#for people to actually understand the story here

[aliceoseman]

s3 dealt with some more mature themes than s1&2 did, did you struggle with that in any way or did it feel like a natural development for the characters? especially since heartstopper has been praised specifically for being a "wholesome" show basically from the start, did you find it in any way daunting to write (more) sex and alcohol into the show?

(Upon reading this back, I have only talked about sex, not alcohol, very sorry!! Also this gets really off topic but this was the only question I received about sex in the show and I have a lot to say that I just didn't get asked about at all in any promo interviews, so... Here I shall word vomit!!)

Short answer: Yes, I struggled, but not with the writing of the story - just with the general discourse about sex/no sex in Heartstopper, since the beginning of the show.

Long answer:

It wasn't something I struggled with when writing the comic. I always knew that Heartstopper would get to that point - that it would grow up alongside the characters - but the general cultural view of the show as 'wholesome' vs. the criticism of it for being 'puritanical' and 'sexless' has definitely made me feel quite anxious about how these maturer elements would be interpreted by people in the show.

I never saw Heartstopper as 'wholesome' when I started creating the comic. The first chapter of the comic leads to a scene featuring assault, and the story deals heavily with mental health and bullying. The comic has swearing throughout. Whether the story was 'wholesome' was simply not a topic of discourse before the TV show released - I knew it was uplifting and optimistic, of course, but only in the same way that most YA romance stories are. So the public declaration of the Heartstopper show as 'wholesome' - as its defining characteristic and unique selling point - did take me by surprise. I'd had to remove the swearing from the story, but aside from that, I couldn't really understand what was different with the show compared to the comic, and why this was its defining feature. And then of course some of the conversation shifted to the fact that in S1 and S2, there's no sex.

This too confused me. I always felt the sexual attraction between N&C was obvious from the start, and sex itself was introduced into the story at the time I felt was right for the characters, with no real thought as to whether the audience would agree with me. People hardly ever pointed out the lack of sex in the comic - it's very, very normal for YA fiction romances to not feature sex, and in fact, it's actually pretty common for teen movies and shows to not feature sex, certainly when they skew towards younger teens as Heartstopper did in S1 and S2. But for some reason, when the Heartstopper show came around, people really, really noticed the lack of sex, and I was very surprised by that reaction. I wonder if it was because people weren't accustomed to that in queer TV, or if it was because people liked N&C so much as a couple and desperately wanted to see them take that step, or just because people felt it was broadly unrealistic for a teen couple to wait a little while before feeling ready to have sex. Perhaps it was all. But whatever it was, it caused some... outcry!

(I could go into arguments as to whether it is morally correct or generally realistic for N&C to wait before having sex in the story, but ultimately I think people's opinion on that varies heavily depending on their worldview and personal experience, and there's no right answer - people can like it or not like it and that's completely fine, not every tv show is for everyone - but the one thing I would say is that I think it shows young readers/viewers that it's OKAY to not be ready, and how to have that conversation with your partner, and I think that's a really, really good and helpful thing for young people)

Fortunately for those who were distressed by the lack of sex in the show, and for me who was anxious about all of that criticism, I'd been planning for the story to reach that stage pretty soon anyway. It honestly made me relieved that it was going to be introduced, if only to reassure people that I wasn't pretending sex doesn't exist or that I, as an asexual, was spreading some sort of anti-sex agenda (seemed to be a common refrain among those who find it particularly annoying that I'm ace). But mainly - I'd always known this would be a really important step in N&C's journey, and I wanted to do it justice, and I felt I had done so in the comic, but with the TV show came all of those opinions and discourse, so I was much more nervous about it and spent a lot of time during the writing process trying to figure out how people would feel about it. An impossible task, and before S3 released, I had no idea what the reaction would be.

In the end it was pretty anti-climactic - it got hyped up a bit too much in the early promo for S3, and then the general consensus was that the sex in the show was shown with a very light touch, and some people thought that was a good thing and others did not. And people still call the show sexless and puritanical, so it didn't really solve that issue. (I'm just not sure what those people really expected to happen - obviously they are not going to suddenly start fucking on screen in a show that's been previously marketed for the 12-16 age bracket, guys, let's use our brains here) Personally, I'm really proud of how that element of the story turned out. I think the scenes are really beautiful and feel totally right for the tone of the story, and have let the show mature without suddenly becoming an entirely different show.

This has been a long answer but I think what I'm trying to say is this: the 'mature' vs 'wholesome' scale of Heartstopper is something that has never been a topic of discourse for the comic. But it has been front and centre for the show, and certainly is something that has caught me off guard and caused me some anxiety, because I do see the criticism and it does hurt, and at times feels incredibly personal. But at the end of the day, I'm just telling a story, and the things that happen will happen at the time I feel is right for the characters. I just want to tell the story that I've set out to tell, and I intend to keep doing so until it is done.

If we get a S4, and indeed now that I am working on Vol 6, I am thinking much less about how the audience might react to the sex in the story, and am simply just writing/drawing what feels emotionally and dramatically right for the story and characters. And that feels much more creatively freeing!

[paragonrobits]

honestly this whole thing being treated as an exclusive problem to superhero tropes in general, or implying that superheroes as a concept are inherently bad because I guess people assume they were specifically created to Keep The People Down or what-not, REALLY ANNOYS ME A LOT so this seems a good opportunity to make a point:

this trope is not specific to superheroes, and has been a thing for quite a while in fiction overall, specifically in TV and films (and at the risk of being snappy and letting irritation doing the talking, thus in mediums that get the most coverage and it makes people sound like a series doesn't exist if its not in TV or movies)

At its worst, this is basically a low-effort way to give a villain some nuance without putting much thought into it. It's not really meant to imply, at least in most cases, that their goal or motive is BAD, as some people seem to suggest. This is probably an outgrowth of the common idea of a villain being the hero of their own story; its common to suggest that a villain MUST have some kind of moral point or heroic quality to them, and that's basically where this comes up; its a less well-written handling of that concept by using it to get some pathos into a villain that can often be counterproductive.

I'm gonna go out on a limb here and suggest that its not suggesting that their cause is BAD; indeed, the writer implicitly means that their cause is good, because that's where the villains Good Cause Points come from; if it wasn't a good cause to them, they wouldn't be trying to humanize the villain by rooting them in that cause.

It's not exclusive to superheroes by any means, and the general trend predates the modern superhero genre in film and television, at least in the post-MCU sense.

The other point to be made is that sometimes, the supervillain isn't actually concerned by a problem at all, and they're just using it as an excuse to satisfy their own personal grudges, because it gets them support as they pursue their own goals, or because they're cynical manipulators who never gave a damn about that problem but it furthers their own goals to manipulate others who DO care about that problem.

There is also one other aspect; sometimes the villain does genuinely believe in solving a problem, but their understanding of it is completely divorced from reality, or their intended plans are inherently a bad thing. For example, lets take the common idea of Poison Ivy as a heroic eco-heroine fighting corporations who pollute the planet. All well and good, but Ivy actually doing that is an extreme outlier in her established character. More often than not, what she's actually doing it is causing massive destruction that gets a lot of completely unrelated people killed because her explicit end goal is the complete genocide of all human life, and at extremes, all ANIMAL life as well. This makes her a textbook ecofascist of the 'kill all people, especially the ones that have no power to do anything about ecological destruction' kind.

This is closer to the sort of villains you're actually likely to see; their stance on a problem is completely destructive, counterproductive and generally just kind of evil. Thats why heroes stop them; because their entire plan is to kill lots of people while making vague comments about 'x thing is the Real Evil' or something like that.

This, uh, also tends to be the actual nature of villains that fandoms often present as enlightened True Heroes unjustly antagonized by heroes. Almost every time, they only give lip service to any real goal and mostly just want to kill lots of people or do large scale disasters to satisfy their own grudges, and as such they're not really meant to be taken seriously.

And from another point of view, its like this: the reason we don't usually see the hero solving that problem is because that's not the focus of those sort of stories. If you're going in for an adventure story about someone with fantastical powers have action-filled showdowns with larger-than-life antagonists, its not really reasonable to expect it to suddenly swerve into a political treatsie about sociological phenomenon just because the villain of the week makes some vague references to societal ills as they start kicking orphans into a giant blender to fuel their giant robot that's going to burrow to the core of the earth and blow it up.

Its a fairly basic writing bit to give a villain some apparent nuance without having to do much more, and that's basically it. And to follow the metaphor, I don't think its really reasonable to give a go-ahead to the sort of person who kicks orphans into blenders just because they make some vague references to a greater good and then never follow up on it. As a villain, their only real purpose is to be an entertaining roadblock, rather than 'a hero but kinda edgy' as the term seems to become around some fandoms.

[jaggedamethyst]

disappearing act (jayce talis x f!reader)

2.7k words

content/warnings: jayce is in a strained relationship as a result of his work...and his sudden disappearance(s).

18+ minors dni; smut, rough sex, angst (my specialty), unprotected p in v, jayvik sprinkles, strained relationship, argument + lack of communication as a result, jayce being a meanie/dedicated scientist

notes: i feel bad that there's no addition to golden boy at the moment, so here's something else for the jayce girlies that i have been thinking about. once again, incredibly sad...but you love it.

full masterlist linked here

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The relationship you had with Jayce was one of the few things you good rely on. With his work, Jayce Talis may be considered brash—stubborn even. With you, though, he was the epitome of understanding. He watched you often, a careful eye on you. Relying so heavily on the products of scientific experiments, he seldom acted in a way that was proven to yield negative results. That was until he let the work consume him. 

You were always supportive, he’d said as much. You were there to offer an ear, reassurance, and love to the man who needed it so much. He often recounted the story of his mother being saved by magic, a new detail finding its way into the narrative every time. It was then that you understood Jayce’s need to expose the world to this technology. To afford people the opportunity he was so graciously given—to protect people they love. 

Tensions were rising in Piltover and Zaun. You weren’t entirely sure what was happening; Jayce told you as much as he felt was necessary. As a member of the council, there was so much to take on. You could see the stress. In the last few weeks he’d become distant, reluctant to even make eye contact with you. At the time you’d usually meet one another, he avoided you. So much was going wrong, yet you couldn’t find the right words. There seemed to be nothing you could say to comfort him. A feeling of failure sat within you, almost overwhelming the love you had for him. You started to question the man you’d often taken at face value. He wasn’t himself, no, he was something else entirely. 

You sat alone, jotting down notes. There was nothing of particular interest there—but you had to keep busy these days. You perked up at the sound of Jayce entering the room, your shoulders immediately slumping at the prospect of knowing him so well that you knew it was him without a look back. 

His voice broke the silence, “Hi.” 

That was all you really got from him, greetings in passing. This time, it was to pick up a tool he’d left. You sighed, waving a hand at him, knowing that if it was up to him he wouldn’t see you at all today. 

He spoke again, “Thanks.” He showed a specific sized wrench that he loved. You weren’t entirely sure how it got here, but you knew the gratitude he showed was true. If he took nothing else seriously at the moment, he’d always been nose-first into his work. His venture toward progress. 

You nodded at his thanks to you, resuming your work. 

He left his back to you, “I’m working with Heimerdinger again.” 

This surprised you. Both the mention of his former mentor as well as the continued conversation. “Really?” You spun around in your chair, back to your desk. 

He turned to face you, “He has a new protégée, this kid. I’m sure I’ve seen him before…around…but he needs help.” 

“So you’re helping him,” you smiled. It was earnest. There was a warmth there, a passing thought that he might return to himself—a man motivated by care. 

He nodded, “So what’s occupying your time? More of that meaningless writing you do?” He chuckled and motioned toward your open book. 

You twisted the corner of your lips, stunned by the way his words pierced you. For no reason, you might add. A dry chuckle left your throat, echoing his. You deliberately responded lowly, looking toward the floor, “Wouldn’t have to do meaningless writing if my boyfriend had actually been around for once.” 

It was his turn to curl his lip in irritation, “You know what I’m doing is important-“

“And yet there’s nothing to show for it.” 

“That is not fair.” He stepped further into the room, “It takes years to replicate and master the technology I’m working on. Viktor and I have been at this for years, surely you understand that getting it right takes precedent.” 

You nodded, understanding now. “Precedent over your relationship, got it.” You turned and slammed your book shut. His footsteps approached you and you stood in return, meeting his surprisingly close glare at you. 

“You know thats not what I meant-“ 

“Isn’t it, though?” 

“No, its just that…” 

“Just what?” 

He sighed, no words finding him. He couldn’t really explain what it was, exactly. Part of him felt as if you were right—that maybe he did think much less of you than he thought. That perhaps he’d become so accustomed to the havoc, the time with his partner, and the inconsistency of research. He searched his brain, landing on the fact that he was addicted to the high science bought to him. It wasn’t that he didn’t care about you. It was simply that like you said, he wasnt around. 

“Maybe you should go.”

His mouth was agape, realizing he failed to answer. He tried to call out to you, your name leaving his lips in a plea. You just needed time. His brows drooped, a defeated look over his body. He backed away, before turning towards the door. He stopped at the door frame, grasping it, the closest he’d been to latching onto you. “I’m sorry.” Then, he rounded the corner and was gone. 

A few months passed. You didnt expect that when Jayce left, he’d seemingly disappear into thin air. When you found out that another boy, Ekko, along with Heimerdinger were also gone—you connected the dots. You weren’t sure what to do, if there was anything to be done. You weren’t dumb, but to Jayce or Viktor’s level of intelligence…you’d found yourself feeling inadequate. It was just your luck, too, that the one person who could help you was nowhere to be found. His partner, one you could tell Jayce loved so much—had vanished. 

There were a few times where you examined their work area. You searched for anything to make sense of the loss. There was nothing. Like clockwork, you would end your search in tears, frantically clawing at the leftover notes and tools. When you couldn’t sleep, you would sneak into Jayce’s bed. The scent of him enveloped you. The tears would come, again, soaking his pillows. You’d later grown disgusted with yourself—the lack of composure. Your sensitivity only removed Jayce further from you; his presence no longer lingered. The smell of him had dissipated. You were beyond devastated. The yearn to have the entirety of the world to open up and swallow you whole was immense. 

You resumed your meaningless writing. In the time Jayce had been gone, you went through two entire notebooks. You cried into a lot of the pages, leaving them impossible to write on. In others you poured out every emotion you felt—chronicling every detail. 

He often found you in your dreams. Few times, you’d offer your mind the comfort of loving him again. Most times, however, you would torture yourself with a recounting of your last conversation. You would try to change what you said, how little you did…but the outcome was always the same. He would always leave you. 

The sound of his familiar footsteps haunted you. Someone would approach you, the rhythm slightly off, but enough to get your hopes up every time. Tonight had been the same, people passing, none being the one you wanted the most. You laid in bed, gaze to the ceiling. You didn’t really have much on your mind, outside of Jayce Talis—again. 

Footsteps approached, again, not him. These were heavier, irregular. It sounded as if one of them dragged. Your face twisted, a disdain filling you. It was enough. You turned, angling your back towards the door and the sound of the unfamiliar footsteps. 

You arched a brow, hearing your door open and close. You angled your neck, not caring who it was but needing the time to yourself. “Whoever that is, please…go away.” 

There was a pause, then a voice. “Still stubborn.”

Your breath hitched, your body turning to confirm whether or not you’d actually well and truly lost your mind. It couldn’t be, not after all this time. 

“Jayce.” It wasn’t a question, as much as you thought it would be. It was true, he was there—albeit entirely different. His hair had grown longer, easily passing his ears. The twinkle in his eye was completely gone. His facial hair had grown. The man that you knew wasn’t here, this was the residual shell—a combination of leftover pieces of himself that had been discarded. 

You crawled off of the bed, scrambling to him. You observed him briefly, taking in the details of him, before jumping into a hug. The scent you loved so much, that comfort that long left you, rested beneath a swell of ash and grime. He reluctantly raised his hands. You waited for the feeling of him embracing you back, but it didn’t come. You felt his palms instead, grasping your face. His eyes peered into yours, a hand dropping so that only one held you now. As you leaned into his single hand on you, he maneuvered his thumb. He brushed over your lips briefly. His grip then fell just underneath your chin. He let his thumb squeeze into you, pinching your cheeks slightly before nudging your face. 

He wasn’t the same. You didn’t care. He moved toward you, causing you to lean into your bed. When the back of your legs hit the mattress, you sat down slowly. You looked up at him, not needing to exchange words with him. It had been too long.

All reason left you; you were sure that there was never any in this Jayce’s mind. You quickly reached for his pants, undoing the button and zipper as he simultaneously maneuvered for yours. You paused, only resuming when you were completely bare on the bottom. You could see him, pleading to be released from the confines of his pants. You reached at his waist, pulling his pants and underwear down. You were startled when they didn’t go down fully. Your gaze dropped, noticing the brace on his leg. The single pant leg had caught the metal. He huffed, the cold air finally sweeping against him. The sensation was enough to make himhiss—the slight drip of precum forming on him. 

He leaned you into the bed, circling your entrance immediately. There wasn’t time for prep, you two had already lost so much time together. He thought of you every day. At one point, he’d found a rock, etching what he struggled to remember of your face into the wall. Before he could think to eat, before he could save himself—he thought of you.

You deserved more than this. What he was about to do. But as he looked back at you and saw the pleading in your eyes, he knew you needed this. You needed him. 

Without further thought, he plunged into you. You gasped at the resistance—your insides tighter than normal. It burned, Jayce pushing all of him completely into you. The pain was nothing compared to the mental abuse you had endured. This pain was worth it, you reasoned. At least, now, the pain was inflicted by Jayce—here.

He started his pace into you. Tears collected in your eyes, from both the overwhelming emotion and the way his hips snapped into you. He yanked you back towards him, a slapping resonating through the room. His eyes closed, brows furrowed. You noticed this, reaching to rub his arm that rested on your waist. His eyes opened immediately, looking at your hand on him. The gesture more than he deserved. He pulled out of you then, reaching to pump his hand up and down himself. 

He spoke, finally, “Flip.” 

You did so without question. Your chest found the bed, head leaning to the side. The bed was a bit taller than you and it left you on your toes. You fought to stabilize yourself—wanting to do whatever it was that he needed. He spread your legs, ramming into you without warning. The force of him pushing into you had you whining. A yelp escaped you with every thrust, the feeling of him relieving a desire that had built up in you since he left. Your feet eventually lifted from the floor completely, your arms gripping into the blankets. Jayce had the entire bed and its posts rocking. The squeaking, groaning, and slapping was entirely disgusting and quite reflective of your relationship now. The ordeal was desperate, pulling at each other until you fell apart. 

You circled your hips into the firmness of the mattress. Your clit found the friction in exactly the right way. Behind you, Jayce found your hips, gripping at your flesh like you’d disappear if he didn’t. It wasn’t long before you came, face down ass up onto Jayce. You felt a pool of wetness escaping you, dripping beneath you. He sighed at the extra lubrication, speeding up even more. He worked you through his own release, filling you to the brim.

He collapsed onto your back. The feeling of his breath on your neck, the stubble on his jaw, and hair fraying onto your ear was entirely new. You remained motionless, afraid for the moment to end. It did, though, Jayce pulling out of you. He rubbed your ass briefly, before pulling his pants up and straightening himself. You pulled yourself fully onto the bed, grabbing your underwear and a throw blanket to lay over your bottom half of your body. 

An expectant look was on your face. You dreamed of the day he would come back—return to you. You hadn’t expected it to be so wordless. You watched the man inch his way towards his hammer. It looked different than you remembered, flurries of color attached to it. It was somewhat eroded, too. You frowned at that. There was a clear resemblance here, the disfigurement an emulation of the relationship between you being completely different than when you first met. 

“What happened to you?” 

He leaned down now, fatigue catching up to him. “That thing I was working on-“ 

“With Heimerdinger…and…Ekko-“ 

“Yes.” He paused, a choked sob bursting from him immediately. “I-I was lost. Lost you.” 

You tried to stand, move to him, but he raised a hand to stop you. The act was a warning, like he didn’t need you near him. As if he didn’t want you to get hurt. It made you grasp the blanket more firmly. 

He continued, “I have to finish this.” 

The thought crossed your mind. To ask him what it was he had to do besides be with you was on the edge of your tongue. Question why, you thought. Not even a second later you realized that despite his appearance, he wasn’t so different, really. Jayce was always on a mission. He chased a feeling you could never replicate for him. 

So you didn’t let the question linger between you. “Just come back to me.” 

He stood, glancing at his wrist. You noticed the shine of blue there, interlocking with his very being. He nodded, conviction in his words. “I will. I can’t fail…not at this.” 

With a hobble in his step, he moved toward the exit. 

You didnt call out to him. He didn’t turn around for a second glance. With every day that passed, you wished so bad that one of you had. You weren’t entirely sure if what Jayce did—disappearing again, was considered a failure. But you knew the man. It was for a reason. 

It took you a while to come to terms with what happened. You couldn’t bring yourself to visit the site for days. As the Sun rose one morning, yet another night of no rest on you…you slipped out of the bed. There was determination in your walk. You made the trek out to where the destruction was. There was machinery you’d never seen strewn all over the trail. You grimaced, following the natural line of sight. You saw it, then, Jayce’s hammer. You moved with determination. As you approached, you immediately collapsed beside it. There was nothing left of him. He was gone. Entirely this time.

You reached for the handle of the man’s creation, cradling it as if it were him. Your lips wobbled, a cry threatening to fall from you. You gasped for air. “No…” You shook your head, whispering, “Jayce…” 

[elinty]

Claimed By The Winner

Pairing: Lando Norris x Reader

Summary: Lando claims you at the afterparty, leaving a kiss and a hint of mystery as he takes you away.

Warnings: Jealousy and kissing

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The air was thick with the post-race excitement, and the afterparty was buzzing with energy. The McLaren team was on a high after Lando's podium finish that day. Selfies, handshakes, and congratulations seemed to be all over him, but you took off the spotlight and let him enjoy the spotlight.

You were talking to Pierre Gasly at the bar as he began to tell you about a wild karting race he had participated in as a child. The conversation went easily, and his giggling was contagious. Pierre cracked a joke by leaning in and briefly touching your hand to highlight a point.

Lando saw you from the other side of the room. He trusted you, and Pierre was his friend, so he wasn't bothered at first. But as the conversation went on, Lando became more focused. A small crease appeared on his forehead as his effortless smile disappeared.

At last, Lando nodded firmly, excusing himself from his group, and headed straight to the bar. His fingers wrapped around a tiny duplicate of the podium trophy he had been given earlier; he reached into his pocket while he was walking.

"Excuse me," spoke Lando with ease, putting his arm around your waist and giving you a little shock. “I think you’ve got something of mine.”

Pierre arched a bewildered but pleased eyebrow. “Something of yours?”

"Yes," replied Lando with confidence as he pulled out the tiny prize and held it high for a dramatic effect. His smile grew as he turned to face you. "This.

You truly are my jewel. Actually, it's the best thing I've got tonight.

Heat rushed to your cheeks, causing your eyes to widen. “Did you really bring that thing here for this trick, Lando?

"Of course," Lando shrugged, completely without guilt. "Some people need a quick reminder."

Pierre lifted his hands in a mock surrender as he burst into laughter. "Alright, buddy, I understand. She's all yours. You don't have to flex.

You turned to Lando as Pierre left, still laughing, and you trying to not to laugh. You said to him "I'm shocked that you did that. I mean really, a trophy?

He slipped the trophy back into his pocket and asked, "What can I say?" "It worked , right babe?

You shook your head giggling and mumbled, "You're crazy."

He said, "And you're mine," bringing you in with a forceful yet gentle tone. His previous jealousy turned into love as his lips found yours in a slow, gentle kiss.

His face softened as he pulled back, but his eyes still had that glint of cheek. "Let's leave this place. The best that this space has to offer is already mine.

As you allowed him to join his hand with yours, you rolled your eyes yet felt your heart pounding. "lead the way my winner"

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A/N: Soo my first f1 post i actually really enjoy f1 and i really do like writing stories about it.. this was really quick thooo so maybe ill post like another one with something wag related!!

[saixria]

The ICHBW live stream animatic is hitting me hard hours after the fact I’m not a crier but I’m actually tearing up. Now I can fully articulate what I love about Athena’s part. Athena’s character came together so well I love it and I think the visuals combined with a day more of thinking + discussing with friends really helped me better understand everything. Those last 90 seconds of ICHBW was the BEST PART OF THE ENTIRE SHOW. Ridiculously long Athena character analysis under the cut which quickly devolves into thematic discussion lmao

First of all, the expressions they have on the animatic makes it abundantly clear that ody and Athena weren’t separated. HER SMILE!! HER LIGHTNING SCAR!! ODYSSEUS’ EXPRESSION SOFTENED TO A SMILE AFTER GETTING OUT OF QUICK THOUGHT!! Odysseus definitely pieced together what she did for her right then, there’s no other reason for Jorge to show Athena showing Odysseus that scar otherwise. It’s like they immediately slid back into place like puzzles pieces even after 10 years. They’ve been changed in completely opposite ways. Odysseus the mortal has been turned to be less human, more ruthless, while Athena the immortal goddess has been turned to be more human, more empathetic. The latter partially because of Odysseus. Tbh Athena ever showing her face to Odysseus after My Goodbye and saying “I can’t help but feel like I’ve led you astray” is as close to an apology as it’s gonna get LMAO. The unresolved WOTM melody in the end is actually because their story together hasn’t ended, it’s because Odysseus doesn’t have to be her warrior of the mind anymore.

I once said that open arms is more than mercy, but treating the world kindly to lead to kinder souls down the road, to change the world for the better, and it holds true even more now. Odysseus is too tired for this. He’s just a man, he knows a better world is possible but he can no longer be a part of it. He can’t witness the better world in his short mortal lifetime, he just wants his happy ending with his wife. He doesn’t want to be Athena’s warrior of the mind anymore, and that’s ok. And yet, and yet he knows it is possible. He needs it to be possible, and he needs Athena to make it possible. Athena accepts it with a soft “very well”. That doesn’t mean they won’t ever see each other again, just that they no longer have that obligation of mentor-student, they’re just two old friends. They can rebuild their relationship slowly but surely with what they have.

Telemachus is the Warrior of the Mind now (AHHHHHH HIS ATHENA CAPE AND HELMET I LOVE HIS UPGRADE). From here, Telemachus and Athena are gonna truly fulfill Athena’s mission of “making a greater tomorrow” except it isn’t to turn the world more logical and ruthless like she once thought, but to make the world more empathetic and kind — she’s finally found what she was fighting for. Perhaps this is why the WOTM melody in God Games ended with Legendary — Telemachus is the new warrior of the mind. Odysseus fought for a world where his son can be safe and grow up kind and he succeeded in that. Far from war, Telemachus grew up able to afford kindness and empathy while also retaining the ability to be ruthless in face of obstacles — and now he can use this to change the world to Athena’s new ideal — where people held each other with more empathy — as Athena’s new Warrior of the Mind.

Athena’s verse existing is a sign of her reconciliation with Odysseus (in character might I add! I don’t think they’re the type to express their affection so easily, they know each other so we’ll that they just know), so instead her verse is there to expand on the show’s theme as I will be talking about next.

I absolutely adore the depth Athena’s ICHBW verse adds to the thesis of the show. I’ve always thought of epic as mostly being about how it was best to strive for a balance between ruthlessness and open arms, but circumstances only allowed Odysseus to become ruthless which was tragic, while different circumstances allowed Telemachus to be both. But it’s not just that. Sure it’s good to have a balance between the two ideaologies but what if we could make a world where ruthlessness wasn’t needed at all? What if we could be unconditionally kind and be treated with kindness in return instead of taken advantage of or hurt? Where, when given the choice between open arms and ruthlessness, people would choose open arms? It wasn’t possible for these characters, but it could happen someday in the future. If Athena and Telemachus can work towards that future so can we. So should we, considering we’re in a much better place compared to them. A friend of mine said this was a call to action to us in the present and I just. Have not been able to stop thinking about it.

Athena has always thought in “maybes” about her purpose. from WOTM to My Goodbye we’ll be fine to ICHBW. “Maybe one day…” -> “One day you’ll…” -> “maybe if I…” -> “what if…” it’s like she’s representing the future, the “greater tomorrow” of what could be, because as Odysseus said, she’s immortal and she will live to see it and change it. Circe saga has something similar — “Maybe showing one act of kindness leads to kinder souls down the road”, “maybe one day the world will need a puppeteer no more, or maybe one day the world will need a puppeteer more”. The connection of these hypotheticals “maybe one day” with a future world that could possibly be changed for the better by spreading kindness and open arms extends from Athena’s songs to There are Other Ways, one of the only times in the musical where, when Circe could choose between ruthlessness and mercy, she chose to show mercy and help them in hopes of spreading kindness to the world and making the world a slightly better place — aka a scenario that showed how unconditional kindness, “open arms”, could work, for kindness isn’t the inability to be cruel but choosing kindness even when you have the choice not to be. “Kindness is brave”, like Polites said.

Because of her immortality, Athena is the character who’s most connected to “time” in the musical with her time-related abilities like “time dive”, making people think quicker, having a domain essentially outside of time and space… She doesn’t just have a connection with the future but also the past. As someone who lives forever, she is the one who can connect the past, learning from past mistakes, to change the future: “To fall is to learn one way”.

Speaking of her connection to time, You can almost see that at one point Athena was the narrator of the story (see cut songs: full speed ahead demo and Ismarus) like Hamilton’s Burr: simultaneously an observer and a participant of the story. In the animatic of ICHBW she’s overseeing everything happening from her hour glass, wondering out loud from a meta perspective about the themes of the show, hypotheticals of what a different story, a different world could have looked like, and bringing everything to a close. It really feels like Athena is who’s gonna “live and tell their story” as per Hamilton, as always has been the case from burrthena narration days of Old Epic. She’s not just the bridge between the past and future but also between the story and the audience, by bringing up these themes on a meta level to directly tell the audience to make the world a kinder place, because we have the choice, unlike Odysseus who can only choose to accept his actions and move forward. Because she lives forever she can carry on their memories forever. She can keep telling their story over and over again to remind herself and others to change the world by showing empathy and open arms, and she will keep telling this story to us until ruthlessness is no longer needed in the world. The world where this is possible is not theirs but OURS. It is WE who have the chance to choose between ruthlessness and open arms and the show is telling us that, when we have this choice and aren’t forced to be ruthless, to always choose kindness and empathy. Like Circe, like Telemachus. So that we may impart some kindness unto the world and make it a better place.

“Maybe one day we’ll reach them and we’ll make a greater tomorrow then they’ll see I know we’ll change the world cuz we are the warriors of the mind!” — yes, they have reached us. We are all also warriors of the mind, doing our part to change the world for the better, to be kinder.

To me, one part of Athena’s character that’s never clicked for me was her motivation in WOTM. “Make a greater tomorrow” “we’ll change the world” why? How? What’s the point of including this in her song when it’s never come back up again? Now with the ICHBW verse, everything is tied up with a beautiful ribbon. She has always wanted to change the world for the better, and now she’s finally found out how — to spread empathy and Open Arms — and it’s inspired by the desire to help her friends, to prevent what happened to Odysseus from happening again, honoring him, just as how Odysseus tried to embrace Open Arms to honor his dead friends’ memories.

All in all, I’ve grown to genuinely really really like Athena’s verse in ICHBW. It’s so short but so effective at conveying so much. I hope that made sense bc it’s more a compilation of thoughts I had rather than a structured essay. Perhaps one day I will restructure this into a proper essay but not today for after all I’m- *gets shot

[back2bluesidex]

To Be Popular - JJK [Prologue]

Pairing: Social Media Influencer! Jungkook X Marketing Manager! Reader ft. Yoongi

Summary:

You love everything about social media - apart from the ever-growing number of social media influencers. You don't understand how these people gain followers and admirers just by installing a camera and doing very basic things in front of it. And you despise how some of them can do anything to gain fame, to be popular - even if it includes uploading their bedroom scene in pornsites aka people like Jeon Jungkook. But when your company launches a new product and your department head tasks you with signing Jeon Jungkook up as an endorsement partner - you have no choice but to chase him like the corporate slave that you are. However, things turn worse when you embroil in a dating rumor with him and have to keep the game going for the sake of everything. is it really for the worse or things will turn in a way you never expected it to?  

Theme: Strangers to lovers au, fake dating au, kind of enemies to lover au, angst, smut, fluff.

Full Series Word Count: 26k

Chapter word count: 1k

Warnings: a tiny little smutty scene, dirty words.

Masterlist | Patreon (For access to the complete series)

Taglist requests are open.

Minors, I am not responsible for what you consume online. So, act more rationally and stay away.

A/N: After brooding for a long time, I have decided to (alongside your votes) release one of the patreon exclusive, since no other stories are working out. Though this is originally a drabble series, I will release longer chapters here.

Chapter index: -

Prologue | Chapter 1 | Chapter 2 | Chapter 3 | Chapter 4 | Chapter 5 |

Or read the full series right away on Patreon at a discounted price today!!

Your eyes zero on your laptop screen - the quality is just above what is called grainy. 

But you can clearly recognize those tattoos. Moreover, you can recognize that voice, even if he says nothing good but filth. 

“You whore!” a slap rings as if to punctuate the man’s breathy voice, “look at your greedy hole swallowing me up so good!” 

You look at what his voice is referring to. The place where his cock disappears into her, creating a lewd, wet sound, her arousal drips down the back of her thigh - your own thighs come against each other as an impact. 

Even though their faces are not visible in the 3 minute video, the whole country knows who they are. 

Social media influencer Jeon Jungkook and Youtuber Kim Doona. 

There are a plethora of reasons behind why you don’t like these social media influencers. If you have the energy to make a list then it will go like: 

1. These people think of themselves much more highly than they actually are. You mean, they are not even celebrities or making the country proud or something. What the fuck make them so obnoxious? 

2. They have an awful number of dumb followers. Why do people even follow them? For showing their makeup and skin-care routine? For screaming loudly at the gaming screen? For recording themselves eating, doing the most random shit every normal human being does on a daily basis? You just don’t understand why. 

3. These people are absolutely fame-hungry. They can do anything and everything to boost their followers even if the said actions aren’t really positive. 

Take an instance from the current scenario - two of the most popular social media influencers have dropped their bedroom scene at an adult site and it got monetized within a day. Nice move because they gained both money and fame 10x overnight. 

It’s not that you have paid to watch what you are watching currently - you would rather die than feeding into the delusions of these influencers. You are watching because you despise these people and there was a leaked version circulating on Telegram. 

You scoff at the screen but the wetness in between your legs scoffs back at you. 

You hate them, yeah, but it’s not like you are totally immune to the sexy scene they have portrayed. Especially the way Jeon Jungkook’s tattoo arm held onto the female’s waist, or the way his muscles flexed under the dim light, or the way his cock- 

“Y/N! What the fuck?” you scold yourself, slam-shutting your laptop with unnecessary force. You blame it on your temporary state of celibacy that has been forced upon you since your last break up. 

And the fact that you have a fat crush on your manager - doesn’t make things any less painful. 

So you decide to shut off your system for the night and go to sleep as you should have done long ago. You have work tomorrow and a meeting, being wet after watching some influencers fuck each other wouldn’t help you with your career. 

Or would it? 

Your jaw hangs ajar, threatening to touch the floor as Min Yoongi, aka the manager you have a fat crush on, presents the campaign plan of your company’s new product’s marketing. Everything was fine until Yoongi suggested influencer endorsement and if this is not a joke of the universe then you don’t know what it is because you can see Jeon Jungkook’s picture gracing the screen.   

“Jeon Jungkook? Why?” you utter these words without so much of a thought. 

Yoongi looks at you with his narrowed eyes, “why not? You know, he is really famous. He is trending currently.” 

“Yeah but the reason he is trending- well. I don’t think he is suitable for our brand image.” you press on. 

Yoongi chuckles at your constipated expression, “Y/N-ah” he calls you softly and a tiny part of your heart melts, “I am sure our brand image can go up with a few charitable works here and there. But the company wants a return of what they are investing in marketing. I bet signing up Jeon Jungkook will help.” 

“Y/N, you know we are already at a tight spot right? Our last campaign wasn’t as successful as we expected. The company may take steps if we don’t do this right this time.” calls Mrs. Lee from the other side of the table. 

“And before you ask me why him, why not the other influencers…” Yoongi chimes in again, “We are selling gaming laptops and this guy is addicted to games. He has more followers than the actual streamers. He is young, hot, and talented in many areas. In one word, he is perfect.” 

“You awfully sound like you want to date him.” You scoff at the man. He only chuckles. 

Yoongi tries to say something but a knock rings on the door. One of the staff opens the door only a little and says, “Sir, he is here.” 

Yoongi nods and says, “send him inside.” 

“Who is coming?” you place the question. Only for Yoongi to smirk as a response. 

When you are about to press more, the door swings open revealing the man who-should-not-be-named, Jeon Jungkook. 

Your eyes go wide as you take him in - all baggy clothes and a cute bucket hat perched on the top of his head. Bambi eyes scanning the room like a puppy brought to his very new home. As if he is not the guy who is going viral for fucking on camera and selling it to an adult site. 

He bows deeply and opens his mouth to greet, “Hello, I am Jeon Jungkook.” 

You feel your blood pressure raising at the thought of working with him. You will survive it right? 

You will have to. 

Permanent Taglist:

@phenomenalgirl9 @chimchimmarie @coffeedepressionsoup @meowstake @vonvi-blog @nochuel @chimmisbae @i-have-no-life-charlie @mikrokookiex @jjk174 @lallataegi @savageyoongi @jwnghyuns @parapiop7 @futuristicenemychaos @armystay89 @ryryvna @purple-realms

[notbecauseofvictories]

50/50

Well, 2024 sure did...happen.

Anyway! I didn't set any sort of goal to watch 50 films and read 50 books this year, but that's where I ended up. Neither number is exactly accurate, and I'm leaving out television, revisiting what I've already read/watched, and all the ridiculous novels I pick up when I'm hungover, but still. I'm kind of impressed with myself. I didn't get to 50 books last year, and I don't think I've watched 50 movies in a year ever---but the more I watch them, the more I explore what they can do and communicate, the more I want to see. As a lifelong reader, it's interesting to explore a new kind of art, to try and intuit your way in through a strikingly different form of communicating the exact same humanness.

TOP FIVE 2024

FILMS

The Florida Project (2017)

Crimes of the Future (2022)

M (1931)

Something in the Dirt (2022)

We’re All Going to the World’s Fair (2021)

It's been months and months since I saw The Florida Project, and I still think about it. The bright and artificial sherbet coloring of it; the dank and mold and shadows that linger around the edges....Actually, I think of all these films in terms of their aesthetics first. Not that there wasn't a story there, but because they all represent such a marriage with form. Consider Crimes of the Future with its fading decay, its browns and rust; M with its stylized, refined cityscape even in the greyscale of 30s cinema; Something in the Dirt where every shot is mundane, or fantastical or both; and We're All Going to the World's Fair, with the particular blue-grey loneliness of the internet age. Surely the benefit of watching a movie (as opposed to anything else) is being presented with something to watch, and I like when directors and creative teams understand that.

Honorable mention to American Psycho (2000) since I'm still a little insane about it---or maybe Corsage (2022) because whether or not it was a good movie, it was nevertheless the most uncompromising, brutal portrait of a historical figure I've seen.

BOOKS

The Rehearsal, Eleanor Catton

Big Swiss, Jen Beagin

Vintner's Luck, Elizabeth Knox

Wylding Hall, Elizabeth Hand

Diavola, Jennifer Thorne

Some people may try to tell you that horror is a discrete genre---I am here to tell you that it's not. All great novels are horror stories, and those listed above especially. From The Rehearsal's self-important artistes, to the therapy-speak Millennials of Big Swiss, to the musicians of Wylding Hall (who miss every sign that Something Is Happening) and the Pace family of Diavola (who deny that the signs mean anything, even after fleeing their vacation home in the night)....all these novels are a study in people experiencing something painful, even terrible. And yet, that provides incredibly fertile territory for their authors to explore the things that come with horror---complicity, desire for closeness, narration and performance, the open wound of family, the thin netting of modernity that keeps us from plunging into something older and darker than we can comprehend.

The only exception might be Vintner's Luck. Not because it's not there as a theme, but because the novel itself spans the narrator's life. By the time he's middle-aged he's committed so many errors, he can't judge too harshly when others do. In this respect it's almost an answer to the questions horror poses---not just how do you survive this? but how do you go on, having survived that?

Honorable mention to Dead Inside, by Chandler Morrison, because it was stomach-turning in the very best way. Echoes of Cipher by Kathe Koja---when an author really knows, really understands, how to wield grossness without shirking or apologizing for it, the result is delightful.

Books of 2020 | Books of 2021 | Books of 2022 | Books of 2023

[cripplecharacters]

Thank you for the response! What would be some specific ways you'd like writers to include characters with profound mental disabilities? I don't want to include them as just a "hey look at this" prop, nor downplay how much their condition affects how they interact, and I don't really know how to get the balance right.

Hello!

That's very much a fair question - I'll try to go over as much as I can think of since this is probably my first and last opportunity to give advice on writing characters like this, so apologies if I include some things that weren't really mentioned in this ask.

Suggestions on how to logistically include a character with profound intellectual disability:

A profoundly ID person will spend the majority of their time either at home or in some sort of care facility since they will require 24/7 help. The easiest role to put them in is probably a family member of another character. I've mentioned on this blog before that the "ID characters always end up as the annoying younger sibling" thing is overdone, but none of these necessarily have to be true for this suggestion to work (especially not the "annoying" part). A non-ID character could have an intellectually disabled older sibling, twin, cousin, uncle/aunt, the sibling of a grandparent, etc. Seriously, a severely disabled person can be an adult, or even an elder. Just not as a parent since a profoundly disabled person can't consent (a lot of ID people very much can, but this is the one disability where your level of functioning is baked into the exact diagnosis - profound ID comes with the inability to consent/understand the consequences enough to consent). "They're a family member" is basically the easiest "excuse" to include a profoundly intellectually disabled in a story (and as a bonus you don't have to figure out how the other character would react to meeting them for the first time, since they probably knew each other for a long time already). If your story isn't about the profoundly disabled character and instead just features them as a character, it would be much easier to not make the other character their primary caregiver. It's simply a ton of work and the character wouldn't have time for fighting dragons and whatnot - it'd be easier to have the abled character spend time with the disabled character at home (or care facility, you can very much visit someone in one) hanging out rather than actually doing the caregiving part.

Another way is having the disabled character in some sort of high position - in real life there were quite a few cases of profoundly and severely intellectually disabled royalty. Depending on the place and time there might have been pressure to not let the public see them, but this wasn't always the case.

In fiction you can do whatever you want anyway, especially if you aren't including other kinds of ableism - and even if you are, there are still different kinds of ableism you can portray that aren't the "literally killing-the-disabled-baby/hiding them in some dungeon level of eugenics" kind. Maybe a rich family who cares about their image would actually be unable to shut up about their kid to show how "saint-like" they are for caring for the disabled - it is unfortunately realistic, and can be a potential way to have the character exist in public, not ignore ableism, and also not go the aforementioned literally-just-murder route that writers usually do to show an ableist family.

Now for including them as an actual character and not a piece of cardboard:

Warning; the bar here is somewhere in the Earth's inner core. If your character has a single characteristic beyond aggressive/loud/unmanageable*, they're automatically at the top of most complex fictional representation of severely/profoundly ID characters. Congrats. * - Some people are those things but, unsurprisingly, they're other things too. A lot of profoundly ID people can actually be completely quiet, BTW - you notice people who are loud because they're loud.

As with literally every character, you need to figure out what they like and not like. This can be quite literally anything, but try to think of the basic stuff. Do they have something they really enjoy eating (and conversely - something they refuse to eat)? Do they have some sort of comfort toy or object they don't want anyone touching (and maybe showing them playing with it with a different character could be a way to show how much they trust them)? In more modern settings, do they have a favorite show they always bug everyone to put on? Are they really clingy or do they hate physical contact (again, maybe they only enjoy it from a specific character)?

Keep in mind, you have to show this all in non-verbal manner. A profoundly ID person is probably not using any sort of AAC device (the most robust one I remember seeing right now was a low-tech one with "yes" and "no", but there are probably ones who operate on a larger amount of singular words). This is basically another opportunity for characterization - what do they do when they're happy - laugh, flap their arms, make sounds? - and when they're upset - scream, hit themselves, make different sounds? Obviously, you'd have to take other disabilities into account (e.g. many profoundly ID people won't move much, some might not be able to make much audible sound, etc.) but almost anything helps.

An important thing (concept?) I'll throw here is "total communication" which can mean different things in different contexts, but here I'll use it to mean "using everything you can to communicate with someone who cannot do so in a traditional way".

So for example, eye pointing can be used to figure out what the character wants. A change in breathing can be used to tell that a character got stressed. Throwing an object can be used as a hint that the character wants to play. Maybe them reaching towards person A means they want to eat, but reaching towards person B means they want them to sing a song for them. Maybe them making a particular face means they just had a seizure and need to be comforted. Whatever their "tells" like this might be, other characters who know them would probably be able to tell more-or-less what's going on - you don't have to go really in-depth, especially if it's a minor character, but figuring out the ways your character communicates with others will make it less prop-like.

Another characterization could be comfort objects. A lot of profoundly ID people are autistic (which I'll touch on later) and will have an object that they bring everywhere the same way that non-ID autistic people might. There's nothing really specific here, just another layer of "this character is a Person". Maybe they have a blanket they really enjoy chewing because the texture feels good or some sort of plushie they like to throw around because it makes a sound they find funny. Lots of options.

If you read some of these and go "that's a thing that a child would do" then you're not necessarily wrong. A profoundly ID adult might enjoy activities that primarily kids partake in. This is, I can't stress this enough, not the same as "mentally being a child". Otherwise, a whole bunch of adults on this very website would be "mental middle schoolers" based on the shows that they watch - but they're obviously not. A profoundly ID adult doesn't have the "mind of a baby" if their favorite game is throwing a toy, they have the mind of a profoundly intellectually disabled adult. Sometimes people assume that since ID people aren't mentally [incorrect age], they always "act their [actual] age" and essentially end up downplaying how much some people's ID affects them, when the point is that no matter what you do, you are your age. An ID character who is 26 years, incontinent, constantly puts their hand in their mouth, can't speak, whatever, is mentally 26 years old the same way that they would be if they had a wife and a mortgage.

For the last thing for this section I'll circle back to the assumption that all severely/profoundly ID people are loud, aggressive, etc. - as I said, some of them are (just like abled people). The thing is, this is not always an unreasonable response to being unable to communicate with the people who are caring for you. If you had a pressure sore but couldn't explain it to anyone you'd be pissed off and screaming too. That's an extreme example, but still applies. If someone is severely stressed out (for an abled person, this might be inheriting a ton of debt, for a profoundly ID person it can be a change in daily routine), they can lash out. It's an unpleasant but very much human reaction to have, even if what's behind the ID person's behavior is significantly different from what an average abled person might consider "a good reason". So I guess my advice is, try to show some empathy to the character, even if they genuinely are loud and/or aggressive. Intellectually disabled people - including the profoundly disabled ones - aren't some alien species that is just mean and hates their caregivers for no reason, some just can't process their feelings the way an abled person might because of their disability. That's not to say that caregivers aren't allowed to feel frustrated - because they are - but that very severely disabled people aren't purposefully evil. As mentioned in the communication part, all behavior has a cause, just like for literally everyone. So if the character is being "unmanageable": maybe they aren't some cursed burden, maybe they're just stressed out of their mind and now someone they don't know that well is trying to do *something* to them, which they can't figure out because of their disability affecting their receptive language skills.

Section about resources when researching profound ID since some can be potentially misleading;

Even if you specifically look for causes of the profound severity of intellectual disability, you will get results for mild ID. That's mainly because people with mild ID make up >85% of intellectually disabled people and those with profound ID make like 1%, so they're a minority in a minority.

Basically:

Down syndrome is a very unlikely cause. It's always listed as the main genetic cause of ID but that's only true for mild and moderate severities. If you choose any of the common causes of ID make sure it actually has the symptoms you're looking for.

Most profoundly ID people will have either severe brain damage early in life (and thus can come with cerebral palsy), cephalic disorders (e.g. microcephaly), genetic conditions that you've never heard of (e.g. Pallister-Killian or Emanuel syndromes, 3p deletion), genetic conditions that you've never heard of because they don't have an actual name (e.g. X-linked intellectual disability-limb spasticity-retinal dystrophy-arginine vasopressin deficiency...), or just have it without a known cause. The last one happens much more often than people tend to assume.

For a reason I'll probably discover at some point, most disorders and syndromes that come with ID are said to have "autistic-like features" rather than being "comorbid with autism". In practice it's the same thing. Your character is probably autistic.

In the same way, a lot of practical resources will assume that ID = moderate ID (since most mildly affected need no or minimal support, and severely/profoundly disabled ones are a small minority) so pay attention if you're looking at the right things. If it's talking about having a job then you got clickbait'd.

One good resource I can recommend is SBSK (which I shared before), to my knowledge this is the only place that interviews severely and profoundly ID people (+their families) and the interviewer is great at actually interacting with many of them. Most resources on the practical things only ever talk about caregivers (who are very important) but completely ignore the actual person being cared for which IMO kinda defeats the point.

I hope this helps!

mod Sasza

[defire]

As an abuse survivor, you are just fetishizing child abuse. Plain and simple. Call it a coping mechanism or a power take-back all you want, but it's just an excuse to write porn about child abuse. I pity people like you, truly, I do. I can only pray that you eventually see a therapist about your internalized pedo behavior.

Cw: RANCID ask ⬆️

I'm so glad you brought this up because I don't like to speak for people like you--I'd rather combat these opinions directly.

Since you're praying, I'll feel free to make biblical allusions. (Tw)

First, the word "fetish". My opinion: I don't find fetishes or porn too helpful for processing trauma--it's more like exposure therapy. At some point you do need to actually grieve and process what happened. I don't judge those who do that (you're not hurting anybody♥️), but that's not what Survivor Fiction is for.

When you're judging whether something is bad or good, you can use the "tree by its fruits" concept. Basically, if a tree produces good fruit, it's a good tree. If it produces bad fruit, it's a diseased/bad tree.

So let's look at what Survivor Fiction does for survivors specifically.

It brings healing. I (a new author!) have already received five testimonies that have said how much my writing helped them move through some of their trauma and see things in a different, calmer way.

Survivor Fiction brings peace. A surprising amount of the community--90.5% in a poll involving 1,543 voters--use whump stories to go to sleep at night. (Many trauma survivors have difficulty sleeping from flashbacks. Fiction along the same lines can offer an appropriate sense of distance from the fear.)

It helps disabled people. It appears that a strong majority of our community is autistic. Part of the diagnosis is emotional dysregulation. We need to be walked through how to do things in great detail. Survivor Fiction often walks the reader through the process of trauma, reaction, ptsd, and recovery.

It spreads awareness. Survivor fiction is often more accurate to real-life abusive situations instead of glossing it over--in other words, LYING--about what goes on. This can bring a 3rd party perspective to a current victim too, giving them the understanding that they are being abused and need to escape if possible.

For a more thorough explanation of why fiction about survivors is good and necessary, see this post.

Okay, so would "bad fruit" look like? Do you see any of the following from our community? ↙️

Doing these things in real life

Being generally hurtful of others

Hurting children in real life

Harming emotions by pushing unwanted content to people who would be triggered by it? (Quite the opposite, we tend to post exhaustive content warnings before the content.)

Something else that's actually wrong and not just a thought crime?

And here's the fruit of your words, which I'm sure we all heard the jist of many times before:

You encourage covering up evil. Trying to hide fiction that more accurately describes pain, abuse, and PTSD means hiding the truth. Stifling the exposure of just how evil it is to abuse someone like this. The righteous walk in the light, but the wicked hide their deeds in the darkness.

Your words are shaming. Shame causes pain to fester and act out in harmful ways, such as repeating abuse cycles, self-harm, and dangerous overreactions. Christian ideology here--shame is what caused Adam and Eve to hide from God.

You are lying. You implied that we harm people in real life without any reason to think so. And also implied that we want to be in the aggressor's position. Generally speaking we identify most with the victim.

Referencing Christianity here, if you're christian--Your words condemn the Bible. The bible is full of stories much darker than most of what is written here. You'll read about rape, and the cannibalism of one's own children in Lamentations, among other things.

You're hurting yourself. You will be judged with the measure you judge others with. This is because if you judge others harshly for their thoughts, you'll instinctively judge yourself just as harshly. You end up hurting yourself and others over something that wasn't even doing any harm in the first place.

Causing confusion. What you said was illogical. If it's fiction where the damage occurs, we should be blaming the fictional aggressor--not the writer reporting it. If it's reality where the damage occurs, we should be blaming real criminals--not the journalist. The truth is that writing about survivors isn't generally harmful.

In short, you're creating a lot of problems and not helping. Did this ask come from a loving place?

This answer I'm giving, does.

[thatswhatsushesaid]

if i had a nickel for every time i encountered some version of the following observation in the mdzs fandom:

"i'll never understand why fans of jin guangyao and jiang cheng and xue yang keep insisting on defending these characters' virtues. you can just admit that your favourite characters are assholes and terrible people. it's fine. why are you defending them."

i could probably buy myself a packet of some really sick edibles the next time i hit up the dispensary. but more to the point, what truly frustrates me about this observation (aside from the implicit arrogance that seems smugly baked into it every time i stumble upon it) is how completely it misunderstands what villain and antagonist fans are doing when we discuss the positive attributes of our favourite characters. it's the assumption that what we're doing must always be about defence, about arguments, about insisting that the characters we like are Good, Actually, And Here's Why--when in reality i have never, ever, ever encountered a fan of any of these characters who has been interested in definitively declaring that any of them are good or bad people. like that just straight up hasn't been part of the conversations we've been having with each other.

like, what you are interpreting as us "defending a character's virtues" is very often just us literally stating how the characters' actions have had a positive impact on other characters' lives, or the world more broadly. or we are just trying to compare acts of cruelty/violence committed by one of these characters vs the acts of cruelty/violence committed by the protagonist and his inner circle, to draw inferences about one or both characters, to better understand them and the story and how they illustrate various themes, whether mxtx meant for them to appear in the text or not. it's just... analysis. and yes, a core competency when it comes to literary analysis means being able to critically defend your arguments using examples from the source material.

jokes about the jgy or jc stans and "defence squads" aside, it's not about defending individual characters, because the characters don't need a defence, because they're not real. but the work we've all collectively put into examining these characters, and contextualizing their actions within their circumstances within the source material, is certainly real, and it makes sense that we'd want to step up and defend our work when people who disagree with us choose to misrepresent our arguments.

[skulkingfoxes]

A post-mortem of "Good Morning, Rose"

A few weeks ago, I posted my addition to the comic anthology GLIMM*R, a short comic called "Good Morning, Rose".

The reaction to it has been so uplifting and exciting. It really seemed to struck a cord with people, which, really, the best thing for me to hear as a creator. I absolutely love writing and making short comics, you can do much with so little, explore such interesting stories. The feedback I've gotten has been very heartwarming! It makes me want to explore short stories even more!

But, first, I want to talk about some of my feelings and about the process of making "Good Morning, Rose". This got a bit long, so you'll have to indulge me a bit. You should also read the comic first before reading this. Don't worry, it's only 8 pages.

Now the preamble is out of the way, lets go back to the beginning.

The idea of "Good Morning, Rose" was a nugget in my brain for a long time! Originally it was actually from the Dreamwalker's point of view, where she was a faceless entity who had a long term relationship with Rose and was trying to figure out how to explain that their relationships only were in Rose's dreams. It was a story about seeing, accepting, and loving each other truly and fully, and the trials and tribulations of getting there. Also a cute girl with an ancient eldrich being is always fun to explore.

A lot of it was too convoluted, emotionally and storywise. It also required to get into what the Dreamwalker actually was, which I ended up really not liking. So, ultimately, the idea didn't work, and I put it down. I ended up going to do my short comic Twigs instead.

When I was invited into the wlw anthology GLIMM*R and was told that the theme was "dreams", I decided to take another stab at the concept. This time, I inverted the pov, it's now Rose's story. And instead of a long term relationship, it was about the powerful first feeling of a perfect (maybe even too perfect?) first date.

One of the hardest thing to write in romance is getting readers to care about the relationship in the first place. To have the readers believe in the character's feeling, to be invested in their romance. This is even harder to do when you only have 8 pages to do it. Focusing it around a first date helped a lot in that case. There I'm not trying to sell that these two character will love each other forever and forever, just the fluttering first butterflies of realizing you're developing feeling for someone. It's why I leave it so open-ended about whether the two of them meet again at the end of the comic, or even if it was real in the first place. It's just not the point of the story.

That's something important about writing short stories, I find. You really have to hone in on an idea, on a thought. Take a simple idea and try to find all of the interesting layers. It's too easy to try to stuff a short story with too many ideas that ultimately go unfulfilled. In fact, the first draft of the comic, at the time called "Dream Date", there was a big problem with this and the pacing.

Here, take a look at the first stab at the roughs:

(BTW, there is something so fun about roughs for me lol. The art is so kinetic and loose, all about just getting the story across)/

As you can see, a lot of the ideas and imagery made to the final version of the comic. But both the initial readers and I agreed that the beginning and end were good, but the middle was messy and slowed things down. You can also see that I got stuck in the same problem I did when I first conceived of the story, it's bogged down trying to understand the Dreamwalker in a way that actually hurts the story. You simply dont have any room for bad pacing a short comic like this. I need to focus more on the character's and their emotions and exploring their actual relationship rather than blandly trying to explain the situation. A friend also suggested that I should hone in on the fluid dream-like aspects of the first couple of pages, especially since it's so fun to explore in the medium of comics. So I got to work gutting it out and trying again with the new, much stronger imo, direction.

Also there were some issues with the page format that needed changes for printing, thus the final spread had to be split up. Which is a shame, but oh well, it still works. I also honed in a lot more on Rose and her insecurities. I ended up putting a lot of myself into Rose. I'm glad readers seems to able to relate to her.

After figuring out the the story and the pacing, I went and, well, made the comic. Once you've done as many comic pages I have at this point, once you figure out a process, the actual drawing is fairly straightforward. Eventually, after thinking, and drawing, and toiling, and revising, and thinking hard about my life choices, I come out of the other end of the tunnel with a comic. One that I ended up really liking. One that other people ended up liking, which is always crazy to me.

I got a lot of interesting reactions to the comic. One demographic thinking it was sweet, wanting more of it (always a flattering thought), and enjoying the romance. Other remarking on the bittersweetness of it all, finding your soulmate in a dream, maybe never to see them again if they were even real in the first place. There were a lot of people remarking how they had a similar dream, one where they met someone they seemed totally and completely convinced that they were real and told the dreamer so, until the dreamer woke up. There was one person who asked if I had met the dreamwalker myself. Alas, my dreams are not this romantic and straightforward.

But all of us can hold hands, nod at each other, united by one universally true statement: big eldritch lady hot.

There's a lot of little bits I can talk about, like how Rose's dress is actively modeled after selkie dresses because I think they're cute, or some other trials and tribulations. But I think I've finished all I have had to say. I hope you enjoyed this and will stick around for my future projects! I definitely want to explore more short stories in the next year, especially as I am illustrating big graphic novels for my day job and don't have the time or energy for huge projects.

Till then, thank you so much! Happy holidays and have a good new year!

[ninesolsyapper]

Nuwa gameplay sounds just painful as a concept and her picture here sells that well. A literal wet cat.

Nine Sols the Guitar Hero edition? So like, instead of getting to use talismans, Nuwa would use up Qi on signing melodies on her flute for various effects. Maybe to not break the flow of the game, do it more like Keylocker combat than Guitar Hero; you need to hit a single button as close as possible to the climax of the melody as possible to maximize the effects.

You got me interested on the topic of Eigong swaps.

Eigong -> Lady E? - The crazy old lady went full off the deep end after her failure to find the cure and, instead of tinkering with mutants, she lost herself in a dreamscape where it's all over and she already cured Tianhuo. On one hand very out of character for Eigong but on the other hand maybe that could be a plus? A character-building moment for Nuwa, she sees one of the most driven people she knows completely losing it, hiding from her failures and burdens in denial. So she maybe truly understands how destructive denial can get on this example...

After Nuwa beats her up in with snazzy times, Eigong maybe will actually wake up? She could be brought back more to her senses though realistically positively devoured by shame and suicidial thoughts. Goumang and Nuwa both probably being pissed with her would not help.

Ok so...

Yanlao -> Eigong (fells like a more fitting big bad for Nuwa's skill level tbh) - The haunting fear of Tianhuo is on the mind of every Solarian alive, but none were terified of it more than Yanlao. After a long stretch of no progress on Tianhuo research, he broke into Eigong's lab and obsesssively poured over all the research, even if he didn't understand most of it. It led him to inject himself with the faulty Tianhuo serum.

For him it seemed to work, the pain of Tianhuo softening, receding, going numb. His mind clearing of worries and anxiety over his imminent death, replacing with a single minded desire to share this wonderful cure not only to Tianhuo but to death itself with all on New Kunlun.

Jiequan -> Eigong; Turning Nine Sols more into a clasic game story of beating up the wannabe evil overlord who wants to conquer the world? At least at first, with a non-twist of a mutant Tianhuo still being behind the doors with him. Jiequan basically takes a more pro-active stance on his plan to eventually bring back Jie Kingdom and actively brings in a large group of Jie loyalists to quietly take over New Kunlun. Though to preserve the game's climate, Nuwa's journey could have been after this plan failed. The Jie loyalists fought a war across the ship with the Dusk Guardians and both sides took heavy casualties. Thus Jiequan had the research on Tianhuo mutation stolen and released on the Dusk Guardians as biological warfare. After the mutated Dusk Guardians turned out way harder to defeat, he started mutating his own supporters to fight better. Possibly he then followed up by thinking that mutant Tianhuo is the true way forward to restore Jie.

Ok, not related to Eigong and I see that the swap is already covered but I got the idea...

Jiequan -> Yanlao - Jiequan channels his adoration for his ancestors into being a history nerd instead of wanting to personally restore the Jie Kingdom. Instead of challenging her for a fight, he makes Nuwa watch his 18 hour long video series on the history of an obscure model of Jie military gear and quizzing her on it. THEN he challenges her to a fight for his Sol seal, once she proves herself diligent by actually listening through all that. He is a historian rather than a warrior but he's a historian of the Jie Clan goddamit.

Hello and welcome to my weird ass nine sols au

I’m calling it the Shuffled Sols au! The lineup is as follows:

Nuwa —> Yi

Fuxi —> Heng

Ji —> Yanlao

Lady Ethereal —> Jiequan (shoutout to @aceass1n for joking about that and spawning this ENTIRE au)

Jietong —> Lear

Goumang —> Kuafu

I haven’t actually decided who Eigong swaps with, if she swaps at all! It would be incredibly funny if she stayed the same and NUWA of all people beats her. Goofy as fuck.

Yi is aware that Heng is dead. He’s just trying to bring her back. Also Heng did not consent to joining him on New Kunlun, but Yi brought her along anyway.

Fuxi stayed behind voluntarily. He didn’t want Nuwa to watch him die.

Join Nuwa on her journey of self-discovery and learning independence! Watch her fumble hard bc she’s a non-combatant! Come see my girl fail at almost everything!!

We also have YAOI. And YURI.

[lovely080222]

Arcane Season 2

Lately, I've seen a lot of content creators and people online reacting and talking about Arcane season 2 in a negative way, to the point where they say that the season was trash. And honestly it makes me mad. If the ending of the story, or the story itself wasn't your cup of tea, is okay. Media enjoyment and appreciation is subjective, however, we can all be objective when it comes to the actual content of said media...and that is what has me so disappointed on their takes, because their reviews (that I came across with) are flat out lacked on media literacy and did not entirely understand the source material they were reviewing.

Let's start with the character arcs...in my honest opinion. THEY WERE GOOD. ALL OF THEM. I feel like a lot of people are exaggerating when it came to the arcs (especially Vi, Jinx and Caitlyn's) saying that they were not developed enough like in the first season, but I disagree. Most of their arcs for season 2 were HEAVLY hinted and foreshadowed in season 1, mostly Jinx's and Cait's.

One of the arc that gets more hate is Vi's, and is because of the s3x scene of season 2 episode 8 and the finale of season 2 episode 9, and overall season 1. As well as her forgiveness towards Caitlyn and how she acted selfishly in that episode. However, they don't take into account 2 things: 1. Vi is heartbroken (for what it feels the 30th time in both seasons) because Jinx/Powder tears and rejects Vi's help and unconditional love (Vi's fatal flaw is not knowing when to drop the towel, and establishing boundaries for herself, believe me, I learned that THE HARD WAY ) .

2. Vi and Caitlyn might not have enough time to talk about their feelings as deeply as they would've liked (a literal WAR is coming) so, they did it in the most raw and truthful form of love language, touch and eyes. No words, they weren't needed either.

Don't blame her for doing what it felt right in the moment, also let's be real here. Jinx gave her consent, and decided to leave Vi (Vi doesn't know the context, we do), for her sibling's benefit and love for her, because it hurts to Jinx that Vi is not taking care of herself and not pursuing what she truly wants, which is Caitlyn.

Was it in the worst moment of Jinx deteriorating mind? Yes. Was it out of place?...Maybe. But, was it necessary for the plot? OBVIOUSLY.

The s3x scene holds and magnifies the arcs of the couple and their vulnerability (Vi taking the leap and show her feelings, and Caitlyn responding and being truthful of hers). There are videos that explain the importance and the weight that holds in the arcs of Caitlyn and Violet, way in depth and detailed. They all point out the symbols and meanings of their gestures, which are wonderful. And ties together their bond and their strengths. As a younger sibling, strangely enough, I connect with Vi more than Jinx. That is because of the parental and family expectations that they have on me. I had to take a role of being the caretaker since "I'm more mentally stable". So I understand why Vi is the way she is.

Therefore, I understand and relate to Vi wanting to be selfish for once, without feeling guilty about it later. Not having regrets.

I recently rewatched both seasons and I have to say, it all played out perfectly, including the finale. And it payed off to all the build up in season 1, because of the foreshadows and plot devices used in both seasons to tell the story. The plot points and story arcs were very good, especially since they all connected to the main theme, which is forgiveness. Where do you draw the line in where there is nothing left to forgive or how far are you willing to do so. The plots truly showcased what is Arcane (narratively and character) and how does storytelling (mostly subtext, non-verbal and visual ) actually work. The way the writers handled it was MAGNIFICENT and TRAGIC. Which serves right for the story they conveyed in the series.

I think, one of the reasons that this season was received poorly (compared to season 1) is due to the already constructed ending and story lines that we might have thought of. Which might have more things or less than the main series but it was something to cling on before the premiere of the last season. And because of it, they judge it extremely and harshly without actually taking into account what the story was actually about. Would it have benefited of more episodes? No. Would it have benefited of more runtime? in some things, yes but at the same time, i don't mind it and I believe that it is good. Would it have been better if there was another season to wrap up the story? Definitely not. That is due to the story being pretty much a solid story with a few strong undertones that have unfolded before its finale. I LOVE Arcane, and I would watch it again and again (both seasons). I think, it is one of the biggest series of all time and also the most compelling one in modern media). This final season brought me to tears and this hollow feeling in my chest yet satisfied by the way it ended the main journey of Runeterra, and opened to many more.

Also controversial opinion, but I like season 2 a lot more than season 1. And that is because, I love the development of it (the show of progression and how it embraces the themes showed on the series)

BTW, THE MUSIC SLAPS. BEST OST HANDS DOWN MIC DROP!!!!!!

(P.S. As an english literature major, I might have more insight on this but don't be afraid to disagree/agree in the comments)

I want to know how y'all felt and if you want to ask me something or debate this, you're free to do so. I hope I can create a save space for all types of convos about this show.

love,

~lovely References:

https://youtu.be/dRvgb_CB9Ss?si=rQGmpPAYL5XrDR1u https://youtu.be/LZ6szm2fmB4?si=k7l-OuE018PpctjM https://youtu.be/0nhTS9-P7eQ?si=MkMntcyQZTHPzgYZ https://youtu.be/l0-We7fyCaQ?si=aP-fhcWxSspphBT-https://youtu.be/sIJEQjMqiNA?si=xF8rt77LKAG0Kpp6 https://youtu.be/NtDGwZxQyio?si=ZTKq1E2VetcXkyis https://youtu.be/30zVFfziBuk?si=AQpE6cntutdQvBfz https://youtu.be/9Lro6HmaWiA?si=PxPq4U8s138nlHw4. https://youtu.be/W3cNewkYB8o?si=LsyGnzC3iaMpr7K1 https://youtu.be/nD9cNowdBQg?si=jxqwX1tmuunnZpHi

[leejeann]

Pls tell me/us about your Cinderella Boy AU úwù

Oh hi Anon, I am SO GLAD YOU ASKED :D. I was literally working on it when I got this ask, very nice timing, friend

(i will, uh, try not to make this an excessive amount of paragraphs but bare with me, I'm a yapper).

So, tl;dr Cinderella Boy College AU babyyyy. Chase is a first year music theater major (he started a year late), and Buddy is a second year creative writing major.

(I don't actually remember if they're canonically the same age, but they are in this)

(also Deacon is here too, he's just over in med school but him and Chase hang out on weekends)

They meet through an Intro to Literature class that Buddy takes for his major and Chase regrets choosing as an elective credit. Eventually Chase has to accept that he Sucks So Bad at literary analysis and really doesn't want to fail a course in his first semester of college, so he reluctantly asks mr writing major to help him. Buddy agrees, with the trade off being that he's writing an anthology of short stories for a future capstone project and Chase has to read them and give feedback.

(Buddy says it's because he's aiming for a younger audience with some of the stories and if an idiot like Chase can understand them so can a kid. Secretly he just....doesn't have anyone else to ask and kind of just really wants someone else to read them so he saw the opportunity and took it. But you didn't hear that from me!).

They agree to those terms and off we go! Shenanigans and angst and rivals-to-lovers nonsense (my beloved) ensues!

Aaaand because i have little self control when I'm excited about an idea but no one irl who knows what the hell a cinderella boy is to talk about it with: a much longer explanation of the exposition is below the cut!

OKAY SO BASICALLY I had this funny idea the other day of a college AU where like the Intro to Lit class is an in-person/online hybrid, i.e., all the lectures and materials are posted online so people can enrolled in it as either an online or in-person class. Chase takes it in-person while Buddy couldn't fit the timeslot into his schedule and takes it online.

And like any basic college course, it has *drumroll* Online Discussion Posts! Objectively one of the most tedious assignments in any college class, and this class does 2-3 a week. This professor decided to try a Fun New thing this year, where all the posts and replies are anonymous to the students (he can still see them so he knows who did the assignment, obvs). Something, something, he wants to promote discussions between classmates instead of people just only ever replying to their friends or something. Chase wants to keep up his Branding™ and sign off his posts with his little tagline, but after the first post his professor says that "defeats the whole purpose" and "looks unprofessional." Chase signs off with a little star instead, which the professor reluctantly lets him do. (A few other students actually start doing it to with their own little symbols or emojis.)

Two weeks into classes and Chase is being DRIVEN INSANE by these discussion posts. No, no, not by the monotony of them. No, not by his lack of skill with literary analysis. Rather, there's one student in particular who just keeps replying to his discussion posts specifically and ALWAYS seems to have something to disagree with. And they're so pretentious about it. Chase knows it's always the same person because no one else in this mostly-just-an-elective-credit class is using words like "insufferable" and "colloquialism" and "alas" in a discussion post.

Something something, Chase does some sleuthing and figures out it must be one of the online students, which is annoying because he has no way to figure out who they are so he can tell them to lay off and chill the hell out. Until! Midterms roll around and some random new guy is just in the class for the test. Oh, it's just an online student who didn't want to deal with one of those stupid virtual proctor websites, and since he lives on campus anyway he asked if he could just take it in-person. Yeah, that's fair. But then the new guy says something (idk what yet) and the phrasing of it makes it click in Chase's head that Oh my god that HAS to be Buddy holy shit

(sidenote, in this story the name "Buddy" comes from Chase ranting to Deacon about the random anon student and sarcastically calling them Buddy as a joke. But then that nickname just sticks because when you're pissed off and ranting "Buddy" is so much faster to say that "that anonymous asshole from my intro to lit class" ya know? So like, save for Chase saying it in an angry reply to the anon student once or twice, he hasn't directly called Buddy, Buddy before until like he confronts him after midterms).

I haven't quite figured out the interim of how they go from "Oh my god that's the annoying anonymous dude" and Buddy not even realizing Chase is the Star-kid (.....ha) in those discussion posts–

((sidenote 2, electric boogaloo, the reason Buddy is so snarky on the discussion posts is because, naturally, he thinks literature is Very Important and that it's annoying how obvious it is that most of this class is just taking it as an elective so they aren't putting in any real effort to learning anything. The discussion posts are all literary analysis on short passages and his classmates do, like, the bare minimum for it. He doesn't just respond to Chase's posts in a snarky tone, but most of the students fully ignore his responses and do not improve and he decides they're a lost cause. Chase is also a lost cause, but sometimes Chase argues back and okay fine Buddy has to admit that's kind of entertaining. So Buddy always makes sure to respond to the one with the stupid little star at the bottom. As a treat))

–and to them being like, civil enough that Chase finally caves and asks Buddy to tutor him, but eventually they get there. And that's how we get to the rest of that tl;dr! Chase asks for help in class, Buddy agrees as long as Chase helps him with his creative writing projects, they start meeting up to work on classwork regularly and once a week or so Buddy brings a print-out of another short story for Chase to take with him after. And Chase does his best to return it with some amount of helpful annotations.

(I totally forgot until after I came up with that idea, but I actually kind of did that once in college. Except I wasn't a creative writing major, one of my good friends was. I was entering a short story in a competition once so I gave him a printed copy of it and he gave it back a few days later covered in annotations lol)

And I DO plan to include Buddy's short stories as their own things! I have a few ideas for them already, basically I'm going to write a few original short stories that I can insert as their own little in-between chapters whenever Buddy gives Chase a new one to read. They'd probably be posted at the same time as either the chapter before or chapter after it, depending on which chapter would make more sense to pair it with narratively.

I think the first will be some parody of Cinderella, because duh. But like less of a "Cinderella, but in a new setting" thing and more like from the pov of a totally different character, where the actual Cinderella plot is lowkey almost just in the background. Idk it seems fun and like something Creative-Writing-Major-Buddy would write. Or maybe I'm projecting because I just think it sounds fun to write. Or maybe both!

One specifically that's a minorly pivotal moment for them is actually just a short-story-ified version of a poem I wrote years ago, and the moment in the story is basically just Buddy felt it was an optimistic story, whereas Chase felt like it was really sad, and both are incredibly thrown off by the dissonance that realization creates.

Which is also kind of from personal experience actually! Small tangent, but that happened with the poem back when I first wrote it too. To me, it was a melancholy but overall optimistic poem about life. I shared it with some people and seemingly all of them thought it felt sad and almost hopeless. I was SO thrown off! Because I really felt like it was hopeful, not hopeless, but it felt like I was the only person who saw it like that. As silly as it sounds, that (plus a couple other personal reasons) made me struggle with writing anything for a long time because I was a little afraid of feeling so isolated by my own work again.

(In hindsight, I can see how it came across like that to them. It still remains one of my favorites that I've written though. I actually completely rewrote it to enter in a contest just a few months ago! The newer version is much better, and I think actually gets across the intended mood a lot more)

*ahem* So, uh, anyway! I amp all that up a bit in the story for the sake of ~drama~ of course, but that's where the general idea for that scene comes from. I've already written the scene actually! I just don't know how far into the story it'll happen yet.

I'm also still on the fence about how to include the keyple we know about in canon. I can't decide if I want to just make them like other students and/or friends who appear in the story, or if I just want to like really allude to them. Leave references in the stories Buddy writes or classwork they do or stuff like that, etc.

And I'm also-also on the fence about if I should give Buddy a fake name for sake of the plot. If I do, I'm definitely going to swap it for his real name once that's properly revealed. On one hand, being in a college setting it would make a lot more sense for Chase to find out his actual name early on, even if he still calls him Buddy to be annoying. But on the other hand, Buddy totally would refuse to tell Chase his name, also to be annoying, if doing that annoys Chase more than the nickname annoys him. But on a secret, third hand, it feels so weird to give Buddy a fake name lol. Like even if I wasn't a fast-passer I think it'd still feel weird.

Then again, depending on how slow I end up writing this, the free episodes might catch up to fast pass before I even need to worry about that and I can just use his actual name from the get-go.

Phew! That sure was fun to talk about! *scrolls back through this post* oh yikes, uh, well you asked for it anon! If you actually read this far down, thank you, bless, I warned you that I yap but I appreciate your fortitude very much lol

I have no idea when I'll start posting the fic bc I worry about like getting through a couple chapters, posting them immediately, then losing steam and just....dropping it or taking forever to update after. So I want to get at least a few chapters written before I start posting any, ya know? But I've been wanting to get back into creative writing for a LONG time so I'm really going to try to stick with it! Just, bare with me if it takes a while lol

[twojamie-o-clock]

Thinking about how twojamie is literally perfect for time lord touch telepathy & why the trope is so addicting with them…

like both the Doctor & Jamie having a language barrier of some sort wherever their presence is key during the show—for Jamie, we know in early days TARDIS the translation matrix isn’t really addressed (mind I haven’t seen past Pertwee in classic so if this is discussed I’m not aware of it yet lol) shown in the underwater menace, when they try different languages on the Atlanteans—

and obviously when Jamie is returned home he will face the consequences of the rebellion which will inhibit language again. I think this sets him apart from other companions I’ve met so far since - though not really acknowledged - he always has to speak in his second language & of course is already isolated more than other non contemporary companions because as someone from the past he travels with people in his future, always — like in “The Roundheads” we get a glimpse of how isolated he feels from Ben/Polly in his early days, not just for being the new companion but for being from their distant past, and how he struggles to keep up with them (although interestingly not because they have some closer bond with the Doctor as “senior companions” which you see in like every other companion overlap hshhdkfkal)—

(And not completely off topic, but at Chicago TARDIS Hines mentioned how he was very much isolated on set & that Anneke/Michael were not really pleased to have him at the start - just the addition of a new companion nicking their lines & whatnot - especially since some plans toward the Faceless Ones involved booting Craze while Hines filled his role as token male companion so (taken from 1967 Chronicle included interview with Anneke) that probably bled into the acting/eu a teeny bit even if we all still get the strong familial impression from that crew since Polly as a character is so warming with 2 and Jamie; Polly/Ben’s superstitions combined with Jamie’s general exploration of the sci-fi world that is indistinguishable from magic — most prominently “Something At The Door” — is a really fun way to see how their divisions & complete differences overlap into the same shape but I can’t talk about that here lol).

Of course this kind of language/communicating in general ostracization persists (mildly) with Zoe-era since a huge rock in the TARDIS dynamic is Jamie’s even more apparent lack of understanding with the hard sci-fi shenanigans they encounter (the biggest examples being the Dominators/The Krotons/The Edge but that’s another conversation I think I’m getting distracted lmao)

Going back to literal language while this might be a stretch, at least in e.u. media Jamie’s biggest goal with Victoria regarding language is actually learning how to read & write, something he started sooner (when he reads in Evil of the Daleks) but for sure spent much time learning with her until the Doctor inevitably finished teaching him afterwards, as shown in “story of extinction” & “the dark path” & “the lost” and his literacy in web of fear/the mind robber/the story of extinction itself at the end. So these encounters whether verbal or written always involve others, and it’s with those others that he faces those barriers. (I swear there’s a point to this..)

At the same time, the Doctor has always had this disconnect from companions literally with Gallifreyan & obv w/ culture.

And going off of “The Christmas Invasion,” the translation matrix is linked to the Doctor (again if other media between 4-8 or EU discusses this pls lmk lol):

and you could debate the connection between the TARDIS, the Doctor, the circuit, and the choices made in translation but regardless it enforces the shortcomings of verbal communication whether or not by their own design.

So of course if two characters who interact have for the most part been failed by verbal communication they would probably find another way to understand each other. Like. Say. Touch. Let’s pretend that leads into the point about touch as their natural communication pre/sans telepathy. I’m not going to insert every picture of twojamie because if you read this far you probably already have those in your gallery.

I can’t talk about them leaning into one another because of upbringings and circumstance and timing bc this would never end 😭 but point is if they both struggle to express themselves through language then of course when they care about one another and want to express that, the faulty route is not going to be the one they take. They confide in one another through touch and when they feel like they can’t or don’t want to connect, touch is the first thing to go —

& of course this doesn’t last long (just like the silent treatment,, because that’s what this is on some level beyond this uncomfortable betrayal and jarring moment after so much time growing to trust each other & the sudden change of losing Ben/Polly & it’s just us now added to EOTD - ‘I’m not ready to hear your excuses until I’ve been heard’ bc the communication of intent was so key here as well as ensuing actions….gah) because only moments later Jamie initiates touch:

Which is. At the apparent threat. Of course. And which is also just Hines & Troughton. But over thinking it is cool. haha. 💀💀💀 im losing my mind.

The Doctor is of course always a bit disjointed at the beginning but especially since so much of 1’s development is just learning to interact with & respect human beings, 2 has all of that progress behind her and now applies it. With a new body and companions who don’t quite understand how she fits into it. And then there is Jamie who is just as new. So. I think we’ve all already looked at that sort of shared isolation in their own worlds pre-meeting one another and even on the TARDIS. The Doctor leaving Gallifrey obviously, and then the many, many hints in eu/tv that suggest Jamie feels like he has deserted(his attitude through the Roundheads/twg/slave war I guess……and like yeah deserting has the consequences of. Violent Things. But it’s also def an offense to faith/loyalty being challenged when that’s so key to all his decisions pre/during/post-TARDIS), at least until he’s sort of disillusioned by the Glorious Revolution. That they both literally cannot communicate in their first language with the four people they spend a majority of their time with certainly helps the case that not only has language always been an awkward barrier for them but now more than ever for each other.

Two & Jamie being so tactile they come full circle and just ,,, don’t/can’t communicate verbally is so interesting. (I wrote this ramble when I was trying to write a fic LMAO and the touching comes so naturally but getting any dialogue out of them (that isn’t an argument) is. like chewing tinfoil. And maybe that’s a skill issue on my part but still.)

Squinting through aroace touch-starved goggles (what is fandom if not projecting) it’s neat how this ease with physical affection but awkwardness with verbal defines them as a companion/Doctor duo while also setting them apart from the rest? I don’t think the Doctor will ever be tactful in verbal communication and this lack obv intentionally peaks with 13(thirteenjamie rant coming later jshdjsks) but it doesn’t feel like isolation between Two & Jamie the way it does when they interact with others at times because touch is easier for them. I feel like it’s always addressed as “they don’t need to communicate verbally because they are so comfortable in each other’s skins” but then you see how they read each other so well yet struggle to express it verbally—like they just can’t express it verbally so it has to come out through touch.

Not that it has to be a failure or anything — they have their moments in conversation, too—

(The Dark Path^) but that it’s typically painful and awkward for them. So it hits you in the face since intense discussions always seem to be miscommunications and this hurt of not being able to touch (as most of their arguments appear…aghhhhh) The best examples I can pull are from “That Which Went Away” (I have another ramble coming about this short trip bc it changed my brain chemistry,, AITHAJTNWJA okay,,,) where Two senses Jamie’s comfort around the thanes and thinks he’s going to leave them, but when this conversation gets dragged into the air it just reads like any fic discussions between them do - it hurts.

Aughhh idk I think that’s why no matter how much I enjoy reading fics (this like..extends to eu/bigfinish especially short trips bc those 2k word gems are synonymous with ao3 posting regardless of blurry DW canon non-canon) all these sort of healthy discussions (I buy into this too like I cannot write twojamie to save my life but it’s a process lmfao) will always feel the tiniest inch away from The Characterization Ever because. Without dialogue it would be pretty hard to write LOL and so when that’s used to convey what otherwise is just sooooo done through touch it is awkward. And - in published media or not - when it has to come out through words it’s painful.

While we obviously represent telepathic communication with words it’s nice to see it as way more abstract because we don’t think in clear sentences all the time (we don’t. right. like this isn’t my pea brain being a pea brain) so allowing for a deeper connection that also involves touch is the Thing Ever for them. Pulling from published media so I don’t sound crazy again, all stories that hammer in how close & understanding they are of one another use this, the ease of stepping into one another, even if they don’t always involve touch — “The Jigsaw War” for example. (Which would have been cool for like a s6b line where Jamie’s given forged memories of Zoe instead of Victoria, or if Zoe just actively participated in it anyway, like the questioning about the Doctor working for others…but Alr yapped abt that here lmao) so.

What communication allows for this clear ‘discussion’ without actual words while in pristine touch hdhsjslal I wonder. I wonder. This piece of the Doctor’s biology & culture being shared with Jamie is another level entirely of the trust between them of course but that it combined their method of communication with something personal & so so much more functional is why it’s so AHHH. Especially since trust is faith without knowing & the Doctor so often conceals their past, the exposure in s6b is extreme. Honesty (lack thereof) is usually what inhibits them, and once Two loses all control over hiding parts of themself in s6b another aspect like Time Lord telepathy follows readily. (Given that 2 audios concerning this are set in s6b, and another one is very very suited to s6b)

I won’t spoil “The Green Man” 2DA but it does center on touch telepathy and even without the approved telepathy the touch remains in the following audio “the shroud” as much as it can in the beginning.

So time lord telepathy not only resolves this barrier they could feel w/ others & thus each other but also includes their preferred communication & a piece of the Doctor which not many others might be privy to hdhfjsk. It’s a level of proximity that touch & words can’t provide and im. hhhhh. So. Twojamie touch telepathy!!! It was made for them!! And that’s why we eat it up every time. Or we’re just simple creatures.

Okay. That was absolutely pointless.

Just noting — I took a lot of these examples/ideas to the extreme to make a point & they’re definitely more subtle but I cannot. Pick those up well. Without exaggerating. So I don’t think they faced complete isolation or completely different verbal communication etc nothing will be black and white (lol) but I kinda did that here to make my brain jumble seem a bit clearer.

If I think of more examples/ideas to add I’ll just rb with them but lmk your thoughts

*

Stuff referenced, in case you were interested -

The Roundheads by Mark Gatiss | The Dark Path by David A McIntee | The Jigsaw War/The Edge - companion chronicles | The Green Man/The Shroud - part of the “James Robert McCrimmon” Second Doctor Adventures (I have beef w p1 but the rest r a fun listen) | Something At The Door - Tales of Terror short story | That Which Went Away - short trip from “seven deadly sins” it’s probably my favorite Jamie/Zoe/Two short story I think about it four times an hour | The Slave War - “the quality of leadership” short trip | 1967 Chronicle - modern v of the DW annuals with some quotes from Anneke Wills

[vi-arcanes-left-biceps]

Yeah it's the inability to understand characters changing or the complex nature of humans. They need a character to stick to their archetype -if they move from that, then it's "bad writting" instead of understanding that characters can change.

If they need the hero to be a morally perfect example throughout the story in order to understand them/root for them, I'm afraid these folks should stick to shows for todlers, but hell, even in shows like that there are complex heroes. And not all protagonists are heroes nor they need to be. An animation show for teenagers and adults is not meant to teach you basic morals with perfectly heroic characters, it is not Dora the Explorer.

And some here love to use political words to criticise Arcane (and Caitlyn in particular) as if they are knowledgeable and committed, but I'm sorry, with this level of understanding of narrative, characterization and actual politics they would be the first to be manipulated into hell by Ambessa because they'd be unable to understand ANY sort of propaganda. First lesson to not fall into populist discourse is developing basic critical thinking skills and understanding people are more than just good or evil.

Also, I can see an issue with projection but that I'd link it with the Vi criticism that I've seen around. Many people are just sooo angry that she became an enforcer for two episodes and keep saying "other characters would not forgiver her ever" blah blah. Fictional characters are not real, they are not your friends and they are not meant for you to project either your person or a whole other person onto them. If a cartoon drawing you identify with does something you would not do, that doesn't mean they are poorly written. They are not you. They are chess pieces used to tell a story that is not your story, they are not betraying you, for the love of god.

I'm glad you're not judging charls, but I'm afraid I am, every day I see more and stupider takes about these two characters, and I need these people to stand up or go watch cocomelon 😭

So... I wanted to write about the Caitlyn hate train because it's flooding my twt.

First I'd like to start by saying that you're entitled to dislike a character. Arcane is a work of art, but it's also just cartoons -whatever, just hate the cartoon character. I don't even like Caitlyn that much, mostly I find her arc very compelling.

But. The amount of hate and the shape it takes, for me, is very clearly influenced by a few factors.

With Caitlyn I feel like half of the folks are just regurgitating discourse they read before and try to earn internet morality/politics points while very much forgetting to touch grass. There is no"I don't like her", there is a sense of rightgeousness in disliking her that doesn't make much sense. "She's literally Hitler!" Please think. There are real life fascists and nazis over here. This is a cartoon who's the bad guy for like four and a half episodes.

There are interesting conversations to have about how Caitlyn's actions mirror real life oppression, as many also point out as a reason to hate her. It's fair that you dislike her those actions, to be honest. But 1) stories are not made to be morally perfect but to explore themes and emotions -characters will do bad, even evil things; 2) critical consumption of media exists; 3) using political language to hate on a fictional character with no real political critique/analysis behind makes me think you don't really believe that much what you're saying & you just want to use buzzwords you learned on the internet.

Takes like this are tinted with some sort of attempt to a moral high ground for disliking a fictional character for political reasons, while simultaneously refusing to understand the narrative of the character and think critically about what it is trying to say about real world politics.

To analyse a story you have to engage with it. See what it wants to tell you. See how it does it. See how it fails. You can dislike Caitlyn and tbh disliking her because of her role in the story is more than fair. But that doesn't equal media analysis. And I'm sorry but not liking a character doesn't make you more politically committed than the rest.

There are so many interesting things to say about Arcane's flawed portrayal of politics. How it uses the aesthetics of oppression to tell a story without deeply analysing the oppression itself within the narrative, how the context in which it was created and the beliefs held by its authors afect the portrayal of themes... Among all these, "Caitlyn is evil and irredeemable because we saw a montage of her and Vi doing police violence" is a very superficial take. Please, please, pleeease analyse those montages frame by frame and discuss how they showcase police violence, what bias they have, what purpose it serves. Analyse how it takes from real life events in a way that is insensitive. I'd love it sooo much to see posts like this.

On the other side, I've seen people say both that say Caitlyn is evil because of the acts she commits and then say that Silco is a revolutionaire. What? Silco WAS a revolutionaire, and he still had a motivation to make Zaun free, but his motivations do not match his actions and that's pretty obvious. "Sometimes revolution requires violent resistance" = "Silco is a revolution hero" showcases a very shallow level understanding of the first phrase there. Silco flooded the streets of Zaun with drugs. The Firelights were born out of willingness to defend zaunites from Silco and Jinx. Silco did not do violent resistance against Piltover, not since the rebellion he had led with Vander. He tried to invent shimmer as a weapon to fight again and the only thing he managed is to make many people misserable and dependent on it -and he didn't care. His character and his actions are quite more complicated than "he's doing everything for revolution"; but again, another character reduced to a catchphrase that fails to actually engage with his story. Only difference between these people's opinions on Silco and Caitlyn is that Silco's character has the word "revolution" near in the script and Caitlyn's script includes "cop".

Another thing is, why hate Caitlyn so much and not say a single thing about Ambessa? I can think of a few reasons but I'll summarise like this:

1) Not being aware that Ambessa is always the one calling the shots here even if Caitlyn is given the title of Commander. Even though the show is very much making this clear.

2) Because Caitlyn gets a redemption and Ambessa gets "punished" aka is a villain and dies. As if humans where not more complex than good and evil.

3) Caitlyn's more popular than Ambessa I guess? It's always more fun to hate on the popular character. Also she's a main character so she'd obviously get more more attention.

3) Some people just want women to be perfectly moral all the time, and in wlw relationships even more. I didn't want to bring up fandom misoginy & lesbophobia but I can tell if it was Jayce having her narrative and redemption the discourse would be quite different.

Anyway. Acab and long live critical thinking. I guess I just want to say please send some nuanced Caitlyn takes my way because I'd really love to read those.