of men (non-systematically)? Not all of it, but some of it definitely or possibly qualifies. And it sure does look like some people (who probably think themselves leftists) think this man (or men in general) are the "scum of the earth" and that they want him/them dead. How else do you interpret some of these phrases?

Now imagine that this is something that you encounter online, and with the help of the stranglehold of the patriarchy, whispers of right wing ideology, confirmation bias, and negativity bias? I can imagine you might end up concluding they "hate you for your immutable traits" (remember patriarchy teaches boys that violence and anger is natural to them) and that they "blame you for everything that's wrong in the world".

Is that the right conclusion? No. But as much as being able to use reason is part of being human, so is not being immune to ideology and propaganda. We wouldn't fucking be where we are right now if that wasn't the case.

How do we teach boys that anger and violence aren't "immutable traits"? How do we educate them about the power of the patriarchy? Well, where does it have to come from if not from the fucking left?

Does it have to be you? No. Does it have to be women? Also no. It's probably good if it's men, and especially men who themselves walked with the right at some point (if someone has already been pulled into the right, rather than catching them before).

It can be a woman though, if there's someone who wants to do it. I don't mind doing it if someone wants to talk about it. Will I be nice? No, I won't hold back and I will tell them if what they're saying is wrong. Will I coddle them? Fuck no. Will I keep trying if someone clearly isn't listening? No. Will I be compassionate? Yeah, I think I will.

Because compassion is really important when you're trying to keep people from falling into the far-right, or even if you're trying to get them out of it (which again, isn't what we were talking about in the first place).

Here's Pete Simi, professor of Sociology, talking about Life After Hate, an American non-profit that tries to help people leave the far-right:

The organization was started by former hate group members who have been doing a lot of outreach in terms of providing testimonials and trainings to schools and law enforcement and other community groups across the country. The focus of their message is the importance of using compassion to inform prevention and intervention efforts and aftercare for individuals who want to change their lives but may need various types of support. I think LAH is a very promising development and I hope it will continue to find the resources that it needs to expand the services it provides.

Being compassionate doesn't mean coddling. It doesn't mean holding their hands and it doesn't even mean being nice to them. It doesn't exclude holding people accountable for their views. It does require patience, though. And I understand that if someone is holding the belief that you are not allowed to exist, that isn't something you can do. And that's fine. It doesn't have to be you.

But somebody has to do it, and it has to be someone on the left.

Now none of that means that the suffering of men under patriarchy, and the fact that this has to be addressed loud and clear, are more important than the suffering that women, and especially women whose oppression intersects with other levels of oppression. I've seen some tags on reaction posts that stated "omg of course centring men in discussions of gender" - but the post was about men. That was the whole starting point!

Because men do suffer under the patriarchy. And it's pushing them to the right, towards misogyny and racism, unless they develop the necessary critical thinking skills to understand their own suffering. And you know who thinks so too? bell hooks.

Often men, to speak the pain, first turn to the women in their lives and are refused a hearing. In many ways women have bought into the patriarchal masculine mystique. Asked to witness a male expressing feelings, to listen to those feelings and respond, they may simply turn away.

Since men have yet to organize a feminist men’s movement that would proclaim the rights of men to emotional awareness and expression, we will not know how many men have indeed tried to express feelings, only to have the women in their lives tune out or be turned off.

It is a form of abuse that this culture continues to deny. Boys socialized to become patriarchs are being abused. As victims of child abuse via socialization in the direction of the patriarchal ideal, boys learn that they are unlovable.

The patriarchal model that tells men that they must be in control at all times is at odds with cultivating the capacity to be responsible, which requires knowing when to control and when to surrender and let go. Responsible men are capable of self-criticism. If more men were doing the work of self-critique, then they would not be wounded, hurt, or chagrined when critiqued by others, especially women with whom they are intimate. Engaging in self-critique empowers responsible males to admit mistakes. When they have wronged others, they are willing to acknowledge wrongdoing and make amends. When others have wronged them, they are able to forgive. The ability to be forgiving is part of letting go of perfectionism and accepting vulnerability. At the same time, constructive criticism works only when it is linked to a process of affirmation. Giving affirmation is an act of emotional care. Wounded men are not often able to say anything positive. They are the grump-and-groan guys; cloaked in cynicism, they stand at an emotional distance from themselves and others. Affirmation brings us closer together. It is the highest realization of compassion and empathy with others. One of the negative aspects of antimale feminist critiques of masculinity was the absence of any affirmation of that which is positive and potentially positive in male being. When individuals, including myself, wrote about the necessity of affirming men and identifying them as comrades in struggle, we were often labeled male-identified. The women who attacked us did not understand that it was possible to critique patriarchy without hating men. Indeed, recognizing all the ways that males have been victimized by patriarchy (even though they received rewards) was a way of including men in feminist movement, welcoming their presence and honoring their contribution.

“in order to create loving males we need to love males” means teach boys that they can be themselves without being less of a man. it means being encouraging and nurturing of their emotions so they don’t become cold and hateful. it means showing boys, early in their lives, that they have value outside of what our society deems proper masculinity. what it doesn’t mean is that it’s our job to handhold men who see women as walking sex toys through the concept of empathy, and maybe if we’re really really nice to them and don’t say things that hurt their feelings they’ll stop killing us for saying no

[hannie-dul-set]

IT’S NOT WORTH TRYING TO LEARN OTHER PEOPLE’S LOVE LANGUAGES.

p — MYUNG JAEHYUN x fem! reader. g — humor, fluff, park sungho learns a lesson about minding his own business. w — swearing, death threats (as a form of flirting). 1.5k words.

requested by — @gluion “go kill yourself x “i’m pretty sure they have a crush on me”

note — part of my ship dynamics: insane edition gimmick. this is very the breakup soup coded. i just like writing about a bunch of idiots stressing about the dumpster fire love life of their friend. enjoy.

myung jaehyun’s friends are pretty sure he’s had a very stable, very loving, very normal upbringing.

“stop staring at me, you fucking creep.”

“sorry, i didn’t mean to make your heart flutter. can’t help it when you’re so pretty.”

“i’ll stab your fucking eyes out.”

“my eyes are all yours, pretty.”

so they can’t wrap their head around why he’s acting like he has not a single ounce of self-respect in his body. sungho and leehan watch as their pitiful friend gets shut down again by the most venomous glare, hostile sneer, deflected by the biggest pair of heart eyes in the world that’s ever longingly following your disappearing figure out the library door. “she wants me so bad,” he concludes with a self-righteous smile as he arranges his notes into one neat stack. sungho and leehan share a look. god almighty, please grant their friend wisdom and salvation.

“what...what makes you say that?” sungho attempts to prod. the first step to finding a solution is to figure out the situation. they need to know why myung jaehyun is so down bad for you, and why he’s so convinced that you feel the same way.

“huh?” jaehyun perks up. like he’s genuinely confused sungho has to ask that. “she was so flustered earlier. couldn’t you tell? it was adorable.”

“she threatened to mutilate you…?” 

jaehyun beams. “she sure did.”

there...there is no point trying to understand him, sungho concludes. leehan is, for lack of a better word, getting mildly frustrated. “hyung, what the hell?” he raises. “if telling someone you want them dead is an indication of romantic feelings, then my middle school bullies must’ve been head over heels for me.”

a silence. a pause. “we’ll unpack that later,” sungho tells him. then shifts his attention back to problem child number one. “you. you’re a grown man who has full autonomy over his actions and feelings, and i know that. but as your friend, i just can’t keep watching you being disrespected, jaehyun. i can’t help but get angry on your behalf when you greet her good morning and alll she does is tell you to go fuck yourself!”

admittedly, sungho got a little bit heated at the end there. but he has every right to feel this emotion on behalf of his dense and seemingly unaffected friend— who is still sitting there, a smile on his face, hands on his lap like a patient buddha who has learned the true meaning of peace and serenity.

“sungho-yah,” jaehyun starts with a pleasant hum. “there’s no need to worry. the feeling is totally mutual. i’m telling you, she likes me back.”

speechless.

in fact, sungho and leehan are beyond speechless. they have no idea where this ungrounded certainty comes from. they certainly have even less of an idea on how to fix his lovesickness, bordering on insanity.

so, reasonably— they call for backup.

“the only way for him to get his shit together is if he asks her out for real and finally gets rejected for good,” taesan declares confidently. somehow, they see a point. riwoo lets out an echo of agreement. woonhak asks why they’re all excluding jaehyun from this after school garage meeting. “do you guys know when he’s planning on doing that?”

“no idea,” leehan answers. “but maybe we can pressure him into it.”

“so, should we encourage him instead of telling him to give it up?” sungho raises. taesan affirms. sungho lets out a grunt and a huff. “god, that’s gonna be tough.”

a resounding voice of dissent arises from woonhak. “i don’t get why you’re all going against jaehyun-hyung!” he yells indignantly. “let hyung love whoever he wants! this is a free country! you guys can’t dictate his love!”

“he’s received fuck you’s straight in the face and swears she’s flirting, woonhak. you’re too young to understand.”

it’s four votes against one. woonhak can’t win against his hyung’s determination to save myung jaehyun from his self-dug pit of pitifulness that he’d been in ever since laying eyes on you at the freshman orientation. god, they never should’ve went. he never should’ve shot down jaehyun’s suggestion to just skip it. maybe then, myung jaehyun would still be normal.

but this is not the time to lament and regret. it’s time for sungho to right his wrongs. it’s time to bring jaehyun’s self-respect back, they decide. and it starts with a wake-up call in the form of your inevitable, brutal rejection. 

which, for some reason, does not happen as planned.

“what?”

“we’re going on a date.” jaehyun is as chipper as ever and sungho’s ears are starting to ring. “thanks for the encouragement, sungho!”

it’s ringing. it’s ringing so badly. “wait, what do you mean you’re going on a date?” he attempts to clarify, grabbing jaehyun by the shoulders because this is two-parts concerning, one-part kind of…proud? this guy actually succeeded? “she said yes? she didn’t tell you to fuck off and die in a hole?”

“she did. she looked pretty while saying it.” jaehyun answers with a bright grin. nevermind. this is all parts concerning. sungho “she also told me she’d kill me if i pick her up late after her class tomorrow. we’re going to have dinner at the thai restaurant that just opened. riwoo recommended it.”

sungho does not understand. he cannot understand because you, who seems to hate all of myung jaehyun’s guts for no discernible reason, agreed to go on a date with him? hello? has jaehyun been right this whole time? do you really reciprocate his feelings? or is this just some new form of torture? is his friend a masochist? is he the weird one for making a big fucking deal out of this? is this how relationships work nowadays?

a thought enters sungho’s mind.

hold on a second—

“anyway, i gotta go, dude. a pretty girl is waiting for me.”

—what if this date is a ploy for you to finally get the chance to kill him?

oh my god.

“wait!” sungho’s face is pale. his eyes are wide and frantic. “don’t—don’t go on the date!”

“hm?” jaehyun bats his eyes at him, taking a moment to think. then sparkles in realization. “oh! don’t worry. i’m not gonna show up looking like this. i’m gonna head home first to change.”

“that’s not the problem! jaehyun! no! no!”

this is it, his friend is going to die. that is, unless, he shows up on your date just in time to stop it. yes. there’s still a chance. he knows where the date is happening. he’s gonna tell the rest of them because there’s no way in hell they’d allow myung jaehyun’s cause of death to read stupidity by misconstruing your murderous intent as affection. they are not only going to save jaehyun’s life— but his dignity as well.

“remember, be quiet. be inconspicuous. they can’t figure out we’re here.”

hopefully, things go as planned this time. all five of them are gathered in a booth at the said thai restaurant, the eventual scene of the crime unless they do something about it. sungho is surveying the scene to find where you and jaehyun are seated. leehan nearly trips over his unnecessarily long trench coat while trying to cover more ground. woonhak is using the menu as cover but has since gotten distracted and has started to pick out his order with riwoo and taesan. “hyung, is the khao soi good?”

“yeah, we should order it.”

“what drinks should we get?”

this is hopeless. this is a mess. their best friend is about to die and all they can think about is dinner.

no matter. sungho can still take care of this himself. his eyes scan the main restaurant wing, from left to right, until his eyes double over in a screeching halt to the back of a very familiar round head—

“huh.”

the back of a very familiar round head that doesn’t seem to be facing the threat of decapitation.

sungho sees you and jaehyun sitting across from one another, jaehyun’s fairly loud voice raising over the music and utensils clattering, people chatting and passing by. “you’ve got something on your face.”

“touch my face, and i’ll kill y— hey!”

first of all, sungho wants to claw his own eyes out seeing his friend being disgustingly sweet. second, jaehyun did touch your face with a napkin and it does not seem like you’re attempting to murder him. in fact, you look flustered even. flushed despite the harbored glare, still seated despite your apparent derision and disgust. the back of jaehyun’s head looks exceedingly happy. the dots aren’t connecting. sungho is malfunctioning. 

“should…should we interfere…?” leehan asks, his nose barely peeking out of the trench coat collar.

“i think...i think we should just leave them alone.”

“but isn’t his life in danger?”

“i misunderstood.”

forget misunderstanding. sungho can’t even behind to understand in the first place and has settled that he wouldn’t even try so long as myung jaehyun is happy— happy with being on the receiving end of fuck you’s and go to hell’s in response to his you’re so pretty’s and see you tomorrow’s, happy with getting his advances swatted away and shut down, happy with whatever the fuck is going on between you and him that sungho really can’t just wrap his head around.

IT’S NOT WORTH TRYING TO LEARN OTHER PEOPLE’S LOVE LANGUAGES. © hannie-dul-set, 2024.

[impactrueno]

Beetlejuice clearly wasn't interested in Lydia when they met, so when do you think he actually fell for her? Was he so impressed by Lydia defeating him that he developed a little crush?

i think this might be the biggest thing i've been turning around in my head since the sequel dropped. how did bro get to this point. i need to know. you weren't like this where we left off, what happened during that huge time gap????

this is where canon ends and conjecture begins, you just have to theorize and fill in the gaps yourself with whatever makes the most sense to you, which is what i've been trying to do this whole time. so please bear with me here.

i don't know how much i want share or save for my comics because i don't know how much he would actually reveal about this but whatever we ball

edit: ok so i scrolled back up to this after finishing writing this and as it turns out i have no self control and i ended up sharing everything that crossed my mind. craziest stream of consciousness i've ever written down. strap on and keep your limbs inside the ride at all times. whatever. we BALL.

let's review their first encounter from his point of view:

you're hired to scare the deetzes, right? so you do just that. excellently you might add. just when you're about to terrorize their teenage daughter, barbara banishes you and the party is over. what fucking losers right? you get the sense that adam and barbara care about this girl so you make some remark about her and it pisses them off. haha. also whoa where did this place come from? damn adam, who could've guessed he had it in him. you forget about everything else and dance your way to dante's inferno room.

after spending a respectably tasteful evening with those ladies, you're chill now. relaxing under your little sun lamp to work on your tan.

someone walks in looking for adam and barbara. don't they know they're dead?

"are you a ghost too?"

"i'm the ghost with the most, babe."

hold on a sec, who's even—

...well hey. it's the girl.

the girl who can see ghosts, and she's talking to you.

target acquired. this one's your ticket out of this hellhole.

"you look like somebody i can relate to," you tell her. relate how? doesn't matter. you're ensnaring her with your affable demeanor like you always do, make people feel like you're pals with them first and foremost. she seems like a nice girl, so this should be easy. you tell her upfront that you want to get out of there and you need her help to do so.

"i want to get in," she says.

whoa there.

what? she wants to get in? she says that in response to you saying that you wanted out. she really has no idea what it's like on the other side, huh. but shit, that kinda stops you in your tracks a bit. this girl wants to die. this young? that's not right. makes no sense.

"...why?"

she just looks at you and says nothing. jesus. ok maybe it's none of your business so let's back it up. you're losing control of the conversation and you're on a mission here. you figure if she helps you get out, you might as well talk her off that ledge or show her how shitty it is on the other side or somethin'. frankly, you can't afford to care right now. you're not entirely sure why she thinks things would be better on the side you're so desperate to get out of, but alright. doesn't matter, right now you gotta get her to summon you. so you begin your little game of charades.

after she correctly guesses your name and almost says it a third time, she recognizes you as the snake that terrorized her family. god fucking dammit. you're losing her. you're getting impatient. your affable act is over. "nah...i want to talk to barbara," she says and now she's REALLY getting on your nerves because fuck barbara, fuck adam, you're SO CLOSE to getting out and you're not gonna let this go now, go go GO GO SAY IIIIIIITTTTTTT

adam and barbara walk in because of course they do. womp womp

ok well that didn't work, but you're not gonna give up so easily. sooner or later another opportunity will come and soon you will be free.

wait why are they moving the model— where are they taking it—

ooohhhhh. business meeting. get a load of these yuppies, trying to turn winter river into a town-sized Ripley's Believe it or Not. a talking marcel marceau statue? and you thought you were a con man. no wonder the deetz girl wants to die, it's bleak as hell here too. but if you get out...you can fix that. hell, you can fix anything.

these bozos are here to see some ghosts, but the girl says they're not going to show up unless the fleshbags stop making a mockery out of the whole thing and that maybe they can all live happy together in the house. ain't that sweet.

of course no one's taking her seriously. she's a kid, what does she know, right? they'd rather listen to the most obnoxious guy in the room (besides yourself) who has no idea what the fuck he's talking about, but somehow, he's got his hands on the handbook.

the girl panics, then immediately says completely deadpan "wait, what am i even worried about, otho, you can't even change a tire" and you're surprised they didn't hear how hard you cackled at that.

despite all that, they seem to have started a séance with their old wedding clothes. bad news for the maitlands. they're about to be dead-dead. the girl cries for them to stop, and these guys are just sitting there scared shitless. you're hearing everything. you knew a new opportunity would arise, so you wait, because this is the part where people remember how good at your job you are. they always do.

she knows you can help. you're the only one who can help. so here she comes. those wedding clothes give you an idea. plan B is now in motion.

well well well.

look who came crawling back.

she asks for your help, and you're happy to oblige, under one condition of course. after all, you don't do anything for free, and she's the only one who can help you with your problem. how serendipitous.

once again, you lay it on her, straight up. you want out. and a way to do it (thanks adam and barbara for the reminder) is through marriage with a fleshbag. you need to get married. a green card marriage, if you will.

she's immediately disgusted by the idea. you don't take that personally, of course, because it doesn't matter. she's just a kid and it's not a real marriage. she just happens to be unlucky enough to be the only one around who can assist you with this, the poor girl. it's a marriage of convenience—or rather, inconvenience—and you're not planning on sticking around because you will get the hell out of there as soon as you can. so there shouldn't be a problem, right? besides, does she know how many women would kill to be in that position? she gets to brag about it to her friends, what's not to like? it's a totally even deal.

the clock is ticking and the maitlands aren't getting any younger. she agrees to the deal. you win, at last.

she already knows what to do, so you sit there patiently with a shit-eating grin on your face, awaiting the three little B words. gloating.

Beetlejuice........Beetlejuice...........Beetlejuice.

it's showtime.

this is your favorite part. you love a dramatic entrance. you decide to show the deetzes and their greedy friends the circus they so wanted to turn this town into. horrible as you are, you're also pretty damn good at calling out other people's horribleness, and you do love an ironic karmic way of dealing with someone. for example tubby here thinks he can escape, but not before you change his sleek black suit into a tacky white leisure suit. the horror! this is why you're a professional at this.

you effortlessly end the exorcism and the maitlands are saved. a little pruney right now but they'll be fine. everything is taken care of, you have fulfilled your end of the deal like you promised. only one thing left to do.

"shall we?"

there's really no need to make a whole show out of this, but you're a showman first and foremost and as a 𝒥𝓊𝒾𝓁𝓁𝒾𝒶𝓇𝒹 𝒶𝓁𝓊𝓂 you'll be damned if you're not gonna let yourself have a little fun with this. everyone looks terrified. this is why you're a professional at this.

witnesses and reverend in place, you can finally begin the ceremony. you're having fun, yes, but let's try to pick up the pace a bit, okay? the closer you get to your goal, the more impatient you get. the girl isn't finding any of this very funny at all and she protests. the maitlands butt in and are now kind of twisting your arm a bit, but you deal with them harmlessly, until they get on your last nerve so you send adam to the model and barbara to saturn. all of this after you honorably fulfilled your end of the bargain and saved the day. jesus christ, are you the only one with some integrity around here or what.

you forget the stupid ring. shit. you're pretty sure you have it on you somewhere, ever since you chopped up delores into pieces for poisoning you. you kept her ring finger as a trophy and as a reminder to never get married again, and yet here you are, but desperate times call for desperate measures. finally, you find the ring (still on her severed finger) and hastily tell your new bride-to-be that delores meant nothing to you. in case she even cares. she doesn't seem to. not even a chuckle? oh well.

almost done with the ceremony. almost there. you're holding the girl's hand with an iron grip to keep her in place as you're about to put that ring on her finger. "i now pronounce you, man and—"

a tiny car crashes against your foot and it catches on fire. you scream. a fucking sandworm crashes into the room through the ceiling. everyone screams. you scream LOUDER.

you're sent back to the afterlife waiting room.

not your first rodeo with a sandworm, but that doesn't make the experience any less shitty. the real annoying part is being in the waiting room again. this could take ages. you're number 9,998,383,750,000 and they're serving number 3 right now. you trick the guy next to you and steal his ticket (number 4) but he's not too pleased about that, so that didn't work.

a long time sitting here it is, then.

movie ends, credits roll.

for reference, that was 1988. winona ryder was 15 when they were filming in 1987 so while lydia doesn't have a confirmed age, i think we can safely assume that she was the same age as winona at the time.

36 years later, it's 2024. or 34 years later, it's 2022. we don't know the exact year because while bob's in memoriam credits scene says 2024 and all the interviews talk about how 36 years have passed in universe as well, there's this other one tiny detail.

jeremy's death passport says he died on march 11, 1999. jane butterfield says he died "23 years ago," putting the movie in 2022. they did film it in 2022 so the math is mathing correctly there. given that the in memoriam scene was more of a joke and jeremy's passport is a canon prop in the movie, i'd say 2022 is the canon year the movie is set in. (small sidenote; the passport also has the roman numerals DCLXVI which is 666. cute detail i loved it)

in the sequel, beetlejuice says lydia has been ignoring him for 30 years. i always thought that was curious because outside of this claim, they always specify how many years exactly have passed since. he doesn't say 34 or 36, he says 30. and for his degree of obsession (and the fact that he remembers exactly how many times he's watched The Exorcist) i think he would be counting even the days so i think he did really mean 30 years. so this would mean at least 4 years passed between getting sent back to the waiting room and the beginning of his stalking.

AND NOW that we established all that, we are finally getting to the answer to the question, "when and how did this all start?"

so okay, he spent a while in the waiting room. a lot of time to think. probably replaying the events at the deetzes' in his head over and over, how he got here, where he fucked up, what's he gonna do once he gets out. cursing the maitlands for ruining his plan when he was soooo fucking close. wondering what ever happened to lydia deetz.

lydia deetz, the young girl who told him she wanted to die.

...

is she alright?

i don't think he's capable of feeling guilt, but we can probably argue that he's not entirely heartless. what she said about how she wanted to "get in" must've stuck with him from the way he reacted when she dropped that bomb. she never showed up in the waiting room so he knows she didn't follow through with that. still, he used a vulnerable young girl for his own selfish gain. ironically enough, he knows exactly how that feels, because he also got tricked into marriage and got used for someone else's gain. the difference being that he dealt with that shit with an axe.

much much much to think about for mr. juice.

after years of ruminating in that waiting room, he's finally out and back to the regular day to day afterlife. definitely gets chewed out by juno, maybe forced to do community service or labor or what have you, he basically just needs to clean up his act now. this freelancing shit is becoming more trouble than it's worth anyway.

he's still wondering about lydia deetz. should he check in on her? maybe he should, he's too curious now.

at this point, lydia is now about 19-21 and in college. maybe he manages to sneak into the model one time she's back home for the holidays or something. and oh my god would you look at that, what a beautiful young woman she's grown into. she's radiant. she's happy. she's no longer that gloomy suicidal kid he met in the attic. seems like what she said about the deetzes and the maitlands sharing the house did come true after all.

that's nice. very sweet. good to know.

maybe he wonders if she remembers him and tries to get her attention somehow, give her a little scare for old times sake or whatever. for a brief moment it seems like she saw something and her expression changes, but she shrugs it off and continues on chatting with her two sets of parents. no such luck.

oh well. curiosity sated! and beetlejuice goes back home and doesn't return.

until the next time he returns.

and he keeps coming back to check in on her, telling himself he's just making sure that she hasn't killed herself or something. and he's not above admitting that with every year that passes, she keeps getting more beautiful. and to think they almost got married, huh.

he constantly tries to get her to notice him somehow, and sometimes she almost does, but ultimately he never really succeeds beyond making her do a double take. very rarely she does catch a glimpse of him. he's seen her mutter to herself that she's just seeing things and she seems a bit frightened every time this happens, but there's nothing to fear, honey, it's just good ol' beetlejuice. he won't lie, he gets a bit of a rush every time and it makes his dead heart beat faintly. he's gotten this far, he can't just stop now. in his mind, this has become their little private game of cat and mouse, where the mouse ignores the cat. but aren't they cute? he thinks they're cute. this is not creepy at all!

before he realizes, he's already learned everything about her. he knows about richard and even watched their wedding from afar like a loser. he knows she gave birth to a healthy baby girl named astrid. he knows they have a blast on halloween. halloween is lydia's favorite holiday, and his too. sometimes he can't help but see the three of them happy together and think it could've totally been him. even if he and richard are nothing alike (in fact could not be more opposite) and the circumstances of their unholy wedding were nothing short of grim and a farce. but in his mind, he's starting to convince himself otherwise.

maybe it's his jealousy speaking, but lydia doesn't seem to be that happy with richard despite everything. even though richard is like, the perfect guy. then one day his suspicions are proven correct: neither of them knows why it happened, but after having a long and emotional talk (that he watched with a bucket of popcorn) they decide to get a divorce. he pumps his fist, feeling victorious for some reason. sure he's a little sadistic at times, but why is this giving him so much glee?

the divorce is hard on lydia's kid, who was always more attached to her father, but they still spend a lot of time together. sometimes the three of them, since richard and lydia kept things amicable after the divorce. lydia tries to move on and see other people, but each relationship fails before it even starts. mostly because she keeps holding back and so fails to connect with anyone else, but also sometimes because, well, he can't help himself but to scare them away from her from time to time. it's fun. in his mind, he's just being protective of her, as a gentleman should for a lady.

then richard dies. fell into a piranha infested river from the looks of it (he saw him at immigration one day, don't ask what he was doing around there, force of habit after constantly making sure lydia hasn't killed herself yet.) it's devastating for both lydia and astrid, straining their relationship even more for the next few years as they both try to cope with the loss. the shock proves to be too much for lydia, so she goes to a survivors retreat to work through her trauma, both from richard's death and "unresolved feelings."

then lydia, at her most vulnerable, meets rory.

beetlejuice was able to clock him immediately. a textbook manipulative opportunist, he himself knows the tactics very well. swoop in to "help" someone in a vulnerable position, pull the wool over their eyes and begin taking control so you can get what you want out of that person.

he wouldn't admit it, but this really irks beetlejuice. you know when you see someone who reminds you of the worst parts of yourself, so you despise them? yeah. he's been there, and he's also been him.

but rory is somehow even worse than beetlejuice. see, rory is her manager, and boy does he manage to get on his nerves. he takes her phone. he controls what medication she takes. he blames and guilt trips her about every mishap that HE causes, making himself look like her benevolent savior and making her feel like she would be lost without him, confusing her with his psychobabble. on top of all that, he's forcing her to do this hacky show called Ghost House where she "hunts ghosts" or whatever. the houses he's been helping newly-deads with in his day job as a bio-exorcist (now with a fleet of employees,) she's "hunting" those ghosts now. it's so dumb. it never works. beetlejuice doesn't even know what the hell she's doing, she's phoning it in most of the time and she knows she's become a sellout. what happened to that "strange and unusual" girl who stood up for her ghost friends when those suits wanted to profit off of them back in winter river?

he needs to bring that back. he's the only one who can.

in his mind, beetlejuice has already rewritten the events that transpired. in his mind, lydia has been his wife this entire time, it's just, y'know, one of those open long distance relationships and she doesn't always remember him, but that's okay. in his mind, they share a psychic bond that allows her to sense his presence or see him in her dreams from time to time. he's got nothing to be jealous about, because other men can't compare. no one else can match what they have.

sure, part of him knows he's lying to himself a little bit. but he's already clung to this idea; these past 30 years wouldn't make sense otherwise. he's in love with lydia deetz. this isn't insane of him to say at all. and if it is, well, you know what they say, love makes you do batshit crazy things.

it's not that complicated, no matter what they say you'll never meet another me it's not that difficult to get my head around i'll never meet another you

the end

don't trick me into writing a fanfic again

[koobiie]

bestowing my highest honor as an artist to ffxv (drawing the characters in fun outfits)

thoughts under the cut

RREAAAGHHHH SO EXCITED TO BE DONE WITH THIS!!!!! it took me forevarrrr but i soldiered through as an act of love. now excuse me. yap time

OKAY SO the concept behind this was originally specific fashion subcultures for everyone!l ike noct emo ignis dark academia etc. but then decided i didnt want to pigeonhole it all and just freestyled outfits i thought would look nice on everyone

noct - i do think noct would still be emo-ish but also opt for comfy baggy stuff a lot. something you could just fall asleep in on the spot. note the details of bass pro shop shirt (of course) XV necklace, little moon + stars accents, carbuncle + fish keychains. i also wanted his metal band logo shirt to spell LUCIS but i forgor some letters but its not very readable anyways

ignis - ignit ooohghh ignos ignaurs. sorry i made him serve so much cunt it will happen again. i drew him first cause that kind of inspired this whole thing i love him so bad if i didnt draw it id explode. not much detail to note except his collar pins are like his double blade thingies

luna - lunaaa the concept was “clean girl aesthetic” idk if that happened but im actually really happy with how it came out! might be my favorite of the bunch just because she looks so pretty and happy. your honor she should have been able to just be a normal girl and just. chill

prompto - prompotoooo i had trouble picking his vibe!!! my first thought was techwear?? because weeheeeehee he loves tech and well... you know... but then i realized i didnt really like the look of anything i saw + it was so bulky and dark and serious for him! ending up going with some more youthful and baggy. i was considering something more loud and colorful but ended up not going with it. i feel like in canon he'd be too nervous to have such a flashy fit and would want to just look "cool" to fit in with the boys lol. itty bitty details here - chocobo keychain, pompompurin and bi miku buttons, and his lanyard is kings knight themed! i also thought it was funny to write LUCIS on his shirt like you know those shirts that just say BROOKLYN or TOKYO or SAN FRANCISCO and thats it. thats what its like

gladio - okay i know this is going to sound like a lie but im not horny for gladio like at all, hes my least favorite, i think he's just alright. but also i KNOW in my heart of hearts that he would LOVE being a leather daddy and so i had to make it happen. main detail to note here is that his tank top has the motifs of a cup noodle! i didnt know what else to add cause you know.. hes the cup noodle guy.. but also i didnt want it to be so in your face about it with a big as logo so kept it subtle!

(side note the leather daddy gave me an idea for a post where its like noct and prom go to a gay bar all nervous but then they run into gladio and its like "p: GLADIO YOURE GAY?" "n: nevermind that PLEASE dont tell ignis we snuck out" and then ignis walks up and theyre all like WHAT THE FUCK!!!! caption would be "the gang finds out theyre all bisexual." probably wont draw it but i think its very funny lol)

iris - iris my sweetheart.... definitely leaned into the scene vibes here and also that one image of the blonde emo anime girl. details here - of course the moogle big ass backpack and keychain (can you tell i love keychains), but also her buttons are an iris (the flower) and also a crown with hearts (haha symbolism)

anyways oh god i didnt mean to write an essay down here. usually i keep this in the tags but this time i just had Too Much To Say. can you tell i put a lot of thought and love into this . anwyays. *walks off into the sunset and fuckig dies*

[multipleoccupancy]

Theo just sobbed as he tried to work out what to do, he really didn't want to leave Mauve alone in the ward, it had been hell for him for so many different and terrible reasons. He was supposed to be getting out potentially that day. He heaved in some panicked breaths through his tears, they were so many they were dropping off of his jaw as if he were a broken tap.

He gave her his hands as she took them though, barely able to see her through the blur of tears. He was quite the mess as she spoke to him and he felt horrible guilt in his stomach at the thought of leaving her behind, for the very real worry of forgetting all about her. How it is she might have been sat waiting for him to come and free her but by tomorrow he'd have forgotten her name and by the end of the week would he even remember her face or that she had been with him at all? Did she understand that?

"I'll come back. I promise you. This whole place, I'll close it down. They'll never be allowed to do this again to anyone." He drew in a shaky breath and finally plucked up the courage to look at her properly, trying to memorise her face as best he could in the hopes that something would stick, that some part of his mind on the medication would be able to recall her features. "But I will get my Mom and Dad to look into everything, I'll find a way." He paused and then seemed to come up with an idea, "Write your address on the back of your drawing to me, I can get to your parents, I can tell them and then they can try and get you out of here too, to come and pick you up or anything. Please Mauve, let me help you."

𝐓𝐇𝐄𝐎 & 𝐕𝐈𝐎𝐋𝐄𝐓 @multipleoccupancy

Violet stood up with Theo, but she didn't what to do, she didn't know how to calm him down as he pulled at his hair. So, she just stood there, awkwardly hovering next to him. With tears in her eyes. "I know," she said, "but I don't want you to be stuck here because of me. You have to get out, Theo."

She shook her head. "I can't sneak out with you, I'd be a fugitive for the rest of my life." Had she made a mistake, telling him the truth? Maybe she should have lied better! "Maybe Agent Davidson will give me a deal, eventually," she attempted to lie, almost trying to repair broken porcelain, knowing full well that the pieces would not go together, "maybe he just needed time to think about it."

Finally, she gently took his hands, trying to move them away from his hair. "I think that's a mighty fine idea, Theo. You'll come back, and you can even close this place down for good. You'll be an FBI agent, remember? You'll be able to prove how terrible the ward is, and you can even send 'em all to jail for what they've done. But you can't do that if you stay here, so you have to go."

[justin-chapmanswers]

Hey Justin! Quick question (okay maybe not so quick after I write this),

What are you and the other guys’s (Adam and Brian) thoughts and plans after you release II S2 E18? Are you planning to do anything with the characters after it?

What are your thoughts on (I don’t want to say ending oh my goodness) finishing? this season. Is there going to be anything else or are you just done for good. (NOT IN A MEAN WAY IM SORRY)

I’m just curious since I’ve been hyperfixating on II for a while now, and I’ve been working up courage to just ask my idol a quick thing but AAAGGGHHH WHO KNEW HOW SCARY IT IS.

Anyways, I hope you’re having a great day or night, and hope you aren’t overwhelmed or overworking yourself.

AAAGAGGHHHH BYEEE STAY SAFE HUBFRBFHURBFHURDR

- 💙 Queer ahh anon (OKAY IM SORRYHUCNFUHFR)

Hihi! Thank you for the sweet words.

Unfortunately I can't give a clear answer right now, because it's so up-in-the-air. We've thrown around ideas for II and non-II things. It really comes down to what inspires us most after this season has wrapped. If there's a big II story still to tell, we'll tell it. If something else calls to us, then we'll turn in that direction.

I don't have a lot of time to search it out, but I'm sure there must be at least one or two asks on this subject from a long time ago in which I responded with like "it would definitely be a very different world after this season" and I'm sure you can see why already haha.

I would be sad if I had to say bye to II forever after this, though. Whether or not there's anything more, season two's finale is written so that it could be an ending. So we'll seeeee.

[ghsface]

Not sure if you are taking request but can we get an angst with Matt where like reader and him are dating for years but recently comments have been getting to her or people have been following her home and eventually she decideds to break up with Matt but Matt takes things to in his hands where he’s tells ppl to stop and they get back together?(Lol sorry if it didn’t make sense but thank you)

𝜗𝜚 new messege .ᐟ.ᐟ

Hey gorgeous, I really liked this idea, I hope you like it too.

You are the only thing I want - Matt Sturniolo

Sumary: You and Matt had a secret relationship and when you decide to make it public everything goes wrong...

Warnings: angst hate messages towards reader, this is just angst with a happy ending

A/n: Leave me ideas to write in my inbox because I'm running out of ideas. I'm sorry if something is misspelled or not understood. My first language is not English. By the way, what do you think of my new theme, in my opinion, it's very cute like the baby pink and light brown. 🩷🧸

⛧°。 ⋆༺ ✮ ༻⋆。 °⛧

It had been exactly fourteen months since the first time you and Matt kissed. You hadn't imagined then how important he would become in your life, nor that being with him would be so complicated. Because, although you adored each other and the bond between you grew every day, that relationship had to be kept secret. It was a mutual decision, made for practical reasons. At first, the thrill of secrecy made everything more exciting. But now, you both felt exhausted.

You had spent too many nights talking secretly in the car, dates arranged down to the last detail so as not to be seen, or moments of solitude where, instead of shouting to the world how much you loved each other, you had to hide it like a forbidden secret. The situation was starting to weigh on you.

That night, you were on the couch at Matt's house. He was holding you, and your head was resting on his shoulder while you felt his fingers playing with the strands of your hair.

"Aren't you tired of this?" he asked quietly, breaking the silence.

You raised your head and looked at him, searching his eyes for what he really wanted to say.

"What are you talking about?"

"About having to hide… about not being able to tell anyone how amazing you are." Matt smiled, but his eyes reflected a sadness that you shared.

"Of course I'm tired. Sometimes I wish we could be a normal couple".

"Then let's do it", he suggested, giving your hand a squeeze. "Let's make it public. I don't care what others say. I want to be with you, and I want everyone to know it."

The idea made you feel butterflies in your stomach. The love you had for Matt was bigger than any fear, and the fact that he was willing to share your relationship with his fans made you feel special. You decided to announce it on social media.

When Matt uploaded the first photo of the two of you together, you felt a mix of excitement and nervousness. The image showed an intimate moment, a selfie of the two smiling on the beach, with the sunset in the background. The caption was simple but powerful: “Over a year together, and we’re just getting started.”

For the first few hours, the response was overwhelmingly positive. There were comments from fans congratulating and supporting them: “They look beautiful together,” “Finally someone makes Matt happy as he deserves,” “What a great couple they make!”

But over time, other types of messages began to appear. “Her? Is he really with her?”, “She’s not enough for him,” “She’s only with him for fame, I’m sure she’ll use him to become famous,” “Poor Matt, he deserves someone better.”

At first, you tried not to take them seriously. But every time you checked your phone, more of those comments appeared. There were people criticizing your appearance: “She’s too basic for someone like him,” “She’s not even pretty, how dare she date Matt?”, “Matt deserves someone more attractive.”

The words cut you deeply. You knew you shouldn’t let those comments affect you, but you couldn’t stop the doubts from starting to poison your mind. Every time you looked in the mirror, you started to see those flaws that others mentioned. Insecurity began to invade you in a way you hadn’t experienced before.

Matt tried to comfort you whenever he noticed you looking down. Sometimes, during the night, he would catch you reading the comments on your phone, and he would simply take the phone away from you and hold you, whispering that he loved you and that was all that mattered.

“You don’t need to listen to those people, babe,” he said, looking at you with a sincere expression. “They don’t know anything about you, they don’t know how amazing you are.”

The comments didn’t stop, though. Every day they became crueler and crueler. Rumors began to circulate suggesting that you were only with Matt to gain followers, or that you were using his fame to make yourself known. People commented on every aspect of your life, from how you dressed to how you looked without makeup. There were those who said things like, “It’s obvious that she dresses like that to get attention, can’t she dress up better?” or “She should thank Matt for giving her a chance, she’s just an ordinary girl.”

At some point, comments were no longer the only thing. People started following you home, taking photos of you without your permission, and even trying to get close to you to ask you invasive questions. You felt watched and judged at every turn, and little by little, you started to believe that you weren't enough, that maybe all those people were right.

The pressure began to be unbearable. Your self-esteem plummeted, and every time you looked in the mirror, you saw someone who, according to the world, wasn’t enough. Matt tried to cheer you up, to remind you how much he loved you, but you couldn’t stand it anymore.

One night, after one of your most difficult conversations, you asked him to meet you. Matt came over to your house, and as soon as you saw him, he knew something was wrong. He stared at you in silence as you searched for the words to say to him.

“Matt… I can’t do this anymore,” you whispered, your voice shaking.

“What are you saying?” he asked, frowning, clearly worried.

“I can’t be in this relationship anymore. The pressure, the comments… they’re tearing me apart. I can’t take it anymore.

Matt looked at you, unable to process what you were saying. He was trying to understand, but the pain in your eyes made it clear to him that you were really hurt.

“But… I love you, and I don’t care what other people think. They don’t understand what we have.”

“I know, Matt. I know you love me, but I can’t go on like this. I’m losing myself in all of this.” It's getting harder and harder to get up and pretend everything is okay.

You took a deep breath, trying to hold back your tears. “Matt… I can’t keep going like this. I can’t handle the pressure, the comments, the people following me everywhere. I feel like I’m losing myself, and I don’t want to drag you into this. I think… I think it’s best that we break up.”

The goodbye was hard and heartbreaking for both of us. In the days that followed, Matt stayed away from social media, not mentioning anything about what had happened. He isolated himself, trying to understand how the love of his life had to walk away because of the cruelty of others.

Weeks went by as you tried to get over the situation, even though you felt empty. However, one afternoon, while you were checking your social media, you noticed a post from Matt that surprised you.

It was a photo of you and him that Nick had taken, and the message was clear and direct: “I don't give a shit what others say about my girlfriend. I'm with her because I love her, and that's never going to change.”

Matt's public statement was not only a message to his fans, but a promise that he was willing to stand up for what they had. Feeling a torrent of emotions, you decided to call him. When he answered, his voice trembled with emotion.

"I can't go on without you" he said quietly, while you tried to hold back your tears.

"Me neither, Matt… I love you."

That night, they met again, and between tears and hugs, they knew that this time there would be nothing and no one that could separate.

⛧°。 ⋆༺ ✮ ༻⋆。 °⛧

your reblogs and replies are always appreciated dearly, and feel free to leave a request ✮

⤷ Tags... @matthewsroses @sophand4n4 @strnilolover @lolastrniolo

[hoe4hotchner]

Bit of a fic idea (not necessarily a request). But what about a friends to lovers with Aaron Hotchner? Like they've been friends since childhood, she's a few years younger though. She was in the drama club with Hayley and is the reason the 2 met and she was the best woman at the wedding. But she's had a crush on Aaron for the longest time,t though always dismissed it as she valued the friendship more. She's Jack's godmother and is there for Aaron whenever he needs. She is a Sargent in the Marines, so gets the long hours Aaron does. She was deployed when she got the news about Hayley being killed by Foyet and rushed back as soon as possible. She didn't take another mission for a while after to be there for Aaron. Further down the line she considers maybe telling him her feelings but he starts dating Beth so she doesn't. Eventually she starts dating a guy in the army and Aaron is jealous though is in denial about why. It is only after Beth and him break up and he hears that readers bf might propose that he fully snaps out of his denial and confesses his feelings

That's such a good idea!!!! 💕 I don't know if I'll write the full thing one day but here's 1/2 and essay worth of thoughts I have about the concept!!

I imagine it would be even more heartbreaking and kind of a slow burn if you and Hotch knew each other before the drama club meeting with Haley. Like maybe you lived on the same street as kids and played together every day. And without realizing it back then, you were always meant to be together, because you just completed each other.

You would be a little jealous about Hotch starting to date Haley and eventually marrying her, as you had thought it would be the two of you one day. But since you value the friendship so much, you don’t mention it to him, just wanting him to be happy in the end.

The wedding especially hurt to be part of for you, but you pull through, keeping a smile on your lips as you attend, give your toast, and do everything you can to help. Hotch is so thankful for your support during the wedding.

You’re ecstatic when you learn about baby Hotchner, and when Jack comes into the world, you’re the first person he calls, seeing you as more like family than his blood relatives. And it might be the best day of your life (at the time) when Haley mentions they’ve been talking about godparents and then asks if you want to be Jack’s godmother.

When you start realizing that you’ll never be truly happy as long as you’re around Hotch almost every day, you decide to join the Marines, throwing yourself into the work and quickly moving up the ranks. And when Haley dies, you’re, of course, sad for Hotch, but somehow you feel kind of desensitized to death and don’t know what to say. Still, you drop everything and rush back to Quantico to be there for him—not so much emotionally, but at least to help him around the house and such.

Life eventually finds its rhythm again, and even though neither of you ever speaks about that time, you can feel something shift in him. But then Beth enters the picture. You see how his face softens when he talks about her, how he starts looking ahead instead of behind, and you can’t bring yourself to disturb that happiness. You tell yourself this is what you want—that his happiness matters more than yours.

You didn’t expect to meet someone else, but that’s how life works. You didn’t think much of it at first, but there’s a comfort in his company. Aaron notices. He doesn’t say anything, of course, but you feel the shift in the way his gaze lingers when you mention your boyfriend.

And when he hears rumors of an upcoming proposal, he can’t ignore it any longer. He shows up at your door one night. For a moment, you think he’s come with good news, but he only stands there, jaw clenched, his fists tight. “I don’t want you to marry him,” he says, and then, “I—God, I should have said this a long time ago. You’re more than just my friend. You’ve always been more,” he admits.

And then you kiss, and it’s really passionate.

[smallnico]

i'm literally so flattered by this. i wish i'd come up with a more thought-out argument so i could properly fight your student. i can do the counterargument now if you'd like.

i'm not scared of generative ai. i'm genuinely concerned for the impact it'll have on the neurological development of young people if they become overexposed to the instant gratification of "bringing their ideas to life" and never practice or develop the skills and labour actually associated with creating something from nothing. it means that if the ai gives you dogshit (and it will), you don't have the ability to fix it, because you're so alienated from the process of creating (writing an essay, drawing a picture, organizing a playlist, composing a song, listening to and analyzing and summarizing the art you're examining) that you don't know what isn't working or how to make it work correctly. if you don't learn how to analyze, if you don't train your brain to do these things, they don't stop needing to be done. you will be dependant on ai, or on others to do these things for you. others, you can sometimes trust, but it really helps to be able to really grok the difference between a grifter, an ignorant person, and a person who knows what they're talking about -- and again, the more you alienate yourself from the construction of their arguments, the less you are able to take them apart and see what isn't adding up. and ai is dogshit, frequently incorrect and incapable of doing the small calculus the human brain can do (if you train it to) to tell the difference between quality of sources and reliability of data, so it should never be trusted, period.

the only part of this "new technology" that i'm scared of is based on a history of ideas that i have actually studied. historically, the more we alienate ourselves from the process of labour, the less we are able to grasp it as a reality, and the more people are able to use that fact to exploit us. if you look at, say, the paper coffee cup on your desk, really look at it. where did that come from? it didn't spring fully formed from someone's imagination. someone had to design the shape of that cup, engineer it so it could contain a hot beverage and keep it hot, come up with the sleeve to make sure the drinker could actually hold it, but there's even more to it than that. someone had to make the cup. someone had to source the paper (or the compound) for the body, the material for the lid, the glue that holds it together. someone had to harvest those materials, in whichever country they were sourced, and someone had to package them and transport them to the company responsible for assembling the cup. someone designed the logo and the pattern on the outside, and someone is monitoring the machine that prints those images on the cup. someone will be responsible for picking up the waste and transporting it to a recycling plant, or to the landfill where it'll end up. let's not even start on the drink inside it. farming, harvesting, shipping, receiving, assembling, serving. it takes time to manifest something, and you are in a position of immense privilege to not have to think about where it all comes from on a regular basis. but what happens when the supply lines get shut down? what happens when there's a failure of irrigation or something in the paper mill and the glue holding the paper together doesn't work? do you know? i don't, personally. but there is someone along the line whose job it is to know, and i appreciate the work they (probably aren't paid enough to) do so that i can grab a coffee on my way into my own work. i have to appreciate it because i know that if the process goes wrong somewhere, i have no fucking idea what to do about the problem.

but i'm not pretending to know. i'm not applying for a job at the papermill to work for pennies instead of someone who does know the perfect chemical makeup of coffee cup cardboard because i can order a ton of coffee cups online from amazon in bulk. that's why generative ai offends me. the work that goes into creating art and writing still has to be done, because all generative ai knows how to do is steal, and it doesn't steal like an artist. artists look at the works of others and think, oh, i see how they did that, i want to try doing that, and then they can, because they learned how to appreciate the process. they've actually worked, and practiced, and spent time engaging with the process step by step to create something they find pleasing. generative ai looks at art and spits out a copy by comparing one image to another and assuming based on Uncredited Data that sometimes, pictures have hands in them, and hands sort of look like this. and the computer doesn't have a goddamn clue how many fingers the hand has, or how to translate that data into a visual. you know what does? the human brain. you know what you can do instead of bemoaning that you, a high school junior, can't produce a rembrandt on your first try? you can actually try drawing something.

you can actually try to turn your ideas into a drawing. you can do research into how to make it look the way you want it to. who knows? you might actually have fun doing it. because the creative process can be fun! it isn't for everyone, but unless you actually sit down and try, you won't find out, and if it's not for you, you'll never grasp on that physical experiential level that the creative process is actually a lot of fucking work, and we should respect artists for being able to sit down and do it so we don't have to, same as we respect the farmers who grow our food or the plant workers who mix the slurry that becomes our coffee cup cardboard.

i'm not scared of spotify for pushing ai bullshit down my throat. more than anything, i'm kind of offended, because i do put a lot of work into my playlists, and i have a lot of fun doing it, because i like listening to music and analyzing lyrics and relating the themes of songs to my little characters. i took it so personally because i Want to be involved in the process. i'm paying spotify a lot of my real adult money to have access to music and the tools i can use to entertain this pastime of mine, and it's kind of fucked up that they're raising their monthly fee to fund a tool that makes me, the user of their product, motivated to use their product less. insulting, even. why should i pay more for a computer to do a worse job than me at Having Fun? making a playlist isn't even that fucking hard.

i'm just tired. stuff takes work to make. it takes care and time and effort to create something from nothing, and a lot of the time, the process is necessary to make the thing good, because it forces you to take the time you need to spot and fix mistakes. i hope by now that it's self-explanatory why i don't want an entire society run by a dipshit program that doesn't know how to do what it's doing and doesn't know how to solve the problems it creates faster than human hands could ever manage, and i hope the dipshit machine and the grifters who push it are inextricable from each other in the minds of anyone who's read this whole post. i don't want them to run society either, because they Know that generative ai sucks and can't do anything right, and they're still trying to tack it on to everything to devalue the labour of artists and make a quick buck for themselves.

the best quote i've ever seen about generative ai is "why should i bother reading something nobody bothered to write".

we are a social species. alienation from labour alienates us from each other, from our communities, and makes us feel alone. when we're alone, we're vulnerable down to our core psychology, and there are a lot of people out there who know better who want to take advantage of vulnerable people to manipulate society at large. they want to make money off of your suffering. they want to reduce you to a number for their own convenience so they can use the One Life You Have On Earth to play their own personal tycoon game and get a slightly higher score. they want you to spend less time having fun, creating art, spending time with your family, thinking about what they're Doing to you, so you don't ruin their good time. i'm not scared because it's new, i'm pissed because it's the same old late capitalist shit i've already been dealing with, and i'm sick of seeing it everywhere because it stands a very real chance of turning everyone's brains to even more detached-from-reality mush than late-stage capitalism already has already.

And, on top of all of that, spotify's algorithm sucks shit already, so why on earth would i want it to make my playlists for me. the other day i saw it put zombie by the cranberries on a halloween playlist. she doesn't know dickety shit about my ideas or vibes or anything. so

no, spotify, i don't want to use ai to "turn my ideas into playlists". i already fucking do that with my brain and hands and i do it for fun. what, should i get ai to pet my cat for me? to play my silly games for me? to spend time with my beautiful wife for me? how about i rend you asunder

[kinardsevan]

so my initial theory was that the lightning strike parallel would have Tommy on the crane and that's how we would get some resolution. I really still love that idea (obviously. i wrote it twice.)

however, now (after zooming in on the instagram promo to an obnoxious degree), I'm not as sold on this version. BUT. there's another thing living in my head.

at some point, someone has to ask Buck why they broke up, and we know that we've got him "on a pendulum" with his reaction, and "cracks starting to show".

which brings about my new theory:

I feel like the conversation is ultimately going to happen with Maddie, since she's the Voice of Reason in his life. Maybe it's after he's been baking with Jee-Yun, idk. Anyway, I know the minute he says "I asked him to move in with me", she's gonna have the response of "...and have you figured out if you love him yet? Had you told him that?" which either will bring about his own feelings realization, or (hopefully) he'll have already come to that conclusion. but mostly, I'm imagining Maddie being like "wait, so you told him you wanted to move in together but you hadn't even said I Love You yet?" queue Buck being like "I thought it was in the context" and Maddie going all Big Sister and being like "okay what actually happened?" this then leading to Buck giving her the rundown of what was said, how Tommy told him he would break his heart and Maddie having to be like "well of course he's afraid, blah blah blah" (or some version of that, with the blahs being whatever reason she gives to him that actually makes sense). At which point, we get to the end of this conversation, and Maddie tells him "you need to call him, Evan. you need to be honest about how you really feel."

and what does THAT get us?

see, something occurred to me when I realized this option: the breakup parallels the first date. but the first date isn't the resolution to that episode, nor is it REALLY the start of their relationship. you know what is though?

the coffee date!

which is how we get them back at a cafe, mirroring their conversation about Buck "not being ready" and Tommy telling him he didn't want to pressure him.

To that end, we get the resolutions to those statements in new forms: we get Evan telling Tommy that he's not the guy who didn't know what he was ready for, and that he knows exactly what he wants, which is Tommy. He knows that because he's able to tell him that he's in love with him, flaws, trauma, and all. I think the way you can counterbalance that with the not wanting to pressure, is by Buck rescinding his offer to live together. at that point, we get a reflection of his understanding that Tommy has trauma (maybe Chimney knows the story and shares it during Buck's conversation with Maddie). anyway, he tells him that its his turn to go at Tommy's pace, at which point we can get a "are you sure about this?" "yes, I'm sure", and then Tommy's the one this time that reaches out and lays his hand over Evan's.

that's all. thanks for attending my second TEDtalk of the night. I'll see my way out (and back into the fic I'm trying to write this into).

[phantomchick]

The ending of Oshi no Ko vs The beginning (chapter 166 vs 10)

So as you can see, there's clear evidence of intentional parallels happening here. This is the aftermath of Ai's death that mirrors the aftermath of Aqua's. Aka already claimed to have the ending planned well in advance months ago so it's not a big surprise that even the ending panels of the first (not counting the prologue) and last chapters match.

And yet Oshi no Ko still falls flat despite fulfilling its promise of a revenge-tragedy.

I think the biggest problem it has is the way the last chapter tells us instead of shows us as chapter 10 did.

Yes chapter 10 also used narrative text boxes a lot, but I argue that the effect then was much more immersive.

With them being used with precision to move us through a time skip with only the most necessary information about the fall out for the characters, even the distance had the effect of doing characterisation work with Aqua describing in a narrative text box how the policemen hid the scene from Ruby but Aqua felt his mother's body going cold beneath him as they arrived - this use of the text boxes casual tone over child Aqua sitting in his dead mother's lap gave a sense of disassociation and shock to the scene.

Even the textboxes turning black to mirror Aqua's dark emotions concerning his revenge as the star in his eye turned black showed how much attention was being paid to their use.

Ruby.

Ruby felt much more real in chapter 10, her rant about the internet's callous response to Ai's murder felt real and emotionally charged. In comparison, for all she's the main subject of the last chapter, she feels like a 2d cut out of herself, barely in there for all we see her struggling through Akane's observant gaze.

She expresses her motivation to be an idol despite hardship by acknowledging that Aqua's right about idolwork being difficult and cruel but reminding him that despite the darkside of the entertainment industry, their mother 'shone' very brightly. The talk about how Ruby shines more the darker things get and how this is a good thing because it reaches out to people trapped in darkness of their own (just like her when she was a terminally ill cancer patient) is clearly meant to echo this idea.

Frankly it fails.

Ruby feels hollow.

To the point where we barely get any insight into Ruby's real feelings at all or any emotional connection with her in comparison, by 166 it's genuinely unclear whether or not she's lying even to the portrait of her dead family when she's 'alone' on her way out the door.

We don't see a conversation between her and her adoptive mother about Aqua, we don't see her talking to Akane at all. We see her grief and her success from a deified distance, just like the fans do. And it alienates us from the character.

Lies are love and she has two stars in her eyes. Just like her mother did.

I think this more than anything condemns the idol industry, she has to keep lying even to herself about her job being fun because otherwise what was all that pain and suffering and loss for?

Aqua died in a murder-suicide (shout out to Taiki for experiencing a loved one doing this twice, poor guy) to give his little sister success in a job that she has to get up at 5.30 for, devote her entire youth to and will have to quit in less than a decade. It has to matter, that she provides escapism for people who are suffering like she did, but it doesn't change the grim reality of her exploitation.

I think the lack of dialogue in the final chapter and the loss of voice for Ruby in the last few arcs mirrors the loss of agency she experiences as she becomes the ultimate idol, everyone's star.

But that doesn't change the fact that from a reader perspective it's just bad writing. Aka failed to carry his audience with him to the finish line and his messages about the idol industry were blurred by the rushed plot after the movie arc began.

If it weren't for Mengo's art hard carrying the clumsily executed story, I can honestly say that I don't think many would have read this manga all the way to the end.

[wileycap]

Special Instructions For Luke Skywalker

(approved by hon. Sen. Organa, Gen. Solo, entirety of Rogue Squadron, Adm. Ackbar, hon. Sen. Mothma, distributed to Cmdr. Skywalker)

1. No acrobatics, except in designated excercise areas.

1.1. Not even if you can "jump really high, the Force is so bright right now, look!"

2. Absolutely NO mind reading.

2.1. If you do it on accident, try not to get a weird look on your face and also tell us what you learned. Proverb: It's better to know than to wonder about it until one ends up doing something stupid.

2.2. Yes. I'm talking about that. I can't look General Madine in the eye anymore.

2.3. It's still allowed for intrasquadron prank purposes. But you can't do it to the others, they freak out.

3. No posing. Yes, you pose. It's annoying and wrong. The rest of us are dirty and want to slump down into our own filth and sleep. We don't need to see you being all heroic.

4. No claiming "the will of the Force" when you do something weird. Yes it's saved all our lives more than once. Yes it's still offputting and just plain disturbing.

4.1. "The universe is telling me that..." is not an acceptable substitute.

4.2. "I have received an omen" is also out.

4.3. "The vibes speak to me" is funny but no.

4.4. "Hey guys, guess what came to me in a dream" might be okay but it was in the middle of combat. And you said it over the general comms. And then you did an unannounced microjump into actual hyperspace in the middle of actual combat. Admiral Ackbar nearly had a medical event.

5. If somebody wants to hold your lightsaber you should let them.

5.1. You're officially allowed to disregard that. Never give Janson your lightsaber again. We have no idea how he snuck that in in the first place.

5.2. If Princess Leia requests to inspect your ceremonial weapon (commonly known as a 'lightsaber'), you should let her. For reasons for legitimate cultural intrest and archeological research. And because as your superior, she has the right to inspect your weapon as set down in the Alliance Charter, section General Conduct, heading B4467, subheading BA561-33. By permission of Princess Leia. I approve of this. Luke give it to me for a second you get to have it all the time.

6. If you need to "have a conversation with a ghost", do it in a private place.

6.1. If you agree to have your ghost conversations in private, we promise to stop referring to our "private time" as "having a conversation with a ghost."

6.2. In fact, we could just stop announcing it altogether. It was funny the first time and it hasn't been funny since. Guys, I don't want to know.

6.3. But please don't talk to thin air in front of us.

7. Luke, you are a hero of the Alliance. We are also friends. You don't need to bow when you see me, even if I am technically royalty and your superior.

7.1. It's very sweet that you do it and I appreciate that you want to show your respect, but the new recruits are getting confused.

7.2. NO, ADMIRAL ACKBAR DIDN'T WRITE THAT. It was obviously me, Leia!

7.3. If you're doing this on purpose and hiding it behind your innocent farmboyishness, I'LL KILL YOU. I'll kill you until you're dead.

7.4. STOP BOWING STOP

8. Don't work on the Falcon unsupervised.

8.1. Me being in the general area isn't supervision.

8.2. Me being near you but working on a different part isn't supervision.

8.3. Apparently me looking over your shoulder isn't supervision either. Just don't do it, kid.

9. Cub. You are very small in comparison to other humans. If you are having trouble hunting I can do it for you.

9.1. Apologies. Han reminded me that you are an adult by the standards of your species. I travel with him and I am often confused that he is an adult. You understand.

9.2. No asking Chewie if his relationship with me is "kind of like adopting a tooka" for him. For one, no, and for two, everybody else already made that joke.

9.3. He is very much like a badly behaved tooka.

[zarathelonewolf]

Some people need to write in this absence of courage though, and purely because of it, and purely FOR it.

Not to say that I don't get your point: it is a good point and I would like to see more hopeful dark stories, stories similar to what you prefer. I would prefer them too, ideally.

However sometimes people really do not have the courage to "want something better, to know that it was wrong"... Because to THEM (and I say this as someone who is similar to them to an extent, though I fight everyday to be hopeful) it does not seem like an act of courage, it seems like an act of insolence.

Why insolence? Because of a lot of things.

"How dare you (general you, not you, OP) want something better? The result of what was done for you is a negative thing that pushes you to do negative things, how dare you think that you should want something better?"

This is the insolence I speak of. The insolence they think they are culpable of. Sometimes people really do need to show the trauma "bare". They need to write out the negative voice. It's what they know and they feel isolated because people keep telling them it'll get better but they are not there yet, so they want to show their frustration. They may want to reject the idea of not taking up space, alternatively, when they show their trauma: so they show it in a gritty manner and without solution to spite the people that tell them they should just keep it all in unless they have healed, or unless they have the intention of doing so.

It may not be hopeful dark art, that's true. But that's not what dark stories HAVE TO be in order to be "good art", either. They don't want to fix something. They just want to show it. They are "vent art".

And it is needed. By people that don't have the "courage" yet, that maybe won't ever have that courage. They need to see something other than their mind crumble... something other than their body, something other than their voice, something other than their memory while it's crumbling. They need to see a story that crumbles without getting back up. That way they feel less alone, perhaps. They feel that the suffering is real and that it does not need healing to be considered suffering. Especially when others interact with the story and cry alongside them while in a similar situation.

A weird broken sort of solace so to speak.

Is it nice? No, not really. But in certain moments of people's lives it's what they need. In a twisted sense, for some people, all they will ever want to experience. It's not just insolence after all. For certain people, darkness itself is the refuge, because the world outside is too bright and a lot people want to be rid of their dark thoughts and want the victims themselves to be rid of the dark thoughts and find a solution for them, whereas these victims just CAN'T, they can't manage yet and they feel inadequate so they produce something that makes them feel like they matter for something.

Something dark and gritty and hopeless.

Art isn't good due to the fact that it expresses correct values. Art is good because it makes you feel, or merely because you feel drawn to interacting with it. Same goes for dark art. It is good dark art when it makes you feel dark stuff, whether or not it heads towards a good or bad ending.

I say this as someone who is hopeless about herself and himself and hopeful for others. Weird right? But it's how I exist. People's comfort sometimes makes me feel even lonelier. I would prefer silence and reading dark content AND hurt/comfort most of the time.

I come from a place of being pressured into healing. I want to heal on my own now, I don't trust therapists for shit. I will find my hope but not now. And dark content with hopelessness, vent art done purely for the vent and not for the healing helps me immensely because I feel my resistance to healing seen without someone telling me that I can heal because I know I CAN, I just don't want to because people have all sorts of expectations about how my healing should be, but while people can object to my healing not really being healing, they can hardly disagree that the dark stuff I write isn't dark. At least in my experience.

People have differing types of sensitivity, and not all people who are lovers love themselves. Love doesn't have to be total, not all people experience it like that. Sensitivity does not have to make you like dark hopeless stories, but it does not mean you are sensitive only if you prefer hopeful stories OR when you reject completely dark stories. People can be "lovers" and sensitive in all three of cases. So I agree about being frustrated for people saying "you're not sensitive enough" because that's not true, your sensitivity simply differs from theirs.

Vent art can be self care just as much as hopeful art. And dark content does not have to be vent art, it can also just want to make people witness gross stuff because they enjoy gross stuff being depicted for the sake of it (to make an example: people with certain laraphilias that cannot be explored safely in real life).

I am merely playing devil's advocate, with the devil being something I love: my only chance at venting without feeling pressured into a reaction. So I will concede this exposition may seem personal, almost too personal, and angry, but I tend to be passionate about the things I love.

I hope I didn't anger people with my response to this. But then again, I should take up space more often...

too much to say in a post but i re-read (partly skimmed) my manuscript of my book from a year and a half ago and it's so fucking good and also feels like a hemisphere of my brain has been returned to me. like oh yeah. my creative self. the fullness of my being. i missed you

i need to fucking talk about it but it's intimidating

[runawaymun]

Hey! Any advice on writing multi chaptered fics or just longer stories?

I feel like I'm okay for like snippets but have no idea how to write the middle of a story or move a character or story from point a to point b.

And asking you because you're writing is phenomenal and I'd love some advice.

(But if no brain space for advice I totally get that too and feel free to hide this ask or something)

(Anyway great updates on boundless and the one shot Brimbrond)

Sorry for taking so long to respond to this! I just wanted to take some good time to gather my thoughts because oh man oh boy I am a bit of a nerd about plot structure, even if I pants it a lot of the time -- because middles and structure absolutely plagued me when I was a beginner and so I spent a long, long time studying it and breaking it down.

I'm going to start with some very, very basic advice and then get into some more specific stuff. So let's talk first about how to structure a long-form plot first.

DISCLAIMER: this is how I personally structure plots. More often than not I veer off my own track. And this is a very western way of structuring a plot. It's well worth looking into how storytellers from around the world structure their work because it can vary wildly (Miyazaki is a great example of this). Take this with a grain of salt. It's a guideline which I find helpful. This is going to get very, very long. Bear with me:

When I'm first thinking about how to create a plot around a story I want to tell, this is the process I walk myself through, and it tends to work about 75% of the time for the stories I like to tell (I'm not much of a thriller or mystery writer and those tend to have different kinds of structure). Main recipe is as follows:

Status quo - establish the setting and the character. Do this by the middle-to-end of chapter one, preferably. You can get away with drawing it out a bit in sci-fi or fantasy works that require more worldbuilding, but try not to.

Inciting incident - I won't tell you to start in media res, as that varies from writer to writer and story to story. Generally you want to have this somewhere in chapters 1-3. Say we're talking about LOTR - I'd say the inciting incident is when Bilbo goes invisible at his birthday party and leaves for retirement. Everything sort of snowballs from there (Gandalf confirming this is The One Ring, the Ring being passed to Frodo, the adventure beginning, etc. etc). This is where your character can lose something, or be confronted with a huge problem, or gain some new information. This is the point where your story really picks up.

Point of no return - your character has been presented with a problem or is put in a situation and now they have to decide what to do about it. Sometimes characters choose to run away, or choose inaction. It's up to you and your character as to what they do next.

The annoying part - the most helpful way I've ever found to think about middles is in terms of a series of decisions and consequences. Your character must decide what to do (or try to get what they want), and this will then come with consequences to those decisions. I ignore a lot of writing advice because writers seem to be very cagey about how they compose middles and plots for some reason, but the one piece I heard that helped me was: "What does my character want, and what stops them from getting it?" -- and this can be anything, right? Frodo wants (has to) take the Ring to Mordor. Luke wants to learn to be a Jedi like his father. Inspector Poirot needs to catch the murderer. Odysseus wants to return home. Each of these characters are going to make a series of decisions toward their goal, and they may be working from incomplete information, or bad paradigms, or racing against the clock, or against impossible odds. They're going to make mistakes. Over and over and over again. The middle is a series of decisions, consequences for those decisions, and obstacles (more on that later).

Point of no return 2, electric boogaloo (i.e. the actual midpoint to the story) - the part right before the climax -- the climax IS NOT the midpoint of your story, nor is it the end. This is your midpoint where Everything Fucking Sucks. Your character's back is against the wall. They have to change, or fail.

Paradigm shift: your character learns something new, or develops in some crucial way that leads to:

The climax/confrontation: 3/4 - 7/8th of the way through your plot. Frodo decides to keep the ring. Luke uses the force to blow up the death star. Anakin's fear and the manipulation from Palpatine overtakes him and he turns to the dark side. Inspector Poirot gets his last crucial piece of information and gathers everybody together for the Big Reveal. Odysseus gets home and chases the suitors out of his house. Etc. Etc. This is that Big Point in the story we all think as the most important or crucial point (but it's not. That's the key here. THE most important point is the whole middle of how we got here).

Consequences and paradigm shift 2 electric boogaloo: varies from story to story, but this is the fallout of the last decision or confrontation. Your character may reflect on what they've learned. The killer goes to jail. Frodo returns to the Shire and it's saved, but not for him. The journey your character has been on has irreparably altered them, or the world around them -- for better or for worse.

Resolution: the place where you land the story ;) what is the final impression you want your readers to have of your character, or this world?

Alright so that's all kind of nebulous. Let me give you a slightly more specific form of this plot structure that I use pretty often, because I almost exclusively write character and relationship-driven stories since that's what interests me most:

So most of this looks much the same (the inciting incident is some kind of meetcute. The characters then have to decide if they want to have some kind of relationship -- I like to name this part the callback). Then we have a whole weird squishy section of building interest and tension, before once again we have The Big Fight (darkest before the dawn or what have you), before one or both characters have some kind of paradigm shift, they confess their feelings (or resolve the fight or whatever), and the security of the relationship is established -- happy go lucky times, everything is beautiful and nothing hurts.

So the middle here is of course still squishy and nebulous, but the focus here is still on "What decisions are the characters making? What are the consequences of those decisions? What are they learning, and how do they respond to it?" Maybe the tension is in one character being more reticent, while the other is more open. Maybe the tension is a sexual tension (will they, won't they?). Maybe a character is working off of incomplete information, or a misunderstanding, and that needs to be cleared up before the relationship (or even their own personal growth) can progress (both Elrian and Thalionel in Stars and Boundless Sky follow this pattern). The middle is a push-pull between your character's desires and outside forces that are stopping them from getting what they want, or achieving what they want to achieve.

So okay, that's all well and good. That's basic plot structure. Let me get into my thought process about middles specifically:

Begin with your ending in mind. I do not mean that you need to have like the whole resolution to your story fleshed out. If you're that kind of writer, great! But if you're more of a pantser like me, then that can be a big ask. Instead, ask yourself: what do I want my character to have learned by the end of the story? How do I want them to have changed, or grown? Do I want it to be for better, or for worse? Is there a specific plot goal you have in mind? (saving the world, or catching the murderer, solving the mystery, exorcizing the ghost, the couple getting together at the end, the found family finally gelling with each other, or whatever).

Once you have that thought in mind, now start to think about what your character might need to get from their starting point to their ending point. If it's a murder mystery, this is your information gathering section. You can lead your character to wrong or right conclusions. Have them make mistakes. Etc. etc. If it's a romance, this is where you create a string of scenes where the characters have opportunities to interact and learn more about each other (works for platonic slowburns, too). If this is a traditional hero's journey, this is where you plop in your actual journey.

Not to repeat this ad nauseum, but your middle is all about getting your character to your end goal, but in the most difficult way possible lmao. Let them make mistakes. Let them make bad decisions -- and then follow through with the consequences of those bad decisions. Give them bad information. This is where understanding your character's fundamental flaws becomes extremely important. Your entire plot, imo, stems from your character's fundamental flaws -- because ultimately that is what is going to slow them down the most from reaching their goal. Sure, you may have the big bad evil guy (bbeg), but we're not worried about him. That's an external factor and that's easy to drop in when you need a quick problem to place in front of your protagonist -- but that problem needs to be in service to your character or your worldbuilding. Teach them something. Give them an opportunity for growth. Aragorn needs to lead at Helm's Deep so he can inhabit his leadership role. The mountain pass of Caradhras needs to force the Fellowship through the mines so that Gandalf falls fighting the Balrog and comes back leveled up and ready to fight, and other characters in the fellowship have a chance to grow into their roles without relying on Gandalf for leadership. Your middle is all about crafting little opportunities for character growth, always while moving toward your end goal -- whatever that may be.

The paradigm shifts are crucial, and they can shift for better or for worse. It's up to you and your characters and the story you want to tell as to which it'll be.

If you're bored, your reader is bored. Only write what excites you, skip all the rest, and make it make sense at the end -- I'm so serious. Yes you need to add in breaks for pacing (like the whole Rivendell section in LOTR), but in those breaks still make sure that you're either expanding your worldbuilding, or giving your characters and opportunity for growth.

If you want to tell a really long (novel length) type of story, sideplots and alternate POVs are your best friend. They are structured exactly the same as a regular plot, they're just simpler or smaller and generally work in service to the main plot. Maybe there are side characters or side relationships you'd like to develop. Maybe there's a smaller mystery or a part of your worldbuilding you'd like to explore. Action plots can be side plots to romantic or platonic slowburn plots, just as much as it can be the other way around. And this is not something you need to structure out the gate. Just be curious and playful. Find points in your story that interest you, and explore them a bit. You'll find that they expand the story.

Biggest and best tip I can give you, when all is said and done, is to decide what kind of story you want to tell and then examine how other people are doing it. If you want to write a superhero story, pick out your favorites and look at how they're structured. If you want to write a mystery, same thing. If you're writing a romance or a drama, again -- same thing. Look at the pieces of fiction that you like, figure out what you like about it, and then apply it to your own work.

That's all the general advice off the top of my head. IDK how helpful this was lol. If you want more tips on middles I can try to look at it a bit more in depth, but to be quite honest middles are really what defines a genre. Romances have different middles to thrillers. Thrillers have different middles to mysteries. Mysteries have different middles to dystopian sci-fis. Etc. Etc. So take the general advice with a grain of salt and look more specifically at the genre of story that you're looking to tell.

Thanks for coming to my tedtalk <3

[delta-lethonomia]

ok depresso week is over, back to deliberate hyperfixation on bg3:

It is absolutely wild to me that people take Astarion to the foursome with the drow twins (romanced, spawn, post-cazador) and are shocked, shocked I tell you, that he has a bad time. But it leads me to think that there's an interesting conversation to be had here about morality applied to video games. I'm going to be using what's a bit of a strawman tbh, what I would consider an archetypical, "good person" gamer for this niche example.

(3k essay under the cut about irl morals vs video game behavior, my take on why Astarion agrees to the orgy, beating the dead horse of Astarion discourse now that the fandom has cooled off enough I might not get flogged for it, and all my election stress being translated into an increasingly bitchy narrative voice that I hope is at least mildly amusing.)

"Good Person Gamer" romances Astarion. They're probably female, which I am mentioning exclusively so I can turn that into "Good Girl Gamer" 😏, or G3. G3 picks nice dialogue options. G3 tries to support their companions, and finds diplomatic and moral solutions to problems. G3 saved the tieflings. G3 still romances Astarion because he's hot, and vulnerable, and it's not like he forces you to be evil - he just complains a bit when you save kittens stuck in trees, but you get that approval back anyway just by being nice to him. Talk him out of Ascension and you've proven to yourself he's got a good soul under all that attitude anyway. He'd healed! You banged on his grave! It's all good now!

The brothel is fun. The drow twins are hot. It's always fun when games lets you do spicy things like have threesomes and orgies! We're sex-positive! Look, the drow twins said they love their job! It's totally fine! G3, as most people, probably does not do these things in real life, but that's the fun in video games: you get to be someone you're not.

And then Astarion noticeably dissociates. He throws himself in the center and lavishes everyone with attention; he's a professional, you know. Even an unromanced Tav/Durge notices something's off, and Astarion replies something along the lines of "you don't have the right to look at me like that," presumably with worry, distress, or sympathy.

G3 is upset. They did everything right - they didn't want to hurt him, and Astarion himself said he wanted this. Why couldn't they stop midway through and remind him that he doesn't have to hurt himself? Why couldn't they talk about it afterwards, and clear the air? LARIAN WHY DO YOU HURT ME

Now, to all the G3's out there: if you were dating a person with extensive sexual trauma, having been raped literally thousands of times, would you suggest having a threesome/orgy? With prostitutes, if that's better or worse? Putting them on the spot before your mutual friends? Would you wait a few years to mention the idea, or would you do so only weeks/months into a relationship? Your first "I love you" might have only been yesterday.

And most people, I think, would say "No." Writing that scenario outside of the lens of a video game makes it sound insane - of course you wouldn't! I'm not saying that they should never have group sex or that it can't be done, but I think most people instinctively get how that would be a shitty thing to do in that context, especially without discussing it in depth beforehand and making sure you're both on the same page.

And this is the meat of the issue. Most gamers play good-aligned characters: there's a strong culture of wanting to play the hero and saving the day. But tied into that cultural monomyth, in society itself, is the idea that sex is a reward at the end. You get sex at the end of the romance arc. The date where you have sex is one of many milestones, and you're not really dating if you haven't done it yet. Some people don't have sex until their wedding night. Threesome scenes especially are a video game classic: old-school God of War, for instance, had a hidden room in every game with scantily-clad women just waiting for you to button-mash away, a little treat for the player's keen puzzle-solving abilities.

Not all romances in BG3 have sex or end with sex, (some even start with sex), but that is because BG3's character writing tries to ground itself in reality despite being a medium people utilize for fantasy. Role-playing a "good" character is mostly easy: you typically know which dialogue choice is the ethical choice, can chide Astarion for being racist, can save the numerous children with moral ease - and BG3 rewards this: a good playthrough is more fleshed out, because you haven't killed off half the cast. You get better gear. You have more allies, better allies. You know what to do.

Or, well, mostly. BG3 is kind of special imo because even the good choices have a lot of nuance, where two people can make different choices but still feel like they both picked the most ethical one. Take Shadowheart's parents, for example: they beg for her to let them go so they can die and save their daughter. Saving them leaves Shadowheart in Shar's clutches - she will experience pain for the rest of her life, but regains her parents, and with luck, Selûne will claim her soul when she dies. Kill them, and Shadowheart is free - truly free, to live her life on her own terms, free from Shar and Selûne both. Both can be the ethical choice, depending on your morals.

"But if Astarion didn't want to have the threesome, the game should have let me stop midway through/made it clearer that this would happen. He said no before Cazador - why couldn't he say no again? Why would Larian put me in this position and make me feel bad when I thought everything was alright? I wanted to be good and have fun, not feel like I pressured my boyfriend." - Strawman G3.

Because BG3 treats it's characters like people. Multiple companions make choices outside of what the player character decides for them - Shadowheart's decision to save or kill her parents, kill or save the Nightsong, or Gale, to go for the crown or not depend on what events they are there to witness personally, or can be informed by conversations you have in camp about unrelated issues. You can fully let them make their own decisions and be surprised each time as they develop into different people with each successive playthrough. A lot of people are surprised when Gale goes for the Crown of Karsus without their input. In my last multiplayer playthrough, we could not prevent Shadowheart from wanting to kill the Nightsong, and so we were forced to kill her.

Astarion is not like that. The way he talks about Ascension changes depending on your relationship. If you're merely friends, he acknowledges it's probably a bad idea, even, in direct contrast to the somewhat obsessive and frightening way he pursues it in a romantic relationship. But Astarion can't decide what to do at the end: he has no hidden point system, no hidden flags - he will always pursue Ascension even if he knows it's a bad idea, because Astarion does not trust himself, has no experience trusting himself, and needs help. As counter-intuitive as it may sound, he needs support to make his own decisions, because in that moment, he cannot be objective.

(If Astarion is ever objective is another story....)

So much of Astarion's reactions and opinions are instinctive and unthinking. "Don't let the pixie out of the lantern, are you an idiot?" -> "A pixie! And honest-to-goodness pixie! *giggles*"

"We don't need a urchin hanging around." -> Astarion approves if you help Yenna

etc. etc. etc. There's so many times he says one thing, the cruel thing, the "fuck everyone else, I've got mine"-thing, and then approves when you do the good thing. Astarion does not live in line with his values (besides pursuing a growing need for freedom) and he frankly does not really know what his values even are.

Astarion doesn't react with glee to finding all the people he seduced - who inadvertently raped him, though they didn't know, some lowlifes and scoundrels and people having a bad day and even some sweet, naive virgins like Sebastian, who took that smoking hot Elf on his word and followed him home, probably in disbelief someone so gorgeous would pay them any attention at all - tortured and locked in a dungeon underground. He's crushed by guilt. He's in pain. Astarion delights in you causing others pain (the torture scene) because it aligns with his worldview, the joy of seeing someone else suffer for once. But he's not a cold-hearted murderer. (And yes, I am differentiating between "adventurer kills a bandit" murder and "deliberately killing someone you know for reasons/no reason" murder.) He doesn't hurt anyone in camp - Shadowheart and Lae'zel are far more dangerous than him. You never have to stop him from drinking anyone else to death. Even if you never feed him again, never use his bite attack, he never bites anyone in camp. Despite being a vampire, Astarion is, effectively, harmless. (Bite night was about checking whether or not Cazador's old command's still worked. It's his first real attempt at freedom, proving to himself that he's free from compulsion. Hence why the roll to get him to stop is a 5, giving you a 75% likelihood of succeeding. He doesn't actually want to kill you. And you get two chances!!!)

Astarion doesn't enjoy death for the sake of death. He's terrified if you side with the goblins and kill the tieflings despite goading you into doing it. I don't doubt that he could hurt others (god knows he's got enough feelings to work out that way), but there's a significant difference between a little knife play and condemning thousands of people to be tortured in the Hells for all eternity. Sacrificing his siblings is different, because they, like him, are guilty, and deserve their deaths. He agrees to sacrifice his fellow spawn as an act of self hatred, of self harm. But all those other people stupid enough to want to sleep with him? Given a day to think about it, I think Astarion would agree that that's not right - and that's why he thanks you for preventing his Ascension. That much murder isn't him. He can be thoughtless, cruel, and unkind, but Astarion isn't a psychopath.

Take him to the brothel, and slipping back into that role, the seductive rake, it as easy as breathing. I don't think Astarion has ever thought about if he's the type of person to enjoy group sex, or even if he wants it. I don't doubt that Astarion enjoys sex, that he wants to have sex (he is, after all that, still shockingly horny), but he's just discovered the idea of having sex with someone he loves. He's riding that high. Of course he says yes: not only is he a different man now (he's free!), it's something he's done a thousand times already - maybe it'll be different this time, maybe something has changed - or maybe, an orgy was on offer, so of course Astarion is there. It's his purpose. He's been doing it for 200 years. Where else would he be?

What I'm saying is that Astarion didn't think about what sleeping with the drow twins meant for your relationship, or how he would feel about it at all. He just went for it. He had a bad time. You then don't discuss it because that would mean admitting that he finally made a choice by himself and it backfired. He didn't think, or maybe he did, and it turns out he just doesn't know himself. Why discuss it? A relationship with G3 apparently means group sex. They probably asked twice. They backtracked all the way to Wyrm's Crossing post-Cazador. Will they ask again? How many times can he say no?

In reality, in the real world, the act of asking can be the problem in and of itself. If your significant other/spouse/lover asks you to do something you don't want to do, be it a threesome, anal, opening the relationship etc, these actions have consequences. The act of asking doesn't happen in a vacuum like it does in video games: there is a cost associated with it, a gamble, and while it may pay off, it may not. Some people get worn down and agree to things they don't want to do. Sometimes you break up because the act of asking is so inherently disrespectful you can't reconcile your differing wants and needs. If you're dating someone who has experienced the gut-wrenching pain of being cheated on, you don't ask 2 months into a new relationship if you can fuck other people. This should not come as a surprise to you, to G3, to anyone. It's common sense.

BG3 giving you the opportunity for a foursome with Astarion not only to give the player their hot'n'spicy sex scene (then playfully bops you on the nose by making it a fade-to-black, you naughty little perverts, you), but also to continue its theme of treating the player like a mature adult, who is dealing with other mature adults, and who can and should live with the consequences of their own actions. Subsequent patches have watered this down, I admit, but I do believe that that was the ethos guiding their work from the beginning. BG3 wants you to interact with the characters like people. If you roll over and tell them what they want to hear, you will Ascend Astarion, and he'll enslave you in turn. If you agree with Gale on everything, he will kill himself and you - or, he'll become a god, becoming the exact sort of god he used to rail against. Agree with Karlach, and she will rather die than go back to the Hells. You get my point.

"But Larian could have let me check in on Astarion midway through. Maybe it was a mistake to ask, but they should have let me check on him and stop it all if he wanted. I was trying to trust him to make his own decisions." - Strawman G3

Ok. We add a dialogue option. "Astarion, love, are you alright? We can stop at any time if you want."

Astarion disapproves (-5)

He's not backing out. Thank you for asking, darling, but fuck off. (I don't think he'd actually say fuck off but the implicit message would be there. I can't see Astarion stopping midway through, nor appreciating you doubting him. Nothing changes.)

"But I still feel bad." - Strawman G3

And I completely understand that. It's a video game. Don't worry! Of course you should get your sex scene - it's a reward! You got their approval high enough! You have enough charisma points! In DA:O, you can also have an orgy, unlocked by giving your companions enough gifts! It's a game! You have enough points, you get the thing!!! You killed Cazador - you win! Have your cake and eat it too! Congrats, you unlocked your hot slutty vampire elf who's basically a trained courtesan, who needs you to be his moral compass, who will never leave you so long as you don't actively rape him - enjoy all the fun orgies in your future!

Your actual choice - the choice the game gives you - is to realize that taking what's essentially a human trafficking victim to a brothel is a dumb idea, but they didn't want to punish you for it.

"Well, Astarion should have said something then. He said no before, he can say no again." - Strawman G3

If you go through life pushing peoples boundaries and expect them to verbally tell you what you're doing wrong, you're gonna be friendless and have a bad time. This ties back to both Astarion having difficulty knowing and defending his own values, BG3 trying to let you make your own decisions without setting out a clear "good or bad" path on occasion, and the hope that you'd use your own morals to make decisions. G3 would never behave in this way irl, and that's where the shock comes from, the guilt from committing an action they thought was without consequence in a risk-free fantasy scenario, and then feeling unpleasantly surprised when called out.

But it's a video game, and you didn't get the little zap, the little sting of an Astarion disapproves in the corner that told you you made the wrong choice. In fact, because he doesn't disapprove, it's not actually the wrong choice!

It really was mean how the Narrator made G3 feel bad, wasn't it. They didn't mean to hurt him. Astarion doesn't mention it, so it's probably fine.

... have you talked to Halsin yet? Surely he had a good time. Right?

CONCLUSION

People think they're good and moral and will typically behave "heroically" in video games. Games support this and reward players for doing so. The "good path" is expected to be clear. However, video games are not real life no matter how much they play at immersion, and multiple games have trained players in a linear "do x, receive y" type fashion. Sex is a reward in games, and is treated that way in real life as well, so players expect the Sharess' orgy scene to be a reward, and are then shocked when Astarion/Gale/Halsin etc reveal during or afterwards that they had a bad time. This is because Larian wants you to treat BG3 like a role playing game and interact with it seriously, and isn't afraid to boop you for your actions in ways that mimic real life relationships. This ethical dissonance makes people uncomfortable especially when they play games to role-play as someone better than themselves, and are surprised when they aren't herded down predetermined "good" paths via instantaneous approval/disapproval mechanics or unlockable "ideal" dialogue.

It is absolutely possible that someday Astarion might be into meaningless group sex with prostitutes for fun and pleasure. However, that is the sort of thing you'd probably either wait for him to bring up by himself organically, or discuss in a long-term trusting relationship after he's had potentially years to process the idea of not immediately hopping into bed with someone, as well as disentangling his instinctive "beaten-in" sexually available behavior from his actual desires. People much more emotionally mature and undamaged than Astarion have destroyed their own relationships by inadvertently pushing a partner (or themselves) into various forms of group sex or other sexual acts. It's not something you do on a random Tuesday on a whim.

Or maybe it is, and I'm just chronically boring and surrounded by boring people lmao

TO THE POSTER THAT INSPIRED THIS: I'm so so sorry if you ever see this, not trying to call you out at all hence no linking, I just wanted to pick apart why I think you felt that way. The thoughts just finally bubbled over after a year+ lol