#does anyone wanna know my story concept

[theflyingcosmos]

ParaSwap(Parasite Swap)

Spent some time today and yesterday working on this design. I'm not really sure what I'm gonna do with it and the concept yet, maybe a fanfic idk LMAO but I'm still super happy with how it turned out skjgsdjlf

[neil-gaiman]

hhhi Neil

*flops down into your inbox like a deflated cat*

you ever think you have some super original idea, one which you really really wanna turn into a novel, and so you get super excited about it and you start planning and plotting and making up all these things, and you start writing it, but then it turns out it's already been done before so now you feel like you have no option but to run from the Obviously Very Real Copycat Lions that will maul you to shreds if you keep writing your Copycat Story, or is this just a newbie thing?

because. i was -wellistillambutyouknow- really excited about this story i'm working on, especially because it's sort of based on irl experiences i've had so even if the characters aren't real, it does get really personal. but it turns out someone has already done a very very similar concept and i can't help but feel exponentially bummed out, but more than anything, astronomically underleveled for this thing, because this person is already a well known writer and i'm Mr. Nobody From Nowhere. and yea i guess i know i'm just being dramatic and The Copycat Lions are probably not real. but. anxiety is a bitch mann

Sincerely,

my imposter syndrome

Write your story. It won't be anyone else's story.

[doorhine]

Ok so I wanna talk about the guy we all know and hate, Abijah Fowler, because there are three scenes that do a fantastic job at characterizing him and speaking to the story’s themes.

*SPOILERS BELOW

The Chapel Scene: Fowler’s whole “prayer not prayer” is so interesting because he presents it as a business deal (which says a lot about how individualistic and apathetic he is). And honestly, that speaks really well to the use of christianity in imperialism, colonization and capitalism. If anyone here is familiar with Antoine Fuqua’s version of The Magnificent Seven (which is based on Seven Samurai), Bogue’s speech in the beginning of the film does a similar thing. In the case of Blue Eye Samurai, Fowler basically says, “we’re not friends but these people are ‘godless’ and if things go my way you’ll have a nation of souls to convert.” And I really liked that wording “a nation of souls” because it shows how imperialism and colonization, in the process of stealing other country’s natural resources, are, by design, meant to pose a threat to the entire culture and livelihood of the people that live there in order to do that. And a major way it’s done is through the spread enforcement of the colonizer’s religion over the ones of the people they invade. Which leads me to…

The Finale Monologue to the Shogun: because Fowler literally spells it out how the process of these systems, how white supremacy, is meant to twist and erase the culture and beliefs of those they invade to the point where they conform and assimilate to the invader’s culture and view them as superior. It also creates the idea of a white race in the first place that has its own ethnic and religious hierarchy that determines what the “best” kind of white is. I really liked the detail where he mentions spreading their shame because so much of white culture and its interpretation of christianity, whether or not it was the dominant form in its country of origin before being enforced on others, thrives on shame and enforcing that on other people (just look at the US). Lastly there’s…

The Famine Monologue: Something I really like about Fowler’s character is how he was written to be Irish rather than some posh English guy. It’s a nuance that adds a whole level of depth to his character and role in the story. Ireland was colonized by the English, which Fowler discusses when he mentions the Tudors. One of the ways that colonization was enforced was by replacing catholicism with protestantism. In this scene though, Fowler talks about the intentional famines that killed his parents and sister. It’s a graphic memory that shows how a victim of colonization will sometimes use the same tools used against them, to gain a sense of autonomy and control at the cost of other people’s livelihoods. This is compounded by the fact that Fowler is able to assimilate into the concept of a white race that was created to justify these systems and the oppression/exploitation of people of color that maintained them. Fowler is fictional but there were plenty of Irish people who took part in Britain’s colonization of other people one way or another. You’ll hear elements of Irish vernacular in places like Barbados for a reason to bring up a small example of the consequences of that. On a side note, this is also an interesting video on how the habitual “be” is used in both AAVE and Celtic languages. 

Long story short, Abijah Fowler is a very nuanced and well written villain.

[serxinns]

I GOT A PART 3 IMAGE FROM THE YANDERE PURGE HEAR ME OUT

Alao you wanna read part two go here for more context on the og idea and concept of the fic story is made by @lets-get-kraken-boys

So I can imagine readers hanging out in the LOV just after everything they're done Toga, dabi, or any of the villains just messing with them cooing at them and doting on them which overwhelmed them and Dabi or Shigaraki prob said something that made them snap at them which caused them to be punished which to either be locked away in a room or just stay with kurogiri in the bar area

until Shigaraki calms himself down not wanting anyone to harm you so he leaves you with Giri so you can behave, 1st it's an awkward silence between the two of you until Kurogiri starts to try and make conversation you mostly ignore everything and just curl up in the ball and just put your head down worrying about your friends

"So do you wanna talk about it..." kurogiri attempted as he pushed a drink (none alcoholic ofc) to you as you looked at him he seemed genuine enough so why not "It's just..this! Everything! Everything is stupid!" you yelled Cleary frustrated at everything just happening to you "everyone's going crazy dragging me around like some toy not caring what I think about it! Trying to kidnap me!" You Slowly took a sip of your drink

Your eyes were swelling up with tears as you continued while Kurogiri nodded trying to understand you "And now Im here not knowing if my friends as ok and it's just too much" That's when you broke down sobbing as Kurogiri rubbed circles on your back "I hate everything I hate this virus I hate being chased around I hate everyone why can't everyone leave alone!"

Kurogiri kept comforting you, wanting to say the right words, but he didn't. He wished he could understand, but he didn't even know himself... "do you want a small break perhaps?" You looked up to him. "No, I have to get back to my friends! Plea- " "You're exhausted y/n trust me it's better to be with us than with them no I know what's best for you y/n I'll let everyone know that you need space only if you agree to rest"

You stood silent for a moment Cleary does not have the energy to protest nor to argue with him plus he's sorta right it was kinda better to be with them rather than your mentors and classmates at the moment but you needed to make a plan to escape but that will be when you gain the energy to so you slowly close your eyes letting the tiredness consume you laying on the floor sleeping kurogiri picked you up and slowly make his way to the makeshift bed putting a blanket on you and stared at you for a moment looking satisfied and slowly shut the door

[bulbabutt]

ok i wanna talk about tmnt 2007 and the way i think this is the best version of a leo and raph conflict, and also leo as a character

for context i've been talking about tmnt things kinda chronologically, so i'm gonna mention an unconditional understanding in 03 i bring that up in a previous post about that show and the family dynamics in it here if u want context for what i mean

i think this movie can really be appreciated for the place it has between adaptations, and the way character-wise everyone is more or less the same as they've always been but with a more interpersonal relationship as the focus. the main villain of this movie doesn't really matter, the conflict, the fights, that's not where the strength is (although, it is reflected in the conflict and ill get into that)

so tmnt 07 is one movie that kind of combines the 90s movies, 03, and mirage all in one place, and tonally is is similar to the show that will come after it, 12. if the 90s movies give us conflict between leo and raph, and 03 gives us the unconditional understanding between the two, 07 takes these two aspects and creates a story out of it. (debate in your own mind if this movie is a literal sequel to the 90s ones or not, its not that important)

the set up of this movie is we are in a post killing the shredder world. leo has been told by splinter to go get training elsewhere, there isn't much context for what happened to cause this, but i would bet its a similar cause to 03, where he had ptsd and lashed out at his father to which splinter sends him to his grandfather to get better advice than he thinks he can give him. the difference here is there is no grandfather hes sent to, he's sent on a journey of self discovery around the world to learn about it and himself.

the thing about leo as a character, and this goes for all leos, he's has a very black and white way of thinking. leo thinks he's been sent away because he's failing his family, that he's not a good enough leader. so he stays away for longer because he doesn't feel good enough. he finds a place where he can help and he does that. leo always needs a bad guy to fight, or else he's fighting his own demons. so he stays there for a long time. finding a place he can help quietly, never letting anyone see him, and becoming a legend to the locals because no one knows what's really going down.

april manages to track him down and tell him about whats going on with his brothers, how they're holding up without him and without being a team, and i think thats a good reminder for him that they miss him. he doesn't tell april but he finds a way home only after hearing about this. when he arrives and speaks to splinter, he says "i was so caught up in my own world i forgot about everyone else, i'm sorry i failed" he still doesn't feel like he's done anything of worth.

i'm gonna jump in here and say, you know how we all love rise raph? cuz hes the big brother and some traits that come from that are like being overprotective and taking on everyone else's problems and trying to handle emotions alone? well that's a trait thats usually leo's. but the difference with leo is sometimes that concept doesn't make you as likeable. sometimes it means you come off like a nagging mother hen who thinks they know best but in an arrogant way. sometimes it makes you mirror being a parent when no one asked you to be. leo's less of a passionate character than raph, hes more analytical and full of himself. he takes splinters lessons more seriously, and hes always trying to do whats best for everyone so they don't have to worry. this is something evident with 03 and 12, but its so specifically noticeable here because these traits make up the main conflict. i just want to bring that up so we start seeing leo as no different than some of our other favourite iterations.

splinter responds to his apology by saying "you owe me no apology, but perhaps you should talk to raphael, your absence has been particularly difficult for him, though he'll never admit it" but when leo greets him raph is brushing him off.

on raph's end, this is him being angry that leo left, and angry that hes back and everyone wants to pretend that he wasn't gone at all. as if the time he was gone didn't happen. hes lashing out because he too cant handle talking about these emotions. and hes lashing out by becoming a vigilante in his own right.

i see a lot of people misunderstand what raph is doing here, that "this is what the turtles always do" or "this is the same as what leo was doing how could he be mad" when that is not true. that's what casey does. its true that both leo and raph have been fighting bad guys on their own (as a way of dealing with their issues) but raphael has made himself a costume to disguise himself which means hes prepared to be seen. hes riding a motorcycle around, which is loud. this isn't stealthy, this is aggressive. his vigilante name is in the news. the turtles are ninjas, they silently help where they can and fade into the night and, very specifically, they work as a team. these turtles live in a dangerous world, what if something happened to him while no one else was around? they would never know because he never told anyone.

so raph is lashing out, and leo doesn't have a good way of dealing with it. he tries to slide back into being leader, doing what splinter says but he forgets how his brothers are, and with raph egging them on they get into fights they shouldn't. which leo specifically gets in trouble for, as the oldest brother, and as their leader. leo tries to be this better leader hes supposed to have learned to be, but it doesn't work and raph ends up back out there in his vigilante get up. leo tracks down said vigilante, and in his peak "leo knows best" moment, lectures him, not knowing its his brother. there's a scuffle, and the mask comes off. let me point out that casey knew this vigilante was raph but his own brother didn't, because leo has been gone that long.

so lets get into what this fight is really about. on the surface, its "wow you've been going out at night alone putting yourself in dangerous situations with no backup" and "so what you're just mad that i can do it without you" which leo would be right about. and this is the analytical leo, he really thinks that's all that's going on here. what hes missing is that raphael has missed him as a brother, and hes hurt that leonardo left and just came back no big deal. that he wants everything to be normal. raphael is always a character with big emotions and the only outlet he knows to express them is violence.

leo, who as we've established, went away to learn to be better for his family is angry that raph doesn't see that. he's mad raph doesn't appreciate the effort he went to, and he thinks he's just angry because he's not in charge. each brother sees the other as being arrogant.

this leads them to the big fight. no one can disagree that this is the best part of the movie (seriously watch the movie for this scene if you haven't seen it before) , but the real best part of it is that raphael wins. raph proves hes just as capable of a fighter as his brother, if not more-so. he uses those sais as they're supposed to be used, catching leo's swords and in a fit of rage he fucking breaks them, leaving leo defenceless and completely vulnerable to attack. you'd think he'd be smug that leo lost but he pauses, going through a lot of emotions in a moment, questioning what he's doing, why hes doing it. and leo finally looks his brother in the eye and sees raph going through something he didn't before, realizing raph hasn't been angry that he's back, but that he's angry that he ever left. they don't have a conversation, because raph cant handle all these emotions and he runs away, crying as he does. leo just watches him, taking it all in and realizing the error of his ways.

hearing leo scream turns raph around, but he's too late to help him, and this is where raph regrets his own actions because right then, leo is also proven right in his argument. because he gets kidnapped. if leo hadn't chased raph down, there is a very good chance that would have been raph being kidnapped. with no backup, with no one knowing what happened to him. that's why its important that the turtles are a team.

raph goes home full of guilt, and there's a good moment of showing how he cannot open up emotionally here, because he grunts, punches the wall, knocks over some weights and forces splinter to ask him what happened, because that's how raphael is. he laments to his father that he finally understands why leo is the better son, proving that to raph none of this was about their team, but about their family. conflating the two ideas in his head. splinter gives him a talk that mirrors what he said to leo when he returned earlier in the movie, encouraging him that he is a good son and brother. this shows that these brothers have very similar insecurities about their value to their family.

the rest of the movie plays out as you expect, they go save leo, they stop the bad guy, they reconcile and behave as the team they're supposed to be. but i just want to point out that the villains plot is mirrored in leo and raph's conflict. the 'villain' here is a brother who has been cursed to be immortal without his own siblings. for 3000 years he lived to regret his actions and decided to undo his curse, but he used the cursed stone versions of his siblings to do so. no communication, just thinking he knew better (which maybe he did) and lying about it. that caused them to lie to him right back, and try to overthrow him and destroy the world. this is just one family whose inner turmoil could have destroyed the world. you might say, oh that's not a very interesting turtles villain, but its not supposed to be. its not the focus.

this movie is all about the complicated relationship between a family, and i see so many people talk about it by trying to ask who's right and who's wrong. that's not how it works. life is more complicated than that, people are more complicated than that. its boring to look at this movie and just say "leo is wrong and raph is right" because that's not even how the characters see it. this movie is about leo and raph being mirrors of each other in their arrogance, in their insecurities, and in their stubborn pig-headed refusal to let the other know how they feel. splinter says as much at the start of the movie. this whole movie shows that without each other, they need to be fighting something so they don't get swept up by their own emotions, which they are both bad at processing. they are SUCH brothers. they are so similar emotionally, yet they have such a hard time understanding each other.

personally 07 leo is my favourite leo for his complexity, his flaws his strength, his growth. its sad we never got those sequel movies to get into the other brothers heads as much as we got into leo and raphs heads.

also nolan north and james arnold taylor gave the best vocal performances in this movie and they deserve all the credit for it.

[cherryssodapop]

you do know that Billy is racist right...

*sighhhhhhhh* Alright, here we go…

Typically I don’t like getting into this argument because you’re not supposed to argue with a POC about what’s racist and what isn’t (I don’t actually know if you are poc or not this is a general statement I’m making), I know I don’t because it just doesn’t feel right, but here’s the thing.

When it comes to this character the one line he said that everyone’s going crazy for I’m going to have to disagree here because it’s just 1. too vague of a statement, of course you could argue that Billy talking about Lucas’ skin colour is implied in his statement and I agree, but not for the reasons you think.

And 2. there’s a reason Dacre changed this scene with the duffers regarding Billy’s potential racism because you’re creating a character who’s an antagonist who originally had no reason to be bad (until Dacre suggested the scene with his father) and then you wanna add racism into the mix? if the duffers really wanted to bring up the issue of racism during the 80s especially in small secluded areas like Hawkins, I’m pretty sure it would’ve been an actual subplot, but no they just wanted to use it as an additional reason to make Billy’s character initially unlikeable and it was so poorly written into the script and also Dacre was just straight up uncomfortable acting out that whole sequence so we can safely say the concept of Billy being a racist is scrapped from canon all together. I’m explaining this from the perspective of a film student because you can’t write an antagonist without a plausible reason and motive to be bad, so Dacre humanizing him and giving him that back story and lore is exactly what you do when it comes to character work, especially for antagonists like Billy (unless you wanna make the villain a basic villain with a basic story arc who’s sole purpose is to get in the hero’s way and die trying but in this case Billy never did that. He never really got into anyone’s way besides at the end of season 2 but it’s because he had no idea what’s going on and in HIS mind he thinks he’s saving Max from a fucked up situation. And im not even going to start with season 3 because we all know; bro was possessed, he wasn’t himself, Vecna was acting out entirely through him Billy had no say in any of it. In fact he even showed remorse and shame during the little time Vecna let him be in control of himself before abruptly taking over.) Also, yes you can be from an educated and woke society (California is a blue state and the equal opportunities act in the states already passed and Billy leaves for hawkins in fall 1984 so it’s already well established in society at that time that being racist is not acceptable) and still be a bigot, but I really just don’t believe this is the case for Billy.

What I think the issue here is his father, now hear me out, hear me out.

In the book “Runaway Max” it is brought up that Neil is a huge supporter of Reagen who at the time was a republican and attempted to abolish the equal opportunities act bill but ultimately failed of course. Max even says it herself that Neil is racist and a white supremacist. What does that tell you? His father is the whole problem. Because we all know that Billy gets beaten and blamed for everything that happens whether it’s Max’s fault or his Neil will take any excuse to physically hurt Billy. And being how Neil is so adamant on Billy watching over Max and being in charge of her, what would happen if Neil caught Max with Lucas who is black and we know Neil’s views on that demographic of people? What do you think would happen?

Of course, we could also bring up that if Billy was racist it would be a learned behaviour from his father. Though, to be honest, considering how much Billy tries to rebel against his father, I think it’s safe to say that would include Neil’s morals and beliefs, so I highly doubt it.

Going back to my first point, I think Billy did say that about Lucas not because he hates Lucas but because his father would and would take out that well known hatred out on Billy. It was more of a warning for both of their safety because of how insane Neil is. That’s why I think Billy said that and acted that way in terms of their friendship because he doesn’t want to deal with the consequences of his father’s wrath.

We can also see this in season 3, when Billy is working full time, starting to take control of his life (likely saving up money so he could leave and move back to California) he doesn’t even care about what Max is doing let alone dating Lucas, he’s too busy trying to get his life together.

So no, I don’t think Billy is a racist and I’ve listed all of my reasons why from a canonical standpoint using evidence from the story, plus my own analysis on his character as an actor myself.

Now from a shifter’s standpoint; I really don’t wanna hear y’all judge my choice of S/O considering some of y’all shift for active psychopaths and murderers meanwhile I’m shifting for a dude who’s been deeply traumatized and wants to live his life in peace and find true love.

To conclude; this is entirely my opinion and my belief on the topic. If you believe the opposite you’re fully entitled to, no one’s gonna attack you or try to convince you otherwise. But the thing is with people like myself who like Billy’s character and indulge in his lore and fanfiction we’re constantly getting criticized and harassed and even as far as labeled as bad people just because we view him from a different perspective. I believe it’s time we all grow up and respect each other’s opinions because not everyone agrees with everyone and that’s the way of the world. freedom of thought freedom of speech.

(goddamn this was a long rant but i had to say my peace)

[moeitsu]

Since it's pride month I wanna talk about something I've noticed in the Red Dead Redemption fandom:

The Bisexual erasure of Sadie Adler and Arthur Morgan.

I apologize if this comes across as harsh, but it's something that's been on my mind since I started interacting w/ this media. And as a bisexual, I wanted to discuss it further.

There is absolutely nothing wrong with shipping these characters with the same sex. Personally, I am a Charthur shipper till the day I die. I don't ship Sadie with anyone but her husband, but I still enjoy seeing the fanart and headcanons of the women she's shipped with.

That being said, these characters are not lesbian or gay. That's literally a fact, and if you think otherwise it is bisexual erasure.

Let's start with Sadie Adler. Her entire character arc is getting revenge on the O'Driscolls for killing her husband. Whom she mourns for years, and talks about frequently with Arthur/other camp members. Now, if you want to ship her w/ Abigail or Molly or whomever, go for it!! But she has loved and still loves her husband. She is not a lesbian, and she didn't just magically turn into a lesbian after Jake's death. If she had any love interests other than Jake, this would make her bisexual. (even Sapphic is still a more appropriate term than lesbian)

The same goes for women in real life who have dated men first, then dated a woman. Just because their current partner is the same sex doesn't mean we can assume they are suddenly lesbian. Calling characters lesbians even if they have been in a relationship with men before is bisexual erasure.

This same concept is applied to Arthur Morgan. He had previous relationships with women. (one of whom he still has strong feelings for) and he is attracted to women. We see this with his greeting dialogue and when he compliments people. I believe Arthur's character is more likely to be bisexual than Sadie's, given his interactions w/ some of the men in the game. But that doesn't erase the fact that he's still attracted to the opposite sex. Arthur is not a gay man. Disregarding his past relationships w/ women is a form of bisexual erasure.

There is a huge double standard here because if these character's were actually lesbian/gay and the fandom decided to ship them with people of the opposite sex (i.e headcanon they are bi), there would be a major discourse.

Whenever bisexual women and men are presented in the media I always notice a few things:

Bi women are "secretly straight"

Bi women "don't know their lesbian yet"

Bi men are "secretly gay"

As well as this funny little graphic below ↓

Like I said before, I am bisexual. And if I'm being honest this years pride month has been exhausting and mildly infuriating with how the community seems to disregard bisexuals in a hetero relationship.

I stopped talking about my bisexuality with people because once they know I have been in a committed relationship with a man for seven years, I am suddenly excluded from the conversation.

I've had ex-friends tell me that I only identify as bisexual to "fit in" with the queer community. I've had people in college assume I was lesbian bc of the way I dressed, and then try to tell me that I must be secretly lesbian when I tell them I'm Bi. (Ppl also assumed I was non-binary bc of the way I presented but that's another story)

This stuff doesn't just happen to fictional characters, it happens to real people every single day. I'm honestly tired of ppl saying "well my headcanon doesn't hurt anybody, they're not real." Yes it does!! You are supporting Bi erasure!!

That's all I'm gonna say on this topic for now. I'd love to leave it open for discussion, but please be nice. This isn't a call-out or me trying to antagonize the queer rdr community. I just wanted to get it off my mind.

[jinbeisluffy]

I see so many posts over different social media platforms about sexuality/gender hcs for the strawhats and i want to add in my own two cents because i believe im very correct (but anyone’s opinion is valid so long as it doesnt go against canon coding)

Luffy - the most aroace and trans guy to ever BREATHE. i dont mean aroace in that hes somewhere on the spectrum where he can still be attracted to people, because he cant. this guy had never grasped the concept of romance and never will, because theres no reason for it to him. hes trans because i say he is, i dont have many reasons for THAT but its just the signals hes sending me. trans to trans communication trust

Zoro - gay. thats it thats the post. no but i dont ship luffy with anyone but zoro is just attracted to literally any man who is strong, thats his criteria and thats all he ever needs. is he aware of it? not at all, he has no idea that its not normal to get bricked up by the thought of other men

Nami - i havent seen a bigger lesbian in media ever, genuinely i dont think any other character is as obviously lesbian as she is. she loves girls unapologetically no matter what, supports all girls at the end of the day (cough kalifa) . i also hit her with the asexual beam because i can, specifically demisexual because i THINK so

Usopp - while i wanna consider kaya, i wanna consider sanji too and thats making me lean between bi or omni even if omni is a label under the bi umbrella. its more a question of if he recognises his preference for men or not, because he does prefer then at the end of the day. the ace beam bounces from nami to usopp because he too doesnt feel anything and doesnt think about it either

Sanji - oh my god where do i begin. maybe just the blatant queer coding of wci as a whole?? of course hes attracted to women, thats not an aspect you can remove or just toss around to being something else. he loves and respects women, but he is so QUEER. all of wci is just queer coding, its a queer story and sanji is a queer character i will die on this hill. he probably has some kind of gender issues too, what specifically? no clue, but he likes people of multiple genders and is in deep denial about it all the time he wont ever truly accept it but he can one day as a treat live with that fact

Chopper - oh hes a reindeer he cant really have a sexuality DID WE FORGET THE FACT HES HUMAN TOO ISNT THAT LIKE HIS WHOLE THING, NOT BEING A MONSTER BUT ALSO A HUMAN. HE IS BOTH? i dont have any specific labels to slap onto him, just that hes a people lover and encourager of literally everything. ace beam bounces onto him too

Robin - trans trans trans trans trans trans trans trans you will accept robin transfem into your life right here right now. she can like anyone, she has no label on it, she just likes people and cant bother with genders or anything like that. the ace beam actually skips her because if they were doing a hear me out cake she’d be the one putting all of the crazy things. freak. (lovingly)

Franky - HOW TRANS CODED IS IT NOT TO REBUILD YOUR OWN BODY TO BECOME A BETTER VERSION OF YOURSELF AND TO REBUILD YOUR LIFE IN A WAY YOU WANT, BUT GOING BACK TO WHAT YOU LOVED ABOUT YOUR OLD SELF, AND EMBRACING IT. literally, trans goals. he modified his body and went i might as well give myself top surgery and an awesome dick while im here!! sexuality wise hes a lover of everyone, but he has preferences for women (robin) but encourages all bromances (with brook)

Brook - THIS IS WHERE IM MOST PASSIONATE!!!! people can say that hes the token straight grandpa. but theyll never understand the joy of old gay brook had a romance with his captain, the joy of brook trying to subtlety let the other strawhats know he accepts them (he isnt subtle at all and everyone knows). look at brook in drag twice for no reason and tell me he isnt queer, in some way. the ace beam finally hits someone and its brook, insert skull joke here

Jinbei - very specifically old gay man who didnt really do much throughout his youth, he always knew he liked men but he never had TIME to do anything, too busy being awesome and a father i fear. now that hes with the crew he isnt automatically gonna seek anyone out, but hes also not gonna restrain himself from finding interests in people, hes being more selfish now and thats good for him. finally the ace beam hits jinbei and proceeds to fly off towards other op characters that i might talk about some other time

can you tell im asexual and love projecting onto characters with it !!!!

[russenoire]

you know, if we're going to go after all flavors of fucked-up terumob for supposedly not being a tenable premise, or somehow 'missing the point'? one can easily argue the same for fluffy terumob.

given all the in-canon trauma standing between these boys, terumob as a concept is on some shaky-ass legs: teruki is projecting a fuckton of worship unhealthy idealism onto shigeo, and shigeo has every right to be wary of/angry about teruki's attempt to end him, for as long as it takes him.

they're still on family name terms at the end of the story, and teruki is still trying to get shigeo to spend more time with him. ONE leaves us with a long shot at anything between these two beyond casual friendship. (unless teruki is more forthright about what he wants? or shigeo realizes he can reciprocate?)

and the pair both have so much healing to do from the pain they've caused each other. whether they do so together or apart, it's gonna look ugly, perhaps for years.

i actually want to see that, too.

there's nothing wrong with sweet, tender wish fulfillment. there's also nothing wrong with examining how trauma can realistically play out in courtship or dating. and teenagers are not immune to toxic dynamics in relationships! if you truly believe this, i have a bridge i wanna sell you.

fluff does not mirror my experience of childhood in the slightest, but i'm not gonna shake my fists at its creators, and i'm not salty that it exists. it's beautiful. guess what? so is mogamiland terumob. so is codependent terumob. shame on all of you who felt it was OK to harass anyone for them.

people create AUs and draw and write for fun, and not everyone finds comfort or enjoyment in the same things. there should be room here for a wider range of emotional expressions. i mean, there sure is in the source material.

and there is already so much candy-coated marshmallow fluff in the #terumob tag. so much. i don't know about y'all, but i was happy to see some variety for once.

[pikahlua]

I've been in the dkbk fandom for 3 years and my husband is an anime only. We just watched the new episode and he was disappointed. He predicted that Star will die and the plot won't really move forward. He's a sci-fi fan and he's seen many a series fall apart after more characters, complexity, and a war are introduced. I've been avoiding spoling the manga for him but since he's lost interest, I spoiled him and confirmed that the manga has been in a holding pattern for 2-3 years with this final arc. I told him what you said about Bk's death and Deku losing his arms as being symbolic but he said those actions being reversed lowers the stakes and it's hard to maintain emotional investment if you know that major plot points will just get reversed. I wanna believe in Hori but I'm waiting for payoff instead of enjoying the story. Is what's happening really good storytelling if this final battle has been dragging on so long and Deku's characterization has come to a halt?

I’m hesitant to answer this. I said I wouldn't answer any asks that were looking to me for reasons to keep liking MHA, and I really don't want to encourage more asks like this--and yes OP, I don't know if you realize it but that's basically what you're asking. You've framed this question around your husband's opinions, but you're couching your own thoughts inside.

If your issue is that you and your husband like different media, then that's a marital issue to resolve; accept that you shouldn't always watch all media together, particularly if doing so isn't fun for both of you. But your husband doesn't like what's going on in MHA, and this is enough to make you doubt whether or not MHA is written well? Despite the fact that many, many people like MHA in its current form? That sounds more to me like you agree with your husband. It certainly doesn't sound like you tried to sell this story arc to him.

I decided I'll answer a question like this this one time because it'll help me summarize my feelings on these topics, though I'm sorry to say the topics I address may not be what you expect.

"We just watched the new episode and he was disappointed. He predicted that Star will die and the plot won't really move forward."

Is this really a surprise? I don't remember anyone being all that into this arc when it first came out. Everyone was saying Star would die, and yet most people did not correctly predict the actual outcome of this fight--that Star's quirk would be eliminated and Tomura would be weakened. Most guessed Tomura would steal Star's quirk and become overpowered.

"He's a sci-fi fan and he's seen many a series fall apart after more characters, complexity, and a war are introduced."

You mention sci-fi but uh, has your husband watched like...any other anime? Ever? At all? MHA is far from the first shounen anime to do this. You can't really make your husband like MHA if his problem is that he came to an anime restaurant and got upset when there was nothing but anime on the menu.

Seriously, MHA is not doing all that much different with its ending than what Fullmetal Alchemist Brotherhood did, and that's one of the most critically acclaimed shounen anime of all time. If he's predisposed to dislike the stuff anime does, that's not a writing problem. That's a mismatch of anime with his tastes.

It strikes a nerve with me because I grew up loving anime and was bullied for it by people with opinions such as your husband's. Now, the mainstream-ification of anime has drawn those same sorts of people to anime for whatever reason, and all they seem to wanna do is complain about anime being anime. Take sci-fi for example: I typically hate outerspace-themed media and the concepts such media often explore, and you know what I do? Not watch it. I've decided such media is not for me. Honestly, the same is true for a lot of anime too. I am very picky about anime because there are some tropes or themes I'm just sick of.

"I've been avoiding spoling the manga for him but since he's lost interest, I spoiled him and confirmed that the manga has been in a holding pattern for 2-3 years with this final arc."

This is where it sounds like you primed him with your own feelings, because it certainly doesn't sound like you were selling him. I don't even know what this means. "A holding pattern"? Do you mean the arc has just been going on a long time (see: welcome to anime being anime)? Or do you mean not much has happened with Izuku? Because I am getting a bit of a sense that your issue is you're an Izuku fan and his growth has been slow because the arc has had to wrap up all the other characters' arcs first. Because a lot HAS been happening with all the other characters (and we recently got some Izuku progression too).

The only other thing I can think of is an opinion I've had for a long time. I think a lot of anime fans don't realize they're not actually manga people. You watch an anime you like a lot and you wanna get up to speed, so you go to the manga not understanding that the manga is different from the anime. The pacing is different, as is the presentation and focus on details. The manga presents one or two story points per chapter, whereas anime episodes are 2-3 chapters compressed into one sitting. The anime's major selling point is its fast pacing, but this is not a selling point of the manga--of ANY weekly manga. "2-3 years" means very little in the context of a 15-page-a-week-AT-BEST manga.

"I told him what you said about Bk's death and Deku losing his arms as being symbolic"

The symbolism angle is one thing. I've never really understood why people like any media without symbolism--that's what gives a story its flavor, isn't it? If we're talking about tropes and familiar story structures, the artist's approach to familiar items is precisely what makes it unique and interesting to me. I wouldn't become invested enough to care about Katsuki's death if all that mattered to me was the surface-level event.

But are you saying you spoiled the fact that Izuku lost his arms? That's...not that big of a plot point to spoil if you ask me. Certainly not one I'd bring up as one of the greatest hits of this arc. This is another detail that makes me feel like you're particularly focused on Izuku, which is not a bad thing nor is there anything wrong with that, but Izuku doesn't actually feature very much in this anime season all things considered. It's hard to sell anyone on what's currently happening with Izuku in the manga since we just got to his stuff and it's not complete.

Again, this was what happened with Fullmetal Alchemist. The last arc covered the events of one day that ended the final war. The main characters were only occasionally featured and didn't do all that much in the season until the very end, as one would expect. When it was coming out in manga form, the pacing was admittedly very weird because of this storytelling choice, albeit it felt a bit different from MHA since it was a monthly manga and covered more ground per chapter. But when the same arc was adapted to anime, the feeling and pacing were very different, and a lot of iffy elements improved on me as a result.

"he said those actions being reversed lowers the stakes and it's hard to maintain emotional investment if you know that major plot points will just get reversed."

Is your husband someone who watches things only once and then can't rewatch and enjoy them ever again? Does he only watch stories for plot twists and once he knows the twist he stops liking it?

I don't understand this general obsession with consequences and stakes a lot of people have. Sure, they are elements that can contribute to a mood or feeling in a story, but they're far from the make-or-break linchpins so many people make them out to be. The "reversals" are major plot points too. I find much more enjoyment in trying to follow why a writer would do such things and what they're trying to say than wondering how likely some character is to die or how many people will be brutalized.

I'm in the camp that believes spoilers should not make a difference in whether or not I find a series "good" or whether or not I can invest in it. I personally have played video games specifically BECAUSE they were spoiled for me and it sounded like I would like them, and having those major things spoiled for me did not detract from my enjoyment at all. I'm not saying everyone has to be like me, but I do certainly think a story's ability to persist as an impactful and memorable work has very little to do with its stakes and everything to do with how it handles its story and characters. Was Star Wars memorable and beloved because of how many people were at risk of dying in it? Was something taken away from the story when Luke got a robotic replacement for the hand he lost?

Goodness, didn't the MHA fandom predict for years that Dabi was Touya Todoroki? And wasn't everyone just waiting for the reveal to fucking happen already so we could get it over with? And wasn't the entire fandom surprised and enthralled when the Touya reveal did happen precisely because it was handled in such a unique and cool way with Horikoshi's flair? Did predicting that twist really ruin anything for the story?

A good story is a good story.

"I'm waiting for payoff instead of enjoying the story."

I can't know what payoff you're waiting for. I've enjoyed all the events and details along the way, even if there were some expected dips here and there. When I went back and reread the entire arc in one go, the pacing really hit me differently and I got a lot out of it. If you're not enjoying the story, that's not about whether or not the story is employing "good storytelling." I've enjoyed plenty of stories that were told poorly and sloppily because there were other redeeming features that appealed to me. This is about preference. You and your husband have your own personal preferences, and that's okay! But you both have to manage your preferences with respect to each other and to yourselves.

"Is what's happening really good storytelling if this final battle has been dragging on so long and Deku's characterization has come to a halt?"

If you're actually interested in whether or not MHA has "good storytelling," I'd suggest you take a creative writing class or otherwise learn about the way stories are told in different media i.e. novels vs comics vs TV shows vs movies vs video games. But I honestly don't think that's what you mean. I think you're looking for permission to keep liking MHA even if you personally don't like its storytelling or how Izuku's character is currently being handled. I can tell you from experience that yeah, you can. Plenty of people do it all the time. Some people get so frustrated with the stories they like they write fix-it fanfiction. Some people appreciate the way a story is so perfectly written that they cannot build a fandom around it because they can't come up with anything to add. It's going to depend on you and how you want to approach the situation, and while I'm happy to talk about what I like about MHA and which writing choices I think are well made, that's not going to get us very far if you don't like the same things.

I do often find media that I personally think is not written that well, and like I said, sometimes I like it and sometimes I hate it, but if it's a piece of media with a large fanbase like MHA, I have a hard time calling its writing universally "bad." If it speaks to that many people in some way, clearly there's something about it that reaches people effectively, and who am I to judge? I'm certainly no expert in quality of writing. All I have are what I've taken away from my education in literature/writing, my years of experience with many anime that came before MHA, and my thoughts on all the other media I've enjoyed. My experiences will lead to different conclusions than others'. I know I don't like a lot of what's popular with most people, so I certainly can't hold myself out as some paragon of good taste.

It's okay to like or dislike whatever for whatever reason. I don't always stay with the same fandom. I move around when I find new and good things. I sometimes come back to old things I loved and like it anew or find it underwhelming as I currently am. As of right now, I'm actually willing to say something I never was before, which is that MHA might be one of the best-written manga if not the best manga I've ever read. While FMA is top-tier, its themes are a lot safer than MHA's ambitious goals. MHA was always going to be controversial in some ways just because of what it attempts to do, such as telling its story through comic book-themed superheroes. It also says a lot of political things that risk alienating readers. The levels of risk MHA takes are part of what makes it amazing to me and what makes it a worthwhile piece of art to enjoy. I'm so happy it exists, flaws and all. No story will be universally loved, and that's something I accepted a long time ago when I decided I wouldn't let the bullying stop me from liking anime. All I can hope to do is have the courage to love the things I love and the grace to leave alone the things I dislike for others to enjoy.

[positivelybeastly]

Goats Gremlin Gibber-Jabber part 2:

Oh we’re so back baby

Ahem ahem. First thing on the itinerary: Welcome back! Missed youuuu <3

Second thing:

HANK PUT EMMA BACK TOGETHER WHEN SHE WAS SHATTERED????

Hi in this session of my gibberish thoughts, my friend and I with our blogs made hank and Emma a thing, and there was something about them that made us so ill for them together. Granted my hank isn’t exclusive, but something with Emma clicked. And then. AND THEN

The fucking shattering of Emma, Hank discovering it after he had planned to try and cheer her up?

And then him DEDICATING himself to put her back together. And like like he got so far???

HE GOT CRAZY FAR BEFORE JEAN INTERVENED WITH THE PHEONIX.

I’ve been lost in the sauce from that moment on.

The fact that when someone said “Oh nobody liked her.” So everyone was a suspect, and he went “I liked her.” And then the fact he was convinced she couldn’t actually be dead, and then spent that time putting her back together even when the pieces were in the hundreds of THOUSANDS.

I’ve become ill from this (/pos) and I wanna hear your take on this section cause I just aaaagh.

Sincerely,

that weird fucking goat that keeps popping up and biting people.

Adding your addendum here so I can answer all in one go. :)

So, like . . . okay.

Hank and Emma's friendship is really special to me, and it all ties back to the way that Grant Morrison conceptualised Hank, when they came on to write New X-Men. It's worth noting that neither Hank, or Emma, were actually meant to be on the team when Morrison first pitched their story, they were originally going to be Colossus and Moira MacTaggert, but both had recently died. This is why Emma gets her diamond form secondary mutation - she's acting as the bruiser of the team in absence of Colossus.

So, how does Grant Morrison conceptualise Hank?

No dark secrets. Nothing to hide. The sweetest guy. The best heart.

These are the architects of modern X-Men, by the way. Morrison and Hickman. This is how they see Hank McCoy, and though they may have many flaws in their writing styles and their stories may fumble certain things, I think that they have an opinion worth noting. Their effect on modern X-Men is undeniable.

So, Emma and Hank meet, and they already have chemistry. They are both incredibly sharp, incredibly brilliant, incredibly witty, incredibly cultured individuals, and though they may (at this time) have very different moral compasses, it's very clear that there's a spark of friendship already, especially when you compare Hank's immediate sympathy to how Jean treats her literally a page later.

Something that's underrated about Morrison's Jean is that she's kind of not very nice a lot of the time, but you understand why. She's going through some shit in this series, and she has a very, very, very valid reason to hate Emma after Dark Phoenix, so her trying to reach out is what she thinks she should do, but calling her a bitch is what she wants to do, really - and Emma doesn't give a fuck. Or at the very least, she's very good at making it look like she doesn't give a fuck.

This is another aspect of why I think Hank and Emma have such good chemistry: they are both masters of control and appearance. They both spend so, so, so much time cultivating a specific image so that they can't be hurt - Hank obfuscates and hides behind big words, big concepts, big gestures, while Emma snarks and affects cool, sniping at anyone who might dare get close.

Like recognises like. I almost think it's a sort of game for them, to perform and poke at one another, knowing that they each know each other's secrets, but with an unspoken agreement that they won't go too far.

Emma jabs and pokes and prods, and Hank shuts her down in three sentences. If there were any malice or anger in this interaction, it wouldn't stop the way it does. There's no lingering animosity between them, there's no heat. It's two theatrical bitches in superhero clothes pretending that their personal lives aren't a mess by being extra bitchy at one another, and I think that they love that.

It's also worth noting that Hank, at this stage, is still an extremely moral presence, an unquestionable good guy (Threnody revisionism notwithstanding, don't at me, I've heard it before), and Emma is very much not. She's still the woman who was part of the Hellfire Club, who worked against the X-Men, who was part of Genosha, Magneto's regime - but Hank doesn't browbeat her with it. It only ever comes up when he's convinced that she's turned on them.

A moment of panic, but Emma doesn't take him to task for it - if anything, I like to think she might have actually been a bit grateful, because it made her plan seem all the more authentic, to have someone screaming that she can't do this. He then immediately apologises, and compliments her. It doesn't come up again. He judges her by her current actions, not by her past, and this is something that's very consistent with Hank, if you look at the wider tapestry of his life, because who else does he judge by his current actions and not his past?

Oh yeah. Hank forgives. Hank understands.

And I always find it interesting how he takes Scott and Emma's affair. He doesn't criticise Emma for it, but he does take Scott to task. Why? Well, it could be Morrison's take on who's responsible for the affair bleeding through, but I think it's more that Hank knows that Emma is still working on herself, still improving her behaviour, still in the process of becoming better, and he's willing to give her the space to do that, but Scott?

Scott, I think Hank believes has less of an excuse. But again, he doesn't make a thing of it until it comes to a boiling point. He warns Scott, and Scott doesn't listen. And when it's all said and done, Hank makes it clear that Scott and Emma's lives may be their own, but he has his own feelings on it, and he's capable of holding multiple emotional viewpoints at once.

Like, this is a lot of leeway and a lot of grace that Hank is affording Emma here, considering she was just as guilty of initiating the affair as Scott was, if not more so - but again. He expects better of Scott. He knows Scott knows right from wrong, and where his obligations lie, and he expects him to be faithful to his wife. Hank knows Emma is flirting, being very sexually open, but he knows that that is partly affectation, partly bait, partly exploration, and partly a fuck you aimed at Jean, who she just plain doesn't like. Harping on at her about it will not make her stop, and will only drive her not to trust Hank. And it becomes increasingly clear, as the series goes on, that Emma does trust and value Hank, quite a lot, actually.

Now, it's not like Emma needs an excuse to be cruel and to make a scene, but that's not really what this is, is it? Look at the order in which she addresses the journalist. She's offended - "I beg your pardon!" - but what at? "This man is a world-renowned scientist!"

She doesn't take offence to the idea that people hate mutants because trouble follows them where they go. She takes offence to her being insulting to Hank specifically. She elevates Hank, and degrades her opponent. This is not something Emma does often, she usually just skips to the degradation! Hank doesn't even expect it! Look at the little lines around his head in the panel with Emma blown up large in the psychic landscape! He was absolutely going to let that comment go by, and not make a thing of it, and Emma chose to make the moment about standing up for him, and he did not expect it.

But he values it, nonetheless. And he puts his paw on her, and thanks her.

Reminder, this is how she reacted to another man putting his hands on her just a few issues before.

Now, granted, we don't see where Logan's hand is, but the man's generally a gentleman, despite his reputation, so I think she just doesn't like to be touched . . . generally. But she doesn't mind it when Hank touches her, and thanks her for standing up for him. Something which she does not do for many people. Reminder, this is how she reacts to Jean having a straight up psychic fit in front of her.

Like, there's a degree to which this is bravado and humour, because Emma is tending to Jean here, but I guarantee you that this is not how she would have acted if Hank had been the one to fall in distress.

And going back to the panels where Logan is helping her up - I don't know if it's just me, but there's something very purposeful in the fact that Emma and Hank are both on the right hand side of the page, with Emma engaging her diamond form so that she doesn't have to feel, denying her own compassion, while Hank stands in shadow, looking mournful, defeated, quietly furious, unable to do anything but feel his compassion.

Perhaps that's something that Emma admires in Hank. The fact that he has no dark secrets, that he does, in at least some ways, wear his heart on his sleeve; that he has no choice but to feel. He is a good man. And it's easy to forget, in a world where cynical media and cynical people surround us, but there is something charismatic and likeable and warm about good people. Even if you might consider them foolish, people who fail to be good often envy those who try, even though they might face insurmountable odds.

Hank's refusal to accept that the world has to be a place of cruelty and disbelief and skepticism and fear has a way of rankling the cynics around him. It's one of my favourite things about him.

It has a way of paying off.

How often does Emma Frost listen to someone again . . ?

And then . . . yeah. We come to the assembly.

"Fuck you, I liked her."

She listened. She laughed. She spoke Byron back to him. Do you ever think about just how often Hank gets that? Fucking never, I bet!! It must just be so refreshing to quote, and for the other person to know.

There is a pleasure in the pathless woods, There is a rapture on the lonely shore, There is society where none intrudes, By the deep Sea, and music in its roar: I love not Man the less, but Nature more, From these our interviews, in which I steal From all I may be, or have been before, To mingle with the Universe, and feel What I can ne’er express, yet cannot all conceal.

Of course it's a romantic poet. Of course it's Byron.

And then, the assembly . . . ouuuuuuaghhh . . .

Like, people love for their characters to have feats, right? People love that Storm was the Regent of Arakko, and faced down the Horsemen. People love that Cyclops put the Void in a little box in his mind and told it no. People love that Jean chased down Enigma all the way through space and time and destroyed him. People love it when all the things that epitomise a character come together in a moment that speaks to the truth of them - their strength, their control, their refusal to give up. It's not just about power, it's about what that moment says about their personality, right?

What's Hank's?

It's putting together a 11,100,277 piece puzzle of a human body. Not with textbooks and screens around him, but by memory - and why? He says it's because he always loved jigsaw puzzles as a child, but that's not the real reason, is it? It's because it's important to him that she be complete, that she be afforded respect. It's important to him that someone showed that they cared.

It's because he thinks that there's a chance.

It's hope. It's sheer, bloody minded hope. 11 million pieces. It's insane. And yet. He did it, and it worked, and she was whole again.

Roses and wine and a good book and a baritone rendition of Gluck's Orpheus and Eurydice . . . oh, Hank. He even calls himself la bete, the Beast - a codename we know he doesn't really care for all that much, especially in light of his recent mutation - just so that he can affect playfulness and brightness and infectious good mood.

He really cared for her. And she really cared for him.

I seriously miss this dynamic. It was really very beautiful.

And thank you for the welcome back! It's good to be back!

[nobodywritingao3]

unnamed monster & caretaker au

Tasked with feeding and caring for the king's resident monster, Tommy is constantly overworked and fully expects to die before he's twenty. He has an odd relationship with the beast and makes it a point to keep details about himself private, but it's difficult when the creature is the closest thing in the world he has to a friend.

wordcount: 2.3k 🕸 read it on AO3

CW: - hard vore mention - soft vore mention - mentioned abuse and dehumanization

‼️‼️‼️ Unfinished, unedited one shot. Proceed with caution

@gracideaviolet sent me a writing prompt and this is what i originally wrote for it. i like the concept but i wrote this at a not-good time and when i reread it, i didnt like the quality enough to fix it. if you like this story, let me know cuz that might give me motivation to properly finish this thing. feel free to take the idea but please credit and send it to me cuz i like this story and wanna see what someone else does with it

Tommy finished loading the cart and took a second to breathe.

He heard the beast shifting around in the dark. "Are you doing okay out there, Sunshine?"

Despite his tiredness, the sweet nickname made him smile.

"You know you eat a lot? It's a pain in the ass to load myself."

He meant it as a joke but silence hung in the air a second longer than it should have.

He cleared his throat. "I don't mind it. I'm compensated."

The beast snorted. "Not enough."

Tommy laughed awkwardly and didn't say anything.

He walked over to the control panel and started up the track.

The cart was big enough to fit a barn, and filled to the brim with various livestock, prisoners of war, and whoever else might have found themselves on the king's hit-list. Nothing sent to the monster was alive. It was a point the monster whined about a lot, but Tommy much preferred it that way. It was already disgusting having to spend hours upon hours piling the cart with bloody meat (sometimes human!) by himself, and the day he was handed a living person would be the day he faked his death and fled the kingdom.

He pressed a few buttons, tried not to cut himself on several rusty levers, and the rail obediently started itself up with a few revs and puffs.

The beast hummed contentedly at the noise.

The cart began to run along the track, disappearing from his view and descending into the inky black cave. He heard the gate creak open and he heard it creak close. And then he heard the beast begin to eat.

They weren't nice sounds by any stretch of the imagination - ugly rips and wet squelches of flesh - but Tommy had been at the job for a while and was long used to it. He settled in and waited for the creature to finish its meal.

"So how was your day, Keeper?"

Tommy hummed. "About the same as it always is. My master told me that the king will be coming in soon for a performance review, but I've no idea when that might be."

The beast paused its munching before hesitantly starting again a moment later. "I - why?"

He shrugged, assuming the monster could see him from the dark. "Something about me holding down this job the longest out of anyone before."

"Hm."

"I don't understand why that would intrigue the king. And no offense to you personally - "

"Uh huh," the monster sarcastically interjected -

" - but this isn't exactly the career path I'd have chosen. If I knew how to transfer I probably would have. Honestly - I have no idea how the others could have quit this job. I was under the impression that this is the sort of thing you do until you die."

It laughed at that.

Tommy sighed.

He was quiet for a few moments, a question sitting heavy on his tongue.

He shouldn't ask. It's impolite.

The monster shifted around. "Spit it out."

He gave the darkness an accusatory look. "I don't know what you're talking about."

There was a huff of laughter. "You know exactly what I'm talking about. You're doing that thing where you want to say something but are worried about what I'll think. It would be adorable if I wasn't desperate for decent conversation."

"Fuck you." He said it with a smile.

"Well? Are you going to say or not?"

He scrubbed at his face. Fuck it. "What were your other keepers like?"

The beast went silent for several long moments.

Shit. "You don't have to answer if you - "

"I didn't much care for them."

Tommy didn't say a word.

"The feeling was mutual." It sighed heavily. "You're a much better replacement, Sunshine."

"I'm sorry for asking."

The beast purred. "Don't be, dear. I pressed you. And I don't mind answering." It jostled the cart. "And I'm done eating."

Tommy nodded and powered up the control panel again. The cart began to recede. 

It appeared from the darkness, picked completely clean and shiny as if it never been covered in blood at all.

It scared him a little, how quickly the monster could eat such a large amount, but he dismissed those thoughts as easily as they came. When would that ever affect him?

He checked the clock. He still had a few hours before he had to report back. "Do you mind if I stay with you longer?"

The monster laughed conspiratorially. "Oh, but that's against the rules," it said in a high mockery of his voice.

He flushed.

He had been terrified of the monster when they first met. He gave any excuse to leave the beast as soon as he could, including that the rules specified that spending unnecessary time with it was prohibited. That was true, but no one would have known if he chose to linger. In hindsight, it had been terribly obvious how afraid he was and he's only embarrassed that the monster pretended to believe him.

"You're the worst."

"And you still want to spend time with me?"

Tommy blew a raspberry at the darkness, earning a few laughs.

It was comfortably quiet for a few seconds before the monster spoke again. "Why are you curious about my old keepers?"

He tugged at his fingers. "Do you know how I ended up here?"

"You never talk about it."

He frowned. "And I never will," he responded coldly. It never gave up asking. "But do you know, generally, how someone ends up working this kind of job?"

The monster was quiet. "Yes."

Tommy didn't say anything for a minute. "The king is very angry with me. I don't want to see him again. However the other keepers escaped..." He shook his head. "I don't know. I don't know what I'm saying. If the king requests an audience with me, it isn't for any good reason."

~

When the king acquired his monster, he hired out help to feed the thing and keep it under control. He made sure the beast ate lavishly, but now matter what they fed it, it never seemed like to satiate the creature. But it hadn't died of starvation and that was good enough. When its caretakers started to disappear, it wasn't difficult to guess what happened.

But acknowledging the problem would mean addressing it too, and the king simply didn't care. In the end, he realized he had the perfect way to quietly do away with those he needed gone. He sourced this job, with its one hundred percent rate of 'job abandonment' to political adversaries or people growing affluent enough to take his throne.

Which takes him to the present day, and a rather interesting problem.

When some servant boy had spilled a bottle of red wine down his front during a gala several years prior, the king had been so angry that he threw the child in a dungeon and left him there. When the monster's then-keeper inevitably disappeared, the king came to the boy and grimly informed him of his punishment.

He hadn't expected the child to last more than a couple of days. He'd even picked out his replacements.

But lo and behold, the boy remained present at his job post for a week. And then that week became several, and those several became months, and those months became a year and a half.

The king couldn't understand why it hadn't eaten him yet. He was fifteen at this point, certainly the youngest to feed the monster. Was it waiting for him to grow up? Did it want to watch him sprout up before it made its attack? It was perfectly sentient, and the king knew this even though he denied it upfront. Shouldn't the monster trust that the sooner it finished its current keeper, the sooner he would be replaced by another?

Had there been someone who had managed to bring this creature to subservience? If so, then the king took special interest.

And if not, then it was long overdue that the servant boy be put to death.

~

Being a human's lapdog wasn't a dignified experience, but it was a fed one. Driders were megafauna, making it hard to get enough food. It certainly didn't help that the human kingdom believed everything was its rightful property and saw driders as a threat to them owning more than they could eat.

Wilbur certainly didn't enjoy his life, and he was almost always hungry anyway, but at least he was alive.

He lived in a dungeon below the castle, but he wasn't sure what a castle was and he barely understood the concept of a dungeon. He hadn't seen the sunshine in years, and his keeper was his only company.

He liked his keeper. The boy was kind. He didn't threaten to pee in Wilbur's food or throw rocks at him. He asked him how his day was, and even made it a point to handle the meat carefully as he transported it into the cart. He seemed lonely, and made up excuses to stay. He was a cute little thing, and Wilbur wanted to stick him into his brooding pouch and keep him there.

~

The cart rolled into Wilbur's enclosure, and he greedily snatched it up and began to eat.

His keeper sat at a table in the light.

Wilbur finished his food in a few seconds and toyed with the cart. He always made it seem as if it took him longer to eat than it did.

"Do you have a family?"

The boy froze at the question. "Why do you ask?"

Wilbur pouted even though he knew he couldn't be seen. "We've known each for so long. I don't even know what your name is. Can't I know just a little?"

His keeper awkwardly laughed, fidgeting with his fingers. "Oh... I guess you're right."

Wilbur's heart leapt.

"I don't have a family."

"Oh." Shit.

"Yeah."

What was he supposed to say?

"I don't have a family either."

His keeper peered into the darkness. "What are you?"

Wilbur smiled. He skittered to the bars of his cage and leaned against them, towering over the boy, though he had no idea. "Would you like to play twenty questions?"

"You're so lame, seriously, what are you? I don't even know what you look like."

I could show you, he wanted to say.

Coming out of his cage was easy. The king assumed it could hold him but no one actually checked. And aside from his keeper, no one had been in his dungeon for years. In reality, the bars had long been bent open and Wilbur could get out whenever he pleased.

It wouldn't be difficult to come through the bars and present himself to his keeper. Pick the little figure up in his hands and take him into his cage with him.

When he'd eaten his previous keepers, they'd always been replaced. If he captured his current keeper and stored him away in his brooding pouch, then he'd never be lonely again.

It was tempting.

"That's probably for the best," he said. He stepped away from the bars of his cage and curled up on the floor.

He liked his keeper. He wanted him to be happy. Just because Wilbur was stuck in a cage didn't mean he had to be as well.

"Do you think I'd be scared of you?"

Wilbur looked down at himself, at his large stature and eight legs. His fangs came down to his mid chin. "I think you'd be terrified, dear."

His keeper smiled. "I don't think so. I have a suspicion that you're just harmless."

His heart melted. Oh stars, he wanted to eat this kid.

He massaged his aching brood pouch. "You're sweet, Sunshine."

~

The cart was left in his cage while he was sleeping. He woke up confused, spying it in the corner of his enclosure and wondered why he'd been fed overnight. Where was his keeper? His mind jumped to the worst conclusions.

He found him inside the cart. Bound and gagged and looking terrified beyond all reason.

"Oh, Sunshine," he murmured.

His words had the opposite intended effect, his keeper starting to panic and writhe at the sound of his voice.

"Hey, hey... Calm down, okay? I'll get you out of there." He reached into the cart and picked him up in his hand.

Despite the circumstance, his heart soared. This was the closest they'd ever been.

The figure was tiny in his palm, and still struggling.

Wilbur quickly undid his bounds, being mindful of his sharp claws against the human's body. As soon as his hands were free, he was clawing at the gag around his mouth.

"Don't eat me! Please, do not eat me..."

Wilbur's stomach dropped.

"What? Sunshine, why would I eat you?"

The boy continued to sob.

Wilbur cupped him to his chest and headed towards the bars of his enclosure. He expertly clambered through and came out the other side, his skin exposed to the light for the first time in more than a year.

"Dear? Can you talk to me?" He stroked his head with his thumb and brought him eye level. "Why were you in my feeding cart?"

His keeper stared at him in shock, and it was then that he remembered his keeper had never truly seen him before.

A hot wave of embarassment and self consciousness overtook him.

He awkwardly set his little human on his table and receded back into his enclosure.

"Sunshine?" He prompted once back in his cage. "Are you..."

"Could - could you get out the whole time?"

Wilbur's mouth went dry. "I - well, yes, I could but - "

His keeper stumbled off the table and hit the ground with a nasty sounding crack.

Wilbur sprang to his claws and scrambled forward. He popped his head out between the bars and stared down at his little keeper. "Are you okay?"

The human stared up at him with terror on his face and scrambled backwards, running for the door.

"Shit, shit, wait, I'm sorry! Please stay, please, Sunshine - "

The door slammed behind him with a resounding crack and Wilbur flinched backwards.

~ ~ ~ 🕸

i used to love drider aus back in 2020 🕷️🕷️🕷️

just a freaky little guy whose half dude and half Fear. potential off the charts.

my tag list got lost when my computer was annihilated (</3) but let me know in replies if you want to get @'d and i'll make a new one

oh yeah link to the writing prompt and story i did fill out

[beanghostprincess]

Thoughs on Transfem Luffy? Personally I actually love this concept, some of my main hcs are:

- She comes out after Garp leaves her with Dadan so when he first sees her bounty posters he thinks he is going crazy at first

- Design is literally the same but with pigtails and the classic op girl eyes

- She casually nentions being trans after a visit from Chopper and everybody is cool with that. (Exept sanji)

- Amazpn Lily is a nightmare at first but after explaining herself Boa makes misgendering her a crime

- Impel Down is a lot more interesting

- Akainu is the only transphobic person in op and he gets his ass beaten

- Sabo cries (of joy) at Dressrosa for her

- Wano is more interesting too

Very very positive thoughts about transfem Luffy. She's my beloved. My little ball of chaos. The same exact as our canon Luffy but with different pronouns and somehow I imagine her to be even more unhinged because you wouldn't expect a cutie pie like her to be so damn chaotic.

Honestly, the whole thing is just something so cute to me. Makino? Dadan? Ace? Sabo? Shanks? They'd all support her like crazy. Ace and Sabo would beat the shit out of anyone saying anything bad about her while Makino teaches her (and her brothers) how to do her hair so it doesn't bother her while playing/running/training. This makes even more sense now because both Shanks and Dragon give major girl dad energy, so of course they'd love her (thinking about Dragon seeing the first Wanted poster and being thrilled about it and mourning a bit not being able to see her). Uta!!! Uta would tell her to be more feminine and delicate but she'd end up being charmed by her freedom, so she'd also beat the shit out of anyone who doesn't consider her sister a girl. Luffy is very nonchalant and careless about these things but is very stubborn so she gets frustrated when someone doesn't respect her identity. She's all like "I am a girl but I still wanna do stuff boys do, y'know? It just feels right to do whatever I want but, uh, as a girl. It makes sense".

Not to mention that she'd come out in the worst moment possible, in the most sudden way, and everyone in the crew would accept her but they'd be so astonished because Luffy is just so damn stupid and blunt sometimes. Also, I think it'd be good for Sanji to learn about trans girls... It'd help Sanji... In so many ways... The closet is glass for Sanji too but this isn't about her...

Amazon Lily is even better because Boa and Luffy would've been even greater friends (even though I love the whole "Luffy being the only guy she feels safe with" I also think that Boa acknowledging trans girls in an island specifically for women would be awesome).

Akainu can go rot in hell. If someone's transphobic in this show, it is him only.

Sabo!!!!!!! Sabo!!!!!!!!!!!!! Sabo would be the best brother ever to his sister. I just know that he'd be even more protective than he is now even knowing she can protect herself. Like that's his baby sister!!! And he'd be so happy to see her again and realizing she has the family and support she has always wanted!! The fact that she lives free and by her own ideals is enough for Sabo to be the happiest.

Wano is more interesting because she'd actually relate to Yamato's experience!!!!!!!! Trans besties!!!!!!!!! And Kiku!!!!!! Wano truly is the trans arc...

Overall, I believe she'd be the exact same as she is now but would easily get bothered by people telling her she's not a girl or saying that she isn't girly enough. She'd be ruthless and yet the cutest thing ever. Btw, she'd still go shirtless/topless even if she gets boobs because she does not care about it lmao--

I've been saying we need more Luffy female protagonists, tbh. It'd be soooo good for the story and would add more to the topics of freedom and liberation.

[achillean-heartbeat]

Now that i think about it,,, isn't Matt... the first male to ever show healthy skinship and physical affection to Neil? like... EVER???? OH MY GOD????

i love the hc that Andrew completely understands the difference in the relationship with touch that Neil and him have. He understands that Neil is touch starved and that physical touch is a need for him. (Do you think he noticed that since the beginning? since he was fairly touchy with Neil throughout the story compared to anyone else?) I think he would never get in the way of letting Neil get what he needs, especially from the foxes. Especially if its something he knows he won't be able to properly provide for Neil. 

(I also think that this way of thinking about Neil kinda pushes him to maybe? hopefully? start viewing the concept of a support system a little bit more than apathetically.)

Back to Matt and Neil. I really wanna see if Neil ever reaches a point where he actively goes out of his way to seek from comfort from Matt. (We know both Matt and Dan are very keen on comforting the lost kitten of the team. Re: Nora saying: "[Neil is to the foxes] That cat that hides under the stoop and stares at you like Can I please come home with you but who turns tail and runs as soon as you try to befriend it.") 

We know Matt would comfort him with a warm cup and a welcoming seat for him on their sofa, without a second thought. But the question is, would Neil ask for it? Or, how long would it take for Neil to start to know how to ask for it?

I think that how it begins is that Neil finds himself needing that kind of comfort, finds himself on his former dorm's doorstep, but doesn't know how to go on from here. 

I think that Matt, emotionally smart and empathetic Matt, wouldn't need a second look at Neil's face in the doorway to know what he needs: a hug, an ear to listen, touch, warmth. 

I think that after that happens, Neil has a talk with Matt. At first, Neil's initial reaction that he can't shake off is fear that someone was able to read something in him that he himself wasn't able to detect. But the secondary reaction is comfort in knowing Matt, his friend Matt, knows him so well that he would know how to help, even if Neil himself wouldn't know.

I think that Neil genuinely asks Matt how he knew what he needed, how he knew he was gonna feel better after that. Because he did. At that question, Matt's heart squeezes painfully as he realises he is the person that is going to teach Neil how friends comfort each other this way. And as he does, he sees something in Neil's eyes that squeezes his heart yet again.

And that is why i think Neil and Matt's friendship is very underrated. i love them so much.

[cleabellanov]

LS2 episode 5 thoughts✨

The conversation Loki had with O.B. first concluded in Loki finding his "why" in order to control the time slipping. And, once he knew that and realized he needs everyone's temporal aura, where does he timeslip to? Back to Mobius. That's a sweet detail, and, similar to episode 1, reveals Loki's trust for this character. Even when Mobius doesn't remember him, Loki still believes in him. And in everything he was told back at the TVA, including the way he describe a jet-ski: "a beautiful union of form and function". Another detail that melted my fool heart was the way Loki laughed after Mobius's (or Don's, but I'm not calling him that) words: "Or did you follow me home?". They are precious.

"You saw something in me that I hadn't seen in myself". That says so much. It reminisces all those times in season 1 when Mobius was by Loki's side:

"A villain" "That's not how I see it".

"You can be whatever, whoever you wanna be. Even someone good. I mean just in case anyone ever told you different".

And we can see Loki learning how to trust, how to care. For his character, this is great development. He's not the same Loki that invaded New York blinded by pain and revenge. He's returning to himself and by doing so, he's returning to what truly matters to him. His friends, his found family. All those timelines he feels burdened to protect.

"It's not about when, where, or why. It's about who." EXACTLY. The other variables are unimportant if they're not in the hands of the right person. And, after the heartbreaking moments in which Loki is the only one left standing after everything falls apart in front of him, I think he understands that. To quote Tom Hiddleston himself: "He learns what heroicism really looks like." And this "who" goes both ways: who rewrites the story, and FOR WHO this is done.

"I can rewrite the story."

That line is epic! It shows the power he always had and can finally access. It puts the concept of free will in another light: it's THE story, not MY story. Also, how far back can this go? At the end of the episode, we see Loki back with O.B back when the Loom was stable. That's the point he chose, for everyone else, not only for himself. At this point, he could have gone back to Asgard, back to New York. Win it all, be king. But that's not his glorious purpose anymore. He's finally seeing what Mobius saw in him, even Thor, some time ago ("Loki, I thought the world of you."). And there was a lot of talk about stories, writing and rewriting them. That's sooo similar to the comic where Loki becomes the God of Stories!! Like, this is actually happening!

"They didn't get a choice in this".

I think this is an extremely interesting conversation he had with Sylvie, in which you can see both of their points, none entirely right. For Sylvie, free will is something left untouched. No intervention, ever, just moments and paths in a disarray only the one who takes them can know them truly. For Loki, it's more of a choice. Yes, we take our own path, but sometimes we're given a choice. There is no bad or right in this game, only choices. By giving everyone a glance at the TVA, Loki realises that. What if they want that life instead of the one they already have? They wouldn't know, if not given the choice.

"I want my friends back. I don't wanna be alone"

Okay, that hurt. In the time cell in episode 1, we remember Sif repeating the same thing over and over again to Loki "I hope you know that you are meant to be alone and you always will be." This says a lot about Loki's fears, and being alone is one of his biggest. But that's the thing, he found these people, he's not alone anymore! So of course it is extremely hard for him to just...give this up? It's not the first time he faces Casey and Mobius (Don?) not knowing him. His reaction "Not again" shows how scary this is, and we can obviously deduce that from the first episode. Not only everything is at risk of just disappearing into a void after the Loom explosion, when they are still there, still living, they don't remember him. Yet Loki finds a way to steady himself, and find everyone in all this mess.

But also, I don't think that wanting your friends back is something selfish, as Sylvie said. After going through different views over the same thing: "I want to stop He Who Remains" to "I want the TVA back" to finally Loki admiting that he wants his friends back, this is a matter that concerns many people, not just one. Besides, he did say that after all of it is done, they can return to their timelines as they never left. That doesn't sound really selfish to me. In fact, it reminds me of something Vision said to Wanda a whole ago: "What is grief, if not love persevering?". Then not wanting to be alone is a lack, a void persevering and waiting to be filled. And if that implies saving the Multiverse as well, then so be it (but that is definitely NOT the only reason Loki does all of this. He wants, and now can, rewrite the story for the better. For everyone, not only for himself.)

As of episode 5: Science/Fiction Loki is one of the most powerful beings in the entire MCU. Being able to travel back at any given point in time and space just by willing it into existence isn't a small thing. This, I believe, is something we deserve to see Loki in control of. Maybe it sounds a little too much to say that the whole fate of Marvel is in his hands now, but...it kinda is, isn't it? If not for Loki, we'd face the same disappearance as in Infinity War, only 100% now, not only 50.

I have been waiting and theorising for a long time that Loki will become the God of Stories. The fact that we might see it in less than a week is...something.

Also judging by the posters (which show different outfits from different times) there's a new suit we'll see him in on screen, and I can't wait!

Thanks for reading <3

[cipheramnesia]

The Millennium Bug (2013) is, for me, a brand new entry on my short list of "please stop telling people to watch Cabin In The Woods" movies. I have a long standing grudge over the degree to which CITW is lionized as a great tribute to horror, despite largely showing little to no understanding of the genre in general, nor much in the way of respect to its audience.

So you can imagine how amused I was when Millennium Bug kicked off by immediately front-loading multiple unique horror subgenres into the opening act. While CITW attempts to throw every single subgenre into the blender of the slasher/cabin tropes, giving itself the usual Whedon smug pat on its own back, Millenium Bug wears its clear subgenre stereotypes on its sleeves. Which is both for better and for worse.

As a gruesome slasher / monster mash-up flick, it suffers from many of the major flaws you might expect - particularly because it draws on the redneck murder clan for one of its subgenre story elements. It is a movie where the subtext goes unexamined, and you'll know immediately whether or not you need to tap out within the first ten to twenty minutes. But if you're willing to leave the social elements less examined, what remains is a movie that's having an absolutely incredible and delightfully practical effect fueled time playing around in all the silliness to be mined from its three core concepts.

To return to the comparison, CITW relies heavily on metatextual genre awareness of the audience and the characters. However, in attempting to be ironically detached from the genre cliches, it betrays its own lack of understanding of the material. It's a movie that's 80% less clever than it constantly tries to remind the audience that it thinks it is. In contrast, Millenium Bug has what feels like virtually zero metatextual genre awareness to the characters, and no ironic detachment whatsoever. It does expect an audience to know what's up with the redneck murder clan, monster movie, slasher, and holiday themed subgenres - not to mention doing a nice job at hearkening back to older models of horror as you might get pre-millenial. You will find lots of gore, giant rubber and latex monsters, people acting in the most absurd ways and all of it delightfully cradling you in the comfort of a film that doesn't talk down to you, or expect you, as the audience, to be above it all.

It's hard to call it great or even good, I can't do any of that in good conscience. This is not one of those movies where I want everyone to see it, which I think will be fun and exciting for the casual horror movie viewer, or anyone who is looking to get into horror but doesn't want to get hit with a bunch of triggers and the like. I love recommending all those types of films, but this ain't it. The Millennium Bug is for the deep in the much horror movie fan, it's The Ritual by way of Frank Henenlotter - and if you got that reference you probably wanna see it regardless. It's garbage, but it's our garbage.