#characters that give into their flaws >>>>

[mongeese]

Look. It doesn't matter at all but this is my most popular post and it drives me insane. I, personally, was not suggesting that we should ascribe the concept of "girl power" to Lady Macbeth. I made this joke to be a silly haha critique of the concept of girl power in general, and also as a comedic phrasing of a legitimate analysis question -- is Lady Macbeth's narrative role and agency intrinsically feminine, or is it in spite of her femininity? How does her gender play into her character's actions? More generally, how are the flaws and mistakes of female characters glossed over when we give them the girl power/girlboss treatment?

Instead the responses to this post are mostly people basically saying "yes! She's a girlboss who made terrible choices and we love that" which is like, fine. This was not a well thought-out post and I can't actually be mad at people for taking it at face value. Everyone is allowed to have fun I'm not annoyed at anyone in particular etc etc. However. I just need my followers to know that I am staunchly against the girlbossification of any and all female characters, including Lady Macbeth, and I think the girlboss/girl power "feminist" framework is useless and a little condescending, particularly when it contorts fundamentally flawed female characters into all-powerful all-competent #CoolGirls. Okay thank you goodnight no one get mad at me please

Did Lady Macbeth successfully utilize "girl power" when she convinced her husband to murder the king thus damning them both to a slow descent into insanity and eventual death?

[utilitycaster]

i don't watch critical role, so I have no skin this is "is this campaign good or bad" debate, but I just read a post from you saying THEY DIDNT DO A SESSION 0? Why? What possessed them? That's like one of the most important parts! Especially if you broadcast your play to millions of people. Hell, if I was them I would do off-camera check-in sessions every 10 episodes or so to make sure everyone is still pulling in the same direction. That's not railroading! That's making sure that you and the train conductor are using the same map. From your posts I gather they are all still in the same world as the previous campaigns and I know they've all known each other for a long time, so I guess that could be the argument for no session 0. It's a bad argument.

So here's the situation:

Campaign 1: No session zero; grew organically from a one-shot.

Campaign 2: No group session zero. They call the smaller screen-test esque one-shots session zeroes but they aren't, and I know they do regular session zeroes for Candela Obscura and for various Daggerheart works where everyone proposes a character archetype and pitches that, because they film them and air them. However, based on various interviews (there are a lot with D&D Beyond that might not be easy to still find) and cast statements it sounds like Matt was a lot more accurate regarding the nature of the campaign (more morally gray) and offered a lot of suggestions about the characters and had a lot of requirements including, notably, that they all needed to be from the continent on which the campaign was set. Perhaps most crucially, the cast was highly cognizant that they had to land this plane to prove it wasn't just Vox Machina, but their storytelling skills; had C2 not been as strong as it was I don't know if the company would have survived long.

Campaign 3: No group session zero, guidance was "pulpier and deadlier", some back and forth between cast members. I do also think there was less room for the world to be malleable to accommodate their concepts, as it was more developed, and the plot was certainly too rigidly set.

As for check-ins: they are all friends and I think the thing about C3 is that I suspect the flaws are MUCH harder to see from the inside, and also I think the "we're friends playing a game for us" attitude, while valid, means that I do wonder if no one wanted to say "is this like, good as a work of fiction" because I do assume, at least, that no one felt bored or uncomfortable. I know even a lot of us who have been highly critical of the campaign throughout looked to like, episodes as late as the 90s and early 100s as maybe, finally, a clear direction and then at every turn there continued to be some new poorly signaled thing and character beat cast aside, and I really do think it was not even entirely a failure of ambition (though it was that too) but essentially a fanservice loveletter for each other and the world. And that's again entirely fair in a game for your friends, but not a great way to end a trilogy in a way that is narratively satisfying. I think I mentioned it before, but this campaign should have been structured more like Campaign 1 - provide plenty of bonding time and slow travel early on, introduce the hint of the final threat early in a highly character focused arc (Vecna in the Briarwoods arc); follow either an overarching plot with a lot of opportunities for each individual to explore their own past and shine (the Chroma conclave having highly personal moments for pretty much everyone other than Scanlan and Percy, and the deadly nature of it and the Kaylie reveal right before giving Scanlan plenty to work with; alternately, a more character-driven C2 plot could have worked as well with a few guardrails) and then a return to the ultimate threat in the end (Vecna).

My hope is that the flaws of this campaign do become apparent to the cast, and that if they continue with longform works they learn from it. But yeah, this was really avoidable and while I suspect the cast will not throw each other under the bus I'm genuinely interested in an eventual post-mortem after enough time has passed.

[barbwritesstuff]

I love Thicker Than very much but my first love will always be Blood Moon and I decided to reread it today and I just. I genuinely wish that I could write like you sometimes because you are so, so good at it. Your imagery is so vivid, your worlds are immersive, your characters are real and flawed and kinda messed up but that's what makes them so loveable. And to top it all off, you're hilarious as well? How dare you actually. Very rude of you indeed.

Anyway all this to say: love your work, love you, hope you're well and I will uncover your (writer) secrets.

This ask genuinely made me tear up. Thank you so much.

These are my writer secrets (most of which I learned from other writers or from the internet but some are actually me):

It's better to write a book that 50% of people hate and 50% of people love than to write a book that everyone thinks is just fine.

Be toothy. Be weird. Be yourself.

Have characters do something while they're talking so they're not just standing there saying things at each other. This came from a tumblr post which said something like 'make them do the dishes' and it's genius. First draft of the first chapter of Blood Moon: Marco didn't have a cigarette or a coffee. I gave him those so he could have some character action during his monologue and it made it 100x better.

Personally: I dislike 'relatable' characters. I would much rather have a weirdo character than one that's relatable. That's my preference as a reader to, which, actually reminds me.

READ. You really need to read. If you don't read, you won't see what others are doing, you won't be aware of what books (interactive or otherwise) even can do. All good writers are readers.

I sucked at English at school, and people still sometimes say snide things about my inability to spell. I don't care. Good English student =/= good creative writer. Actually, I think a lot of people who achieved a lot in school give up really quickly at writing because it's not typically a quick or easy path to success. The amount of people who've said to me 'I did NaNoWriMo once but nothing came of it' is... a lot. That's one month. They wrote for one month and expected to be a blow up success. That's not the reality. Because...

Being a persistent wee bitch and loving what you do is way more important than 'talent'.

I'm in a weird mood. I'm sorry. I just want to talk about craft and stuff. I love writing so much.

[xyywrites]

What to Do When the Middle Sags

Ah, the dreaded sagging middle—the place where your story feels like it’s running in circles, or worse, standing still. Many writers hit this wall, but don’t worry—it’s fixable. The middle of your story is the heart of the journey, the place where characters face challenges that set the stage for the climax. If your middle is losing momentum, here are some practical tips (with examples) to reignite the spark.

1. Introduce a Midpoint Twist

Give your plot a jolt by throwing in an unexpected twist that shakes up the status quo.

Example: In The Hunger Games, the announcement that two tributes from the same district can win together completely shifts Katniss's strategy and amps up the stakes.

Tip: The twist doesn’t have to be massive—just something that complicates your characters’ goals and forces them to adapt.

2. Add a Subplot That Intertwines with the Main Plot

Introduce a secondary conflict that deepens the stakes or explores a new side of your characters.

Example: In Pride and Prejudice, Elizabeth Bennet's subplot involving Wickham creates tension and provides insight into Darcy’s character.

Tip: Make sure the subplot supports the main narrative. It should enhance the story, not distract from it.

3. Escalate the Stakes

If your middle feels slow, it might be because the stakes aren’t high enough. Raise the pressure on your characters.

Example: In The Martian, Mark Watney’s potato crop fails, leaving him with limited food supplies and no margin for error.

Tip: Ask yourself: “What’s the worst thing that could happen to my character right now?” Then let it happen.

4. Deepen Character Relationships

The middle is the perfect time to develop your characters’ dynamics—friendships, rivalries, alliances, or betrayals.

Example: In Stranger Things (Season 1), the kids’ bond with Eleven deepens in the middle episodes, revealing her vulnerabilities and cementing their loyalty to her.

Tip: Focus on moments of vulnerability or conflict that reveal something new about your characters.

5. Introduce a Ticking Clock

Deadlines and time limits add urgency to your story.

Example: In Inception, the middle accelerates when the characters face layers of time running out in the dreamscape.

Tip: The ticking clock doesn’t have to be literal. It can be a metaphorical deadline, like a relationship on the brink of collapse.

6. Force Your Protagonist to Make a Hard Choice

A moral dilemma or a tough decision can reignite tension.

Example: In The Dark Knight, Batman must choose between saving Rachel or Harvey Dent, pushing him into emotional and ethical turmoil.

Tip: Hard choices show growth—or cracks—in your protagonist’s resolve.

7. Change the Setting

A fresh environment can provide new challenges and visual interest for the reader.

Example: In The Fellowship of the Ring, the group moves from Rivendell to the treacherous Mines of Moria, increasing tension and danger.

Tip: Make the new setting more dangerous or unpredictable than the last.

8. Reveal New Information

Introduce a secret, revelation, or piece of backstory that changes the reader’s understanding of the plot or characters.

Example: In The Sixth Sense, the middle is packed with hints and reveals that slowly unravel the truth about Malcolm and Cole.

Tip: This new information should connect to the story’s core themes and drive the plot forward.

9. Focus on Internal Conflict

If the external action slows, delve deeper into your protagonist’s internal struggles.

Example: In The Catcher in the Rye, much of the middle is Holden’s internal conflict about growing up and his isolation.

Tip: Use internal conflict to build empathy for your character or highlight their flaws.

10. Foreshadow the Climax

Use the middle to set up elements that will pay off later in the story.

Example: In Harry Potter and the Goblet of Fire, Harry’s discovery of the Pensieve and his interactions with Barty Crouch Sr. foreshadow the climax involving Voldemort’s return.

Tip: Plant seeds that will leave readers saying, “Oh, so that’s why that happened!”

Checklist for Avoiding a Sagging Middle:

Does every scene push the story forward or develop a character?

Are there unanswered questions keeping the reader hooked?

Have you raised the stakes since the beginning?

[starshinedreamer]

Alrighty y'all, grab a chair and get comfy whilst I yap about my son, my pride and joy, the greatest thing to ever happen to me, my D&D OC: Raymond Foxwood. He is a Wood Elf Druid with the Researcher background and a Neutral-Good alignment (Images at the very end).

I haven't figured out what his voice sounds like yet. I'm thinking he may kind of have an accent? But like it's barely there. I do have an idea for a possible Japanese voice claim: Souta from the movie Suzume.

His best friend? I guess it would be my friend's D&D character. Her name is Topaz and she is a Dragonborne. Not besties, but pretty close.

Ooooooo boy, I got a whole playlist my friend and I have been cooking up for this sad little fella. Here's a couple of them that I think describes him best:

-"The Moss" by Cosmo Sheldrake

-"Rom-Com Gone Wrong" by Matt Maltese

-"When She Loved Me" by Sarah McLachlan

-"Home" by Cavetown

-"Valentine" by Laufey

-"Love Like You" by Rebecca Sugar

He's like, dealing with a heavy breakup until "Valentine" when he meets his current partner :)

4. "I do Adore" by Mindy Gledhill

5. Nope! But I actually thought about it when I was first creating his character just to see how he would act with other dynamics.

6. A scientist. More specifically, an ecologist. He loves nature and learning about all there is to know about life and the world. He also likes finding ways to help others, so maybe even a pharmacologist?

8. Writing, researching, reading, gardening, and making little insect and animal models because he is a NERD™ /lh<3

9. He generally takes good care of his physical health. Although, his flaw is "Most people scream when they see a demon. I stop and take notes on its anatomy," soooo. "For science" he says. "It's for the greater good" he says.

10. Well he's trying his best. But sometimes anxiety just surprises you and all of the sudden you're spiraling and things seem much worse than they are and pfffft whaddya meeeeaaaan I'm sorta self projecting? But he is the kind of person who feels bad about asking for help and then sort of holds it all in.

11. Inspirations were taken Link from The Legend of Zelda series (mainly BOTW) and Howl from Howl's Moving Castle for his design. Everything else was based purely on my own self indulgences for a nerdy elf character (and the songs my friend keeps sending my for him).

12. Same response as question 2 :)

13. No not really, but he is fighting against an organization that keeps threatening and trying to burn down the library he works/lives in with the librarian: Amanita (Ama, Anita, or Nita for short). Amanita is the person who raised and took care of Raymond after his family died in a fire. A fire caused by the same organization who's trying to harm them now. This is his main reason for joining a campaign; to get stronger and protect his loved ones.

14. This one flippin poison dragon we fought. Or maybe that's just me because I really didn't want to let them leave alive. I don't think Raymond necessarily hates anyone.

15. That all honestly depends on how the rest this campaign will play out. My friend has told me that they all did die a couple times, and we almost died to the STINKIN DRAGON but that's not important right now. But L O R E wise, he'd probably still do his researcher stuff until he's really old. Then he'll write books and share his stories :)

16. If they were alive, then I could see him having a great relationship with his parents since they were also big nerds like him. His relationship with Amanita is also great, and he really wants to protect her since she has done so much for him.

17. YESSSSSS! He loves sharing his knowledge with others and would do such a great job teaching kids. Ohhhh this is such a good one, yes he would feel bad if he had to leave them.

18. He/Him :>

19. Biromantic Asexual. His love language in giving is Acts of Service, and Quality Time for both giving and receiving.

20. A longbow and rocks. He has a cantrip spell called "Magic Stone" which lets me make a ranged attack by throwing small pebbles or stones. I like to call this spell the "RAYMOND, STONE 'EM" spell because its funnnnyyyy.

21. hmmmmmmmmmm Actually, I'm not sure! I guess maybe "Nothing You Can Take From Me" from The Hunger Games: The Ballad of Songbirds and Snakes.

22. Will generally go for the non-violent option (more of a lover), but if initiatives are rolling, he'll fight.

23. Extremely. He'll show up with a new tire to fix the flat one, and an extra one for any future situations.

24. Undecided

25. Not singing out loud, but he would definitely hum to himself! :)

26. Irises, forget-me-nots, and bluebells

27. Symbolism wise, a deer. 'Just because' wise, a rabbit, a fox, and a kitty cat :3

28. The Nerds™ (found at the end of this post:) ).

29. Cozy stuff, lo-fi, books, plants, leather notebooks, and an overall sort of cottage core mixed with academia aesthetic. (Mood Board made in Canva :>)

30. Accepts this as their new life(yippee!). They have now been adopted. Will try to find a way to bring up their interests in conversations.

Fuck it, OC brain rot won. Get ready for the Secret Ask List

1) Does your OC have a voice claim, if so who?

2) Who's your OCs best friend? How did they become best friends?

3) What song describes your OC?

4) What song describes your OC and their partner/love interest?

5) Do you ship your OC with a Canon character? If so who?

6) If your OC is in a fantasy setting, what profession would they be in the modern day?

7) Vice-Versa! If your OC is in the modern day, what fantasy class would they be? Would they be a different race?

8) What hobbies does your OC have? What do they do to unwind?

9) How does your OC handle their physical health? Do they take care of themselves?

10) How does your OC handle their mental health? Do they take care of themselves?

11) What was your inspiration for your OC?

12) Does your OC interact with other people's OC? If so, who's their best OC friend?

13) Does your OC have a rival? How did it start?

14) Who's a character your OC cannot stand! It's on sight when they see them!

15) Will your OC ever retire? Do you see them making it?

16) How's their relationship with their parents? Are they alive?

17) If your OC has kids, are they a good parent? Do they ever feel guilty if they have to leave them?

18) What are their pronouns? What would they like to be called?

19) What's their sexuality? What's their love language both giving and receiving?

20) If they fight, what's their weapon of choice?

21) What song best describes their relationship with their enemy?

22) Fight or Flight? Are they a lover or a fighter?

23) Is your OC reliable? Can I call them up at two in the morning if I have a flat tire?

24) Can they play any instruments? If so, what do they play?

25) Are they the kind of person who can't resist a good song? Can I catch your OC singing to themselves while they do the dishes?

26) What flower do you associate your OC with?

27) What's their spirit tamagotchi? Or an animal you associate them with?

28) What clique would they be in? (Draw them in the clothes of said group!)

29) Imagine a mood board for your OC! What's on it? (Make it if you want!)

30) My OC and your OC are friends. This isn't a question. I'm not asking. (How do they respond?)

[thekakoro]

Thoughts on Sublimation - Sublime

Okay, first of all, girl needs a real ass name not just "Sublime" please tell me that's a nickname.

But also omg so pretty with her hair like this okay.

But real thoughts now. I don't like how Mary Sue she is. Don't get me wrong, I do really like her so far, but she's just... TOO likeable. She has no character flaws. To me, it's coming off like the writers thought "disabled" and "traumatized" counted as character flaws which is frankly insulting.

I'm hoping I'm wrong here and they're gonna reveal more about her that will add some more interest and flaws, but, seriously, her being disabled is NOT a flaw, and there's no need to make her perfect to "make up" for her disability. It gives me disability inspiration obsession vibes, which is icky. Disabled people do NOT have to "overcome" their disability and be AMAZING people just to be worth your attention.

Again, I hope I'm wrong, the show has dealt with disability better before, but I truly just hope they add some spice beyond *trauma*, which is also not a character flaw.

I AM excited to see what they do with her!

[seasonal-writes]

Hey there! So, it’s been a while. I have done a lot of thinking, some writing, some attempts—but I have come to the conclusion that I do not think I will be writing out the continuation and end of When Fate Finds Golden Rings. It took me a while to get to this point, and I'm so sorry to anyone who was hoping or expecting me to eventually come back to posting it on ao3. You know, you just.. don’t write on a fic for over a year-ish and surprise! Maybe you really lost the energy and passion for this piece after all. Which is okay. 

BUT. Instead,

Welcome to: Ro gives away the plans for the ending, rambles about that process, and gives other weird notes about their first big boy AU. Because I saw a post about bullet point-ing fic and realized I am, in fact, allowed to do that. 

Strap in because this is going to be a Big Post. Sorry in advance. And if it wasn't very obvious, um. Spoilers for When Fate Finds Golden Rings below the cut. <3

It’ll probably be starting at chapter 14. 

So, I want to disclose, before we begin: the ending is not totally up to my current standards as a writer. And this isn’t going to be me bashing my own creative process or my burnout or anything like that. I just feel like noting that… had I thought about the ending in more detail instead of flying by the seat of my pants, I think that it would be more put-together and interesting. I think that applies to the entire story, honestly. So. Yeah. If the ending falls a little flat, that is why. I was too busy daydreaming over my epilogue—which I will be talking about as well!! It's honestly my favorite aspect that came from continually thinking about the fic rather than writing it. LMAO.

Interestingly enough, I originally wrote that there were going to be at most like, 7-8 chapters left. realistically, that would probably not have happened. Considering this outline was in SHAMBLES, I can safely say it would’ve been a whirlwind last few chapters. sincerely, future Ro after writing out the mess you’re about to see.

The place where Joel, Lizzie, and Etho live was going to be the place where the ending took place. All the chapters in this “arc” as I'd call them—even though that’s not really what they are—were going to be here and were originally intended to be a deeper dive into Tango’s background. Since the first half of the story is really steeped in Jimmy’s world, it had only felt right to give Tango his own section and exposition as a character.

This was going to become the part of the story where it’s like, Jimmy and tango are in a more stable place for a moment so it gives them more time to reflect. It also would’ve given them time to be away from each other, which I thought was important for two guys who had been subjected to good ol’ forced proximity and were finally given little outs to be apart; i.e. Etho taking tango away for a day, Jimmy spending time with Lizzie and/or Joel. That was a chapter idea I had: both basically kinda being like: yeah! no! I can be alone. I don't miss him at all. not even a little. it feels weird without him here though, right- and just dealing with that. Plus the fear of getting caught, the fear of the OTHER one getting caught and not knowing. yeah. <3

Something I had planned on happening between Tango and Jimmy was that Jimmy was basically going to very much avoid his own feelings all around. He’s so attached to this guy, very much falling for him, and convinced that he is in the way despite it all. He’s kinda… under the impression that maybe he’s in the wrong for not wanting to stay, because OBVIOUSLY Jimmy knows better than to stay in one place like this after the whole journey thus far, when Tango seems so happy. So Jimmy, flawed as this idea is, just assumes Tango will be better off if he stays close to his home and Jimmy doesn’t want to make Tango feel like he has to keep running. The best way i can describe this is like

Jimmy: Man. Tango seems really happy here. I don't think he needs me. I bet he wants to stay. No, I'm not gonna ask him, that’s crazy. What I WILL do, however, is leave without telling him. 

and then he did. :) 

That was basically going to lead into a chapter where Jimmy is ~kidnapped~ on his way out of town by ANOTHER set of characters I was excited about: the mercenaries, Ren, Martyn, and BigB! Golden Rings!Ren is fun to me because he keeps the Red King aesthetic. For some context of why they exist: the three stooges mercenaries heard through the grapevine that if the two princes were captured and returned alive, there would be a big reward. I never actually decided if they’d been tracking Jimmy and Tango for a while, or if it was a coincidence that the reward went out and they happened to stumble into town. but all that matters is that Ren ‘n Gang are in fact successful, and smuggle Jimmy off to a camp somewhere along the road headed back to the palace with full intentions of bringing him home, with or without tango. 

behind the scenes, tango is actively losing his mind. so, fun fact here: I never actually…wrote down how this next bit happens. please forgive me i haven’t touched this outline in like a year and a lot has happened since then- but OoOoh wow! Tango manages to find him!! at the camp!! at night. please note here that golden rings!tango has reflective animal eyes. like cats at night when light shines on them? that’s tango. 

I had this whole scene planned where I would riff off the Tango Rage and make him go nuts on these guys. The funny thing is that Tango can’t really fight, but I think he would do an effective job on scaring the shit out of them and chasing them out of camp. Like, spooky story level shit—crackling twigs, snapping branches, etc.. At the end, Tango manages to untie Jimmy and they make a quick getaway back to town. 

When I tell you this was gonna be one exciting chapter after exciting chapter, I mean it. The next big part, dear rancher enjoyers, was going to be the confession scene. 

Basically, imagine. Tango and Jimmy are walking home. tango is really quiet, won’t look at jimmy except to make sure he’s still right there. There is a storm brewing in the sky, and they’re trying to get back as soon as possible. but suddenly, tango freezes in place. Jimmy gets a few feet ahead, but stops and turns when he notices tango isn’t in pace with him. tango looks hurt. more hurt than jimmy’s ever seen him. which makes Jimmy feel awful. and it’s like:

T: If you wanted to leave, you should have told me.  J: …Tango. T: If you wanted to leave, you should have come and told me. We are friends— a team, you've said it yourself. I would’ve been ready to go.  J: I wasn’t…I was hoping you wouldn’t follow me.  T: Why wouldn’t I follow you? J: I just thought it’d be easier on both of us if I left you to your devices here. I’m sorry.  T: You’re sorry? You think that’s gonna just- just make this better for me? After you just up and left me there, worried that you’d been taken back to your family? T: And- And you almost were, too! You were this close, Jimmy! If you were that scared of staying then- J: You know, there was nothing forcing you to come get me, I could’ve just gone and you could’ve stayed and lived the life you wanted back in the palace! I thought that was the plan! Freedom for both of us! T: ….You really just don’t get it, huh? Are you that dense? J: What? What don’t I understand? T: I am in love with you, you idiot! J: …You.. you what? [dialogue taken from the scene i started writing but never finished<3]

And then more things happen and then they KISSSSSSSS !!! 

Realistically, I want to note that the transition between here and the ending was very finicky and not written down. so, instead, i will be giving you a general run down of what the ending was supposed to be. 

With tango and jimmy now having confessed and acting upon those feelings, they think they’re safe for the moment. However, soon after, etho finds them and basically alerts them of an uptick of Nether Guard, having heard that the mercenaries reported their sighting and now, rather rapidly because ~portal transport~, the kings were sending search parties out once more. etho suggests they get out of the city, and the two agree, prepping quickly to leave what became a very good few allies and safe place for the roads once more. 

The day they are supposed to flee, the overworld’s royal party arrives; Grian heading the way, seeming to be the one sent to find his little brother. 

This part got really fuzzy for me because I don't think I ever actually plotted out the transitionary period between "you two need to run" and "we're running, it's bad."

What I do know, though, is that the final scene would’ve been a confrontation with Grian, who attempts to convince them to come home. but when Jimmy explains, begs his brother to try and understand (i also think he uses his secret relationship with Scar as a bit of an example. leverage, even); Grian eventually wishes his brother goodbye, and turns a blind eye to let them run. 

Epilogue: Tango and Jimmy, fittingly, escape to the countryside. When they eventually outrun search parties and the call for their return dies down, they settle on a tiny cottage out on a tiny farm with wishes to expand it and make it their own. Jimmy tends to the animals. Occasionally, he sends a letter under a false name, and he gets one in response; a brother, far away, still keeping him in on happenings in the kingdom and in his life. Tango dives into his redstone, creating and building and making things he never would’ve had much time to while being a king. He thinks of a guard, long left behind, and wonders if he thinks of him too. 

The two never marry, as marriage doesn’t leave a very sweet taste in their mouths—but they do make vows, whispered promises to stay together forever. A prophecy haunts them; but they were never really the type to obey any plan laid out for them, anyway. 

Some years later, a quiet life has been established—but one day, someone arrives. Tango has gone out to gather supplies, so when there’s a knock, Jimmy answers the door. 

Before him, there is a tall figure with a familiar set of eyes. Impulse, knight and ex-personal guard of the Nether Court, stands before him. When Tango returns to find him, a beautiful reunion is had; one with tears and relief and all the love in the world so present in one moment. 

GUESS WHAT !!! TANGO/JIMMY/IMPULSE CANON IN GOLDEN RINGS EPILOGUE!! IMPULSE COMES BACK TO HIS BOY AFTER ESSENTIALLY GIVING UP HIS GUARD POSITION BECAUSE IT’S NOT THE SAME!! THEY CAN BE SO SILLY TOGETHER NOW!! AAAAAAAAA I’VE BEEN WAITING TO SHARE THIS GOD-

please god someone ask me about this dynamic i’m not okay

And, yeah! That was kind of it for the story. As I said, it falls flat to an extent. It’s not the ending that I would give it today. I still wanted to share it, even if it wasn’t the best or most detailed. I love this story, I love this universe and its characters and all the work I did on it. I still want to think about it, talk about it, etc. I’m not letting it go completely, just.. the fic won’t be finished. I am of the firm belief that I could’ve done a lot of things differently, that the story could be even better if I rewrote it entirely. But that’s not a project for right now. :) Because holy shit this fic is at 65k and that would be… hoooo.. a lot of work. Just like picking it back up and finishing it would also be quite a bit of work. It’s hard—I’ve had people tell me just to do it, just to finish the damn thing for the sake of finishing it and not quitting. So, this is my version of that, even if it isn’t the same. I don’t feel like I’m quitting, I'm only a little sad about how it's ending for now, but it feels right. I’m just like 99% sure I won’t enjoy writing the rest out. And, like I said at the start, that’s okay. Passion and motivation changes. People grow.

Anyway, that’s all! Thanks for listening to my silly little ramble about this AU that is old but still lovely. If you guys have questions or wanna chat about the AU at all, my ask box is always open even if I am terrible at answering them. If I find anything else or think up anything, maybe I’ll post about it! But, for now, I hope you all enjoyed my sillies. I love everyone who set foot in this space and read what is still my most favorite fanfiction I've ever written. :)

[ww2yaoi]

could you please elaborate on exactly what you see sledge’s murmuring heart representing on a symbolic level? 🙏🙏🙏

i have my own personal interpretation but it feels like one of those symbols that everyone sees differently

hmmm ok hopefully this is articulate lmao but I think in the beginning most people in eugene’s life see him as too sensitive and kind for war. eugene was sickly as a boy (he got the murmur from rheumatic fever and missed two years of school because of it) so I think his family is especially protective of him. not necessarily because they think he’s weak but because they don’t know if he’ll be able to withstand the horrors of war and come out the other side with his gentleness and generosity intact. because he’s a sweet boy! and they don’t want that sweetness to be snuffed out

his father obviously doesn’t want him to go. his mother doesn’t want him to go. his brother seems a bit worried about the whole thing just judging by that one look he gives eugene. sid says he wishes they were going together but irl after sid experienced the horrors of guadalcanal he also told eugene not to get involved. eugene’s father has that monologue about not wanting the love and life and light he sees in eugene to be ripped away from him by war. to me eugene’s murmuring heart represents his kind and genuine soul. I mean, this is the guy who gives his best friend a poetry book as a goodbye gift, who loves his dog and loves horses and biology and rides his bike to the creek and drums in his school band and is a good christian boy and who weeps after he finds out he can’t join the marines. there’s this conflict within eugene where he’s fighting with his own softness and trying to prove himself to others. but again I don’t think his friends and family see his gentleness as a character flaw. they love him and want to protect him because they love that he’s kind

I think eventually with sid there’s some resentment of eugene’s innocence. because sid has lost his. like the way sid greets eugene on pavuvu by tackling him is very cute obviously and y’know boys will be boys but it is rough and violent and sid even says teasingly "something is very wrong if you made it through boot camp" which highlights his opinion of eugene’s fitness for war. and then later sid seems very annoyed by eugene’s "tenderhearted"-ness when eugene gets mad at him for almost killing that crab. I think the wording is very deliberate and of course harkens back to eugene’s murmur. so I guess the murmur is eugene’s humanity which he loses briefly during the war (the murmur does apparently disappear before he enlists) but I think he is deep down just so kind that he’s able to pull himself back from that edge. and I think that is ultimately his strength because after the war you see how sensitive and thoughtful he still is and also how broken he is in some ways. but it’s not a flaw. in my opinion he is much better equipped and much smarter than sid for not stuffing this shit down. it is brave to confront it is brave not to forget it it is brave to cry and say things aren’t the same and I’m different but I am going to be kind and I’m going to exist in the world. so the murmur is in theory a "flaw" and a "problem" with the strength of eugene’s heart but really I don’t think it is I think it’s representitive of his integrity

sorry if this makes no sense but that’s what it represents to me LOL :P

[autisticshadowthehedgehog]

There are two things I desperately hope doesn’t happen with movie Amy.

1) I pray they don’t make her entirely obsessed with Sonic ala Heroes. I’d much rather they don’t focus on romance and they make it more a side thing that comes up once or twice.

2) I don’t want her to be forced into the Strong Girl role. Where they’re basically going “look at our strong woman character look at how great she is she can beat people without the help of a man she’s such a feminist icon pls give us your money now”. The girlbossing thing drives me up the wall.

Amy is a genuinely great character with a lot of depth. I hope she’s given the opportunity to be that complex character- the one who cares greatly about everyone. The one who stands up for those others see as bad or not worth it. The one who can beat up anyone but also will extend her hand towards them.

I think there’s a good chance that she’ll be that complex character- they managed to portray Shadow as a complex, tragic character instead of relegating him to “edgy guy” and they portrayed Knuckles as naive and determined instead of just “stupid hothead”. But Hollywood doesn’t have the best track record with women.

I hope they keep her kinda obsessive personality, but make it clear that that's a character flaw. give her flaws!!! it just makes her a good character. Strong Women aren't women without flaws, they're women with personalities ffs

[zorlok-if]

Spirits and Inhibitors

Some contrasting viewpoints to give you a little context into some of the ways magic works (and doesn't work) in Zorlok. Full text below the cut.

Strength, Adaptability, and Rigidity of the Spirit in Magical Practice

Speech from Silenus the Elder, High Priest of the Magi from 1512-1523. Translation and Afterword by Luther Weiss.

It has long been acknowledged that Spirit—more importantly, the Strength of a person’s Spirit—plays a key role in one’s ability to sense magic and aptitude for wielding it. The correlation is undeniable—the Stronger the mage’s Spirit, the Stronger the mage. Until now, Strength has been used as our primary determinant for assessing a person’s potential as a mage and status as a member of the Magi. It is how we select which young we raise and which we take in. It is how we predict who will maintain the proper character needed to become and remain a member of our esteemed order. If a mage’s Strength falters or fades, it is a true reflection upon the character of their Spirit and an insight into potential moral and spiritual failings.

The importance of Strength is not something I wish to argue, nor do I think I could do so in good faith. Rather, I believe that we have limited ourselves by considering Spiritual Strength to be the sole marker of an individual’s potential—for better or worse. There is a separate, perhaps even more important trait we have yet to consider, a quality of Spirit I refer to as Adaptability.

The measure of a Spirit’s Adaptability reflects its capacity to alter or be altered. A highly Adaptable Spirit is highly receptive to change. It is able to mold itself to whatever situation it finds itself in or pressures it is placed under. This change is not necessarily associated with a change of mind or heart, simply a certain pliability or flexibility that allows for survival in dire circumstances or success in controlled ones. On the other hand, a Rigid Spirit has a fixed state of being. It is resistant towards or even impervious to change no matter the circumstance.

Picture a bowl of water. If a knife is stabbed into the bowl, the liquid merely bends around it, allowing the knife to pass through and then reforming itself without loss when the blade is removed. Now imagine a block of ice placed in the same bowl. If it is stabbed like the water was, either the knife will shatter the ice or the blade itself will break upon impact. This is the difference between Adaptability and Rigidity.

As I said before and will maintain now, Strength is the most viable quality we know of to determine one’s capacity for wielding magic. However, it is not relevant for determining how magic can be used upon or around someone.

Think of it, brethren. Are there not times when you were certain you executed a spell to perfection, but the expected result was weaker than it should have been? Or failed entirely? There could be different factors at play. Perhaps the connection to your magical source was weakened by distance, the material components were flawed, or your somatic performance was hindered by bodily restriction. There are many ways we can erroneously fault ourselves when explaining our failures or shortcomings. I often fall into this trap myself.

Nevertheless, several years ago I noticed that every time I was near a certain individual my magic would fail with impossible yet undeniable reliability. I assumed it coincidence at first, blaming myself when I knew in the back of my mind that the issue was not my own. After years of mounting frustration and evidence, there was only one possible conclusion. To put to bed any notion of coincidence, I performed a series of tests upon the individual. Without fail, my spells never worked properly around this person. More importantly, they did not work upon them at all. This individual was a mage themself—able to wield magic with only minor inconveniences they had learned to work around—but they were entirely immune to its effects. Their Spirit was very Strong indeed, but entirely Rigid.

As I’m sure you must see, this story having been laid plain before you, those with Rigid Spirits pose a danger to us all. A mage able to wield magic without fear of it being turned back against them is a mortal threat—not just to our order but the world at large. Brethren, I beseech you; we must find these Inhibitors with the greatest haste and deal with them appropriately. Furthermore, from now on, only individuals with Spirits that are both Strong and Adaptable should be permitted to join our ranks.

Afterword

This speech, originally given by Silenus in 1510 and printed shortly thereafter as “Adaptability and Rigidity, the Threat of Inhibitors” is the genesis of all prejudice against and prosecution of those with full or partial immunity to magic. It led to—for lack of a better term—a witch hunt against mages of “rigid spirit”. This eventually spilled over to hunts for rigid spirits in general, no matter the person’s background or abilities. I suppose the thought was, if a human couldn’t be controlled or subjugated through the use of magic, that person—without any spells or casting abilities to speak of—was a threat the Magi of old needed to eliminate.

Translating this piece of our history was not a task I undertook for the joy of doing it. It was a burden I took upon myself so that a greater number of people could perceive the true, unaltered face of this despicable man. To allow you to see and judge for yourself the danger his words posed then and the danger they pose now.

Conveniently, Silenus leaves out the fact that he captured, tortured, then murdered his child’s wetnurse—the first and only confirmed Inhibitor he discovered. He went on to launch a violent crusade against mages and humans alike and then as a reward was elected to the position of High Priest of the Magi. Silenus is irredeemable, and any contemporary mages who argue differently pose as much of a threat to our society as he was to his. Do not listen to the fearmongering of these few.

Inhibitors do not pose a threat and, even if they did, it’s been proven that they are few and far between. They were scapegoats used to explain away the faults of aging wizards with god complexes. Targets for senseless violence that—despite what some may tell you—continues to this day.

If you know of an inhibitor, protect them. Say nothing. If you are afraid of inhibitors, turn your gaze elsewhere and consider why you are being made to fear someone merely because you’re unable to control them.

When we think and act rationally as one, we are strong. If we fail in any of those pursuits, we are the threats. Look at history not through the lens of the one telling it to you, but through the lens of an observer, one capable of looking at all sides and finding the unbiased truth for yourself. I beseech you—my friends, my peers, my teachers, my fellow Magi—think for yourselves. Ask the questions they don’t want you to consider. We walk their halls. We read their tomes. We wield their powers. We inherit their legacy.

We cannot do so mindlessly. It is only through challenging what we’ve been told that we can better ourselves. And we can be better. I know it.

Luther Weiss

Luther Weiss, Initiate of the Fourth Order, Assistant Archivist of the Scarlet Tower

[llunarpotter]

Not to mention his sass! I try my best to write him as accurate as I can because it just feels right. Not only that, I will be brutally honest for those who think a character must have zero flaws - they do. If they don't, then why write the character? The whole point is to make the character interesting which involves a character arc where they go through internal conflict. Give the readers something to explorer! That's what J.K Rowling did with Harry which is why he's such a good and brilliantly written character who has gone through a lot, heartbreaking, but it's what makes a character stronger in the end.

I love good boy Harry, I do, but I hate it when people write him to be this absolute saint, who would never use any dark magic, or be vicious when need be.

He literally used Crucio on Bellatrix (albeit, it didn’t really work), and then he used it again, on somebody because they spat on McGonagall (and it did work that time).

He used Imperio on multiple people.

He strangled a guy.

And this all happened in canon.

[alicefromwhichplanet]

Can I ask? What so you think about tf one? I meant I see a lot peoples praise it yet when I thinking again its not great like what they thinking.

Sooo what do you think they like that?

Hi, first of all thank you for your question. I hope my reply is not too late. I’ve seen your question weeks ago and I wanted to answer it, but by then, I was stuck in a bunch of things at work and I had complicated, negative feelings towards this movie. My opinion on it is so harsh that I find it difficult to really form a complete criticism because they are overwhelming. So I tried to avoid direct comments, tried to hide my edges and tried to be an amiable person. But now I think I’m wrong: being a harsh critic and working on some harmless, happy-together aus are all fine for me, because they all make me more like me.

So to answer your question on my opinion of Transformers: One, I’m gonna say it’s bad. It’s SO bad. It’s not just lazy writing, but kind of like malicious writing. My most non-malevolent inference is that: the play-write is an uneducated, simple-minded arrogant fool. He hasn’t read anything more serious than American popcorn superhero comics, doesn’t have any idea what a “revolution” is, hasn’t known a single blue collar worker individual, and most likely a rightist conservative. This is why the joke is on him: all he had written gives people just the opposite feeling. Characters he tried to convince the audience to be good looks like winners of an unjust game, and the character he tried to convince the audience as a super bad guy looks like a stigmatized hero. The four main characters all look like they have serious flaws in their personalities. And their “friendship” looks like a lie. They’re more like a bunch of blind rats happened to get stuck together with the playwright’s forceful hand, not knowing each other, not able to empathize with each other because of the defects in their personalities. And their friendship falling apart is only a matter of time. Not a little bit pitiful. See my friend’s analysis, I think they’re quite reasonable.

Since it should be a brief and comprehensive answer, I’ll make myself brief. So I’ll only point out some major annoying flaws in the portrayal of the four main characters:

Optimus Prime/ Orion— Not strong, not gentle.

For many, the reason for making excuses for TF One Orion is because they had the lingering love for Optimus in many past works. But there is no point comparing THIS Optimus to the past ones because in TF One, Optimus’s core virtue of empathy and tolerance is scraped from him.

Peter Cullen defined Optimus’s personality foundation as “strong enough to be gentle”, as the opposite of a “noisy flamboyant Hollywood hero”. It is fair to say that he is the savior for this franchise and this main character not to fall into “Hollywood hero” category. Optimus becomes Optimus Prime not because he “wins everything easily and gets compliments without flaws”, but because he has a big heart, is able to care for people around him, carries his unique sense of responsibility and is wise enough to make hard choices with no one supporting. But TF One, Orion is written as a reckless teen who does his acts “optimistically” like he doesn’t belong to his miner background, and chooses the subjects of his sympathy towards a small group of bots who are written on scripts as good guys. To Megatron, He is a terrible friend. He doesn’t even know about his temper and puts on a freaking surprised look whenever he is angry with an obvious reason. (And FUCK THEM with that “being too hysterical when getting angry is a sign of evil nature” conclusion, this is a Middle Ages witch-haunting line)

Megatron— the deprived and the insulted

I have written a separate analysis for TF One Megatron in Chinese, and I will translate it here eventually so I won’t say more. My conclusion is that the writer of TF One tried very hard to belittle Megatron’s character, including scraping off his radical leftist ideology and replacing it with a witch-haunting narrative: he is unstable. He has bad temper. Whatever he is angry about, he is too angry to the point of disgrace. We don’t like hysterical women. Same fucking white male narration. Orientalism.

Elita One: Fake female idol

I doubt if the playwright really knows how to write a strong woman character. Apparently he piled up some annoying alpha male traits on this bright pink, main-character’s-plot-girlfriend-turned-smurfette character in order to gain her some importance: she is as self-conceited, given much action scenes, admiring physical violence and social hierarchy as any male bodyguard side character kind of stereotype. Feminism my ass.

Not to mention that she’s basically a traitor to working class. A blind follower of miners-hierarchy rules and desperate to get on top without one single thought of this being done only through suppressing other miners ( the plots are stupid enough to the point of having her yelling at the miners to all praise her. Geez). Does or does she not have a real growth arc? Is there any more complexity to this character than being a blind follower of first a caste system then a new Sentinel Prime (Orion of course. I can’t think of another ending since he’s got the coronation from the gods for defending a tyrant, oh yeah) and getting rewarded for that? Again. Feminism my ass.

Bumblebee: the only not-so-disgusting person in the main characters, but still his happily chopping the guards scene brings me back to the Japanese Fascists soldiers holding a competition of how many innocent people can they kill in the streets of Nanjing (one killing 105 and one 104 or so, the news was on a Japanese newspaper during WWII). No kidding.

I would say it’s a story of bullying and justified abuse. (“Four ppl are good friends and then one day they all want to isolate one friend and they stopped talking with her(I know Meg is a him, but here his fate of being guiltified because of “anger management” is too similar to mad woman in the attic) and all behave very surprised when she is angry at “something wrong”. Big bro and his girlfriend big sis told the good-tempered kid (Bumblebee) who is too afraid of loneliness to do as they said or he’s gonna be *expelled from their group* like “bad Meg”. Out of fear she/he does as she/he’s told.) Besides the malicious character depiction and plot arrangements, the whole story comes without any memorable point. Very bland and predictable plots.

[darcytaylor]

When “Just Looking at the Evidence” Becomes a Problem

Before I get into this, I want to be clear - this is not directed at shippers who simply enjoy Luke and Nicola’s chemistry, those who appreciate them as people, or those who respect their private lives.

Shipping is a natural part of fandoms, and when done respectfully, I think it’s fine.

This post is directed at the people who have taken shipping to an extreme - those who have convinced themselves they are "just looking at the evidence" while weaving together wild, invasive, and often insensitive theories. At that point, it’s no longer shipping - it’s something entirely different.

Shipping vs. Fantasizing: Know the Difference

There’s a huge difference between harmlessly shipping people - whether fictional characters or even co-stars - and creating elaborate fantasies about real individuals. While shipping can be a fun way to engage with a story or fandom, projecting detailed, speculative narratives onto real people can cross into invasive territory.

Shipping: Enjoying the chemistry, friendship, or dynamic between people, often in a fictional or lighthearted context.

Fantasizing: Constructing speculative stories about real people’s private lives, often based on incomplete information (and flawed so-called "evidence") without regard for their boundaries.

Why Fantasizing About Real People Crosses the Line

When fans create elaborate narratives about real people, it can:

Blur the line between fiction and reality: Making it harder for others to separate speculation from truth.

Perpetuate false narratives: Leading to harassment or invasions of privacy.

Disrespect individuals: By reducing their lives to a storyline crafted for entertainment.

People are far more nuanced than the curated glimpses we get online or in public. Social media posts, photos, or even patterns of behaviour aren’t a roadmap to someone’s inner life or relationships. They’re just snapshots - fragments of a much larger, unseen picture. And often, those fragments don’t connect the way people want them to.

The Loophole That Isn't a Loophole

I’ve seen some people claim that Nicola saying "If you have an opinion about me, that's ok. I understand I'm on TV and people will have things to think and say, but I beg you not to send them to me directly" somehow gives them permission to speculate about things like pregnancy.

Let’s be real - that is absolutely not what she meant. She’s literally acknowledging that people will have opinions, but she’s also making it clear that things like that make her uncomfortable. Saying "Don’t bring it to me" doesn’t mean she’s fine with people debating her body - it means she knows shitty people exist, but she’d rather not be subjected to it.

And sure, maybe you’re not sending it to her directly - but you are still doing the exact thing that makes her uncomfortable. And by putting it out into public spaces, you’re making it far more likely that it gets back to her indirectly. So whatever justification people think they’ve found? It’s fucking moot. It’s still insensitive.

Belief Doesn’t Equal Truth

Believing you’ve pieced together the “truth” because some moments appear to align is misguided. It overlooks the unknowns - the context we’re missing and the layers that exist in people’s lives. Just because something can seem a certain way doesn’t mean it is that way.

Humility matters. Recognizing that no matter how much you think you know, you actually know very little. Taking a step back and saying, “I don’t know what’s really going on” is not only more truthful but also shows respect for the people involved.

It’s okay to want people to be together - innocent shipping of loving chemistry between people is okay - but it’s not okay to create wildly speculative stories that exist only in your own mind.

Humility in Speculation: Knowing What We Don’t Know

Here’s the truth - I don’t know the full picture. None of us do. I don’t know Luke and Nicola as people, and I don’t know the ins and outs of their personal lives. And that’s okay. I'm not going to piece together and come up with my own flawed story about other peoples lives.

What I do know is that certain theories and speculation can be harmful, even when people think they’re harmless. Just because something is being discussed publicly, or even “positively,” doesn’t mean it isn’t invasive. (Cough spreading invasive pregnancy rumors cough). It doesn't mean it is kind. The line between curiosity and intrusion is thinner than people think.

Even if you think you've “figured something out,” there is always so much more you will never see, hear, or understand. Just because an idea feels compelling or fits a certain pattern doesn’t mean it reflects the truth.

So before engaging in deep speculation, it’s worth asking:

Am I respecting their privacy?

Am I letting curiosity turn into entitlement?

Am I remembering that these are real people, not fictional characters?

On the Idea of “Being Duped”

I’ve also noticed some frustration in the fandom, with people feeling like Luke and Nicola somehow “duped” the public with their behaviour on tour.

What we saw on tour was not unusual for two people who:

Are comfortable with each other.

Work together (and especially in the acting world).

Have shared an intense, career-defining experience.

This kind of dynamic isn’t uncommon in the entertainment industry or in any field where people work closely together (I know from personal experience). Their bond is unique, but that doesn’t mean it has to be romantic. To me, it’s always read as a deep friendship, a strong professional partnership, and two people who genuinely enjoy working together. And it really is beautiful!

I think some people wanted their interactions to confirm a specific narrative, and now that things aren’t aligning with that, they feel misled. But that’s not on Luke or Nicola. It’s a reminder that interpretation is subjective, and that sometimes, we project our own expectations onto things rather than seeing them for what they are.

The Consequences of Unchecked Fantasies

Making up stories about real people and treating those stories as fact (even when you say that you are okay if you are wrong, or if you say that you are just speculating) adds to:

Noise and confusion: Amplifying drama and misinterpretation.

Unnecessary pressure: On the individuals involved, complicating their personal lives further.

Public harassment: Rumours often escalate, influencing others to unfairly judge or attack. Bringing it indirectly to the main people in your fantasies.

Sure, you can feel like you’ve pieced together a narrative in your mind that makes sense to you. But actors are human beings, not characters in a fan-fiction. They shouldn’t be stripped down to an idea of what you think they should or shouldn’t be doing.

I’ve said this before, and I’ll say it again - people are nuanced. People are dimensional. If you don’t know them personally, you have no idea what goes on in their day-to-day lives. A few curated moments from interviews or social media will never give anyone the full picture.

I’ve seen a lot of people build theories around what they believe is evidence. But if you really looked at it critically, you would find that much of it is based on assumptions rather than actual confirmation. It’s worth asking - are you trying to make reality fit the story you want to believe?

Public speculation/fantasizing can have consequences that extend beyond the screen - impacting the real people you claim to support.

[knockondoor]

i'm not sure if it's just me but i'm so furious at the fact that the writers got "bored" of vi.

vi has so much potential and she's also gone through a lot. yes, she was one of the reasons powder turned into jinx but people dismiss the fact that vi is also a kid? she's seen as the leader. vander even states in season 1, episodes 1, "those kids look up to you." and "if you say run, they run. you say swim, they dive in. you say light a fire, they show up with oil." just the amount of pressure these sentences bro.

she had so much responsibility at such a young age. "whatever happens, it's on you." ???????hello?? she's also a kid too??????

and the fact that vi joined the enforcers? i know that she joined the wrong thing for the right reasons but they didn't go into depth about those other reasons. the reason vi hated the enforcers so much because they were the main reason her parents are dead. leaving her with just her little sister, powder, at such a young age.

throughout season 1 ( and maybe 2. when i'm typing this, i kinda forgot some details ) she never gives up on her baby sister. she cares so much for her powder. vi did not abandon powder. that's something i'll stand by forever. when we see vi "abandoning" her, it's in powder's perspective. she doesn't see marcus take vi.

vi lost her whole family. jinx/powder, vander, claggor, mylo. she lost everything. and people hate her because she didn't care enough??

honestly, i'm not saying that vi is the best character in arcane. she does have flaws like the others but hating her to the point that you say "she's the real jinx" makes me wanna choke. i understand if you dislike her and i respect your opinion. saying

( i'm sorry if this doesn't make sense... i'm not really good with my words but i hope you understand like a bit of it. just wanted to rant lol :p )

[grey-gazania]

#honestly i think they both had the same big flaw (as well as other varying flaws) #in that they don’t really care about anyone outside Their People™️ #obviously those definitions are fuzzier than just ‘the noldor/the feanorians’ and ‘the sindar/the iathrim’ #social groups are more flexible than that #but like. people outside of their groups are not their responsibility and therefore not worth worrying about #who cares if that makes people who could have been friends into enemies? #… yeah i think their second age surviving descendants are so welcoming to everyone as a direct response to that #refuse to think about the people outside your bubble and the next thing you know everyone is dead and the continent is sinking #anyway good post op #been reading a lot of thingol meta that just. doesn’t sit right with me #and i think this puts into words why #i do like him as a character (especially when he gets the remove-the-stick-from-your-ass arc people like giving feanor) #i just don’t like people acting like the stick is not in fact in his ass (@feanorianethicsdepartment)

what annoys me most about the silm fandom is the tendency to take opinions on controversial characters to one extreme side or the other, brushing all nuance and complexity aside. Fëanor is either an abusive father who never loved his sons and a genocidal fascist, or he’s the world’s greatest hero and every single death at his hands was fully justifiable and actually someone else’s fault. Thingol is either an abusive father and a cartoonish caricature of a conservative racist and misogynist who committed cultural genocide by banning Quenya, or he’s the holiest king ever who never made any short-sighted decisions and actually never played an antagonistic role in B&L and asking for a silmaril was actually the smartest political move ever

like idk man if you hate ambiguities and complexities that create multifaceted characters with both flaws and virtues then why are you reading the ambiguities and complexities book

[bookwyrm-art-stuff]

A treatise on liufang

(Liu Qingge x Mu Qingfang)

Because omfg did this get out of hand

This whole thing was written in messages to a mutual (shout out to @mamaclownhunter for listening to my ramblings) and is just my entire brain spilled out on the table. Please tell me if I manage to indoctrinate you, they have Consumed my Life and yours may be next!

Now, treatise:

First point: The existence of the ship itself. I know, logically, that the reason this ship exists at all is that people felt bad leaving LQG alone with their bingqiu (and sometimes qijiu) happy ending, seeing as he (to my mind, clearly) likes SQQ. This is rather inevitable, and not uncommon whatsoever; nor are these ships. The thing that makes this one stick out to me is, like… it makes fucking SENSE. The biggest barriers to it are a) LQG likes SQQ (easily explained away, he's emotionally fragile and his rival who he respected as such (maybe more) suddenly added affection to the equation. Also he's gorgeous. Understandable, but darling there was no chance. Etc.) and b) they have little to no canon interaction, and none that I can recall providing any insight into their relationship. (Again, easily explainable; LQG's a side character and MQF's a background character and gods know they're not gonna be interacting much, let alone enough to provide insight into their relationship.) This lack of walls or flaws in the ship is relatively and disarmingly rare when it comes to ships born of what can be called the "leftovers" once main ships are paired off.

Second point: Why it works. First of all, the setup for shipping between peak lords is just… automatically ideal. They're coworkers, and their position mandates that they have grown up together. They also live very conveniently near each other and forced proximity via that and meetings is SO a thing. And, by mandate of their positions, they're all incredibly powerful, and you KNOW we are ALL suckers for power couples in this fandom. Now, when you move down to the ship specific givens it just gets better. Because Mu Qingfang is the Qian Cao peak lord- the head of the medicine peak. And Liu Qingge is the lord of Bai Zhan- the WAR peak. So, by requirement of their roles: 1) MQF can boss anyone around and deal with a lot of bitching (*cough*), 2) Liu Qingge fights a LOT and cannot come unscathed from all of it, 3) LQG's disciples are even worse off on the injury front and probably go to QC for care/supplies very often. No ignoring each other. Also, by virtue of his deeply affection-starved character, if LQG is shown care that takes even the tiniest step into personal/emotional care and affection he is GONE. Basically if MQF likes him (not hard to orchestrate) he is SCREWED.

Third point: Why I like it (analyzing myself and losing my semblance of clinical manner one scenario at a time.) To preface: my taste in ships trends very mainstream- basically nothing I ship can be considered a rarepair. So of course, I had to thoroughly dissect this one. One of the main draws, as I see it, is the characters themselves. I love Liu Qingge. I am deeply invested in his character and struggles and I both want to give him a hug and study him under a microscope. He is darling and severely fucked up, so I'm already in the same boat as the likely creators and patrons of the ship; wanting him to have someone now that his crush has run off with his own disciple who is also a demon lord. I think Liu Qingge should be happy, and I'll be honest, I don't think he'd be happy alone. Now, as for the other half of the ship, and arguably the more interesting one in this context: I am a sucker for medic/healer characters. I think they are a severely underexplored as a trope at large, and the effects that kind of responsibility and work can have on a character are just- chef's kiss. They are also incredibly cool people, a product of the skills they have to learn to y'know... do medicine, as well as those to treat wayward patients. This facet appeals to me in particular because, while I do think LQG could be darling and gentlemanly paired with someone beautiful and elegant like either SQQ, I honestly would LOVE someone who could bring out the feral side of him and has one of their own. (Shen Jiu does this but that is as adversaries.) Mu Qingfang is a doctor. He deals with all MANNER of bitchy, bratty assholes and he would not take ANY shit from LQG. I also think that since he's the peak lord he has a wide range of medical knowledge, including mental health, so basically: he could fix him. Tying this back to my love of power couples: SJ and LQG bring out each other's insanity in opposition. LMY and LQG bring out each other's insanity in play and sibling competition. Now, I raise you: MQF and LQG bringing out each other's insanity in mutually tempered tandem.

(More of) my ideas, headcanons, and scenarios. (Elaboration.) I still have many more, less structured thoughts. Like how therapeutic sparring must be for them; LQG having someone to spar with who can match him and won't hold back but who he also deeply loves and trusts (pause for delight) is the obvious half, but I bet Mu Qingfang would LOVE to just punch someone after a long shift of NOT punching awful patients. Like oh GODS is it nice to punch his husband in the jaw and then watch him heal the bruise HIMSELF with his FULLY FORMED GOLDEN CORE (*sobs in Bai Zhan disciples.*) And also: LQG patching him up. This one works with anyone you deign to ship MQF with, but I think LQG especially would revel in it. MQF getting off a long-ass shift, coming straight to BZ, sparring full-force for half an hour, and then afterwards him leaning on LQG and letting him slide off his robes to clean and properly wrap an injury sustained extricating a fucking dumbass (NOT from BZ for once) from a demon's clutches (they underestimated the situation but everyone got out alright.) How nice it feels when LQG tenderly rewraps the slice on his arm, the release of pressure after having his own hasty, makeshift, and uncomfortably (though not damagingly) tight bandage on for a few hours because he was busy making sure that IDIOT didn't die. The surge of affection LQG feels when he hears how it was sustained protecting the injured disciple, and the gentle kiss he drops on MQF's bare shoulder before getting up to prepare a bath. The happiness LQG feels hearing MQF's exhausted monotone and seeing him slouching against the wall (or, preferably, LQG's shoulder;) not because he wants his husband to be tired, but because he feels safe enough to show it. The way, after a while, that Qian Cao disciples will point LQG to MQF as soon as they see him on their peak, and and vice versa. After battles, instead of off running unnecessary patrols like they're accustomed to, finding LQG in the infirmary, doing simple tasks and intimidating his own disciples into lying still.