#good luck for your writing!

[karalovesallthegirls]

Also have another “first words spoken to you are on your skin” soulmate AU idea where Kara is a journalist assigned to shadow the controversial CEO of L-Corp for the day. It’s a big deal for her to get this assignment, so of course she trips the second she’s near the other woman and tries awkwardly to redeem herself.

The CEO stares at her almost in shock, and then says nothing. At all. Ever, for the entire day.

Kara spends hours following Lena Luthor around trying to fill the silence, but no amount of questions get her to talk. Lena almost seems to be running away at some points - like she’s trying to lose her? - and the few times she’s managed to catch her actually talking to someone she goes silent the second she sees Kara.

She asks around if Miss Luthor is usually like this and everyone looks at her like she’s crazy. Apparently she’s the only one who gets the silent treatment. By the end of her first day shadowing she’s walking away with half a page of observations and not a single quote. Miss Grant is going to kill her.

But that’s okay. It’s fine, this isn’t over. She has four days of shadowing ahead of her and she’ll be damned if she doesn’t finish this with a quote from the woman herself. It’s only a matter of time.

[sualne]

have some trans swan lake barbies

[rubyceleste]

spare carcar thought to get me through finals week?

screw a carcar thought, get a carcar ficlet

oscar/carlos prompt: truth or dare

It’s fucking stupid.

He’s the only one sober enough to think so, he knows, so his ‘Aren’t we a bit old for that ?’ falls on deaf ears, safe for Lando’s who just elbows him and calls him a killjoy. So he shuts up and forces himself to stick around and bear the sight of Max having to drink a shot of tequila out of his teammate’s navel. 

Mark told him to make an effort, so he’s trying but fuck he doesn’t know for how long if that means it ends like that every single time. He takes a swig of his beer, tries to feel a spark of excitement at the energy around him. 

It’s been a bit tough lately. He’s been told to lighten up more times than he can recall, and something is parching. Something is stuck in the crevices of his planned-out days, wound tightly together, sandpapered smooth. 

He thought, maybe, dragging himself to the life of the party would make it better. Instead, he feels like a kid who hates his own birthday, forcing a smile for the picture, only thinking about the moment he’s allowed to remove the sad looking birthday hat digging lines into his face. Out of place. Ungrateful. And it won’t get better until he finds it. What’s missing.

Surprisingly, something else finds him. Brown, wide, panicked eyes. It’s ridiculous how huge they are. 

He doesn’t have the time to inquire about why Sainz looks like a fawn about to be run over, before he feels Jack nudging his shoulder.

“Pucker up, Piastri.”

What ? 

“What ?” He quirks an eyebrow up, takes another sip.

“Sainz just got dared to kiss you.” He suddenly gets closer. His breath reeks of whiskey, and his eyes are so bloodshot, Oscar’s concerned he might pop a vessel. “On the mouth.”

As, he was saying, fucking stupid. Especially because he knew it’d end up with them deciding to totally erase the ‘truth’ out of ‘truth and dare’ just to dare stupid shit like this. Especially because he knew he’d be dragged into it. Even worse, dragged into it with the one guy on the grid he’s unable to have regular human interactions with.

Yes hello Carlos, fist bump ? Oh no, thumbs-up okay- wait, shit, fist bump still ? Okay- uh alright, why thumbs up again ? Oh you know what fuck off. I mean thanks, bye. Whatever. 

The guy doesn’t even seem keen on it, all wide-eyed, terrified void-sucking orbs that he’s seen casted at him more times than he’d like to remember. Glued to his seat, fingers tightly clutching his jeans. Painting a picture of sheer enthusiasm.

He feels eyes on him. He sighs, puts his bottle down on the table, decides to take a head-first dive into uncharted territories. Carlos’ eyes somehow find the space to widen. 

“What, I need to get up too ?” He says. Proceeds to ignore the catcalls, the barking, the fists slammed on whatever surface they reach. Bunch of animals.

It doesn’t seem to make things easier on Carlos, who walks towards him with a reticence that doesn’t resemble him. Still his gaze is locked into his. Frightened, but determined. Preyed on, but tempted. 

Carlos is good-looking. He doesn’t only notice it now that he’s standing right in front of him. He’s seen it a bunch of times, for a bunch of years. In the paddock, on a screen, face to face, in dreams. Beautiful. Hair a bit tousled from nightly effusions, pretentious monogrammed shirt sliding off his collarbone.

So sure, what the hell.

Oscar has both his arms perched behind him on the couch, doesn’t move an inch, but still, the invitation couldn’t be clearer.

Carlos stays idly for a second, and then he bends towards Oscar. Slow, steadying his every movement as though he was standing on ice, risking a clean break underneath his feet. Oscar wants it to melt so he falls, hard. 

He tilts his head to the side, inciting Carlos to go a bit faster. It spurs him on for a fleeting moment, his lips coming to brush upon his. But it’s still. Still not. Oscar clicks his tongue, uses one of his hands to grip Carlos’ hip and goes for it. 

He doesn’t expect the wave of new knowledge that comes with it. Like a craving he didn’t realise could satiate any appetite. Carlos smells like expensive cologne, laundry and midnight sweat. Tastes like mint, and coffee from the espresso martini he got earlier tonight. Bitter sugar fresh.

More.

His tongue slides on his bottom lip, asks for permission to breach. Granted instantly. Fucking hell. Carlos makes this noise at the back of his throat, it makes his own mouth vibrate. He wants to see what it feels like when it resonates all over. Try to kiss him blue. 

The angle is a bit awkward. Both his hands grasp at the arch of his waist, dig deep, until Carlos gets the hint, and settles on his lap, on him, all over him. Carlos brings a tentative hand behind his head, fingers coming to clench at his hair, and he kisses back until hesitation becomes urgency.

When they pull away for air, they share a look. At the sight of him, Oscar feels his batteries recharge entirely.

A puzzle piece falls into place, elicits electricity on every inch of his skin. 

Ah. Found it.

[fisheito]

is he a wise mentor or just jealous

[starry-bi-sky]

pouring one out for luo binghe in my disciple SQQ fic, poor guy has taken a backseat here. we're nearly 30k words deep and he hasn't even shown his face once. it'll be much longer before he even actually talks to Shen Qingqiu.

(i say im pouring one out but in reality im sitting in my director's chair chewing on a cigar and wearing a beret as he tearily and unsuccessfully pleads with me for more scenes with Shen Qingqiu)

[faelapis]

i know most read "good luck babe" by chappell roan as being about a lesbian in denial. and that's probably the intent... but i dont think it's invalid to read it like an angry ex projecting.

the song's instrumentation says "big, heroic 80s romantic lead"... but the lyrics are still a variant of "they can't make you happy like i can." in my view, you can read her either like a hero or villain.

in particular, the line "you're nothing more than his wife" is a LOT. it feels potentially condescending. i get the intent is to do commentary, to say what society expects of women - but it also kinda sounds like you agree with how society sees straight women? if you're that mad about it? or you think this is how straight women see themselves?

ultimately, we don't know how honest the framing is. we don't get this other woman's perspective. chappell could be bitter and heroizing herself, or she could be telling the truth. we don't know, because it's not about her. the girl in question has no voice.

"you know i hate to say it, but i told you so!"

no you don't! you LOVE saying it! you just wrote a detailed fantasy about how this girl is going to regret breaking up with you, couched in the self-righteous language of liberation and accepting queerness.

see what i'm saying?

i should clarify, none of this is a critique of the song. i like all of this. i enjoy angry, self-righteous breakup songs. you do not have to be a "good person" in a song. todd in the shadows has a great video on that.

all of this was actually my way of saying that its my favorite song of hers. i love how unfiltered the anger is. it shows how in the heat of the moment, we make ourselves the hero - but it can still come out kind of ugly on the page.

to put it in fandom terms, for my fandom audience: you could easily imagine pearl singing this at the point in her life where she's angriest and most bitter about greg. very easily.

or it could all be true! obviously, chappell frames the singer like the hero - but we don't know. it's an interesting bit of ambiguity in such intense self-righteousness.

[merakiui]

Okay speaking of magical girls.... Evil villain tako that has a crush on the cute magical girl at NRC but he doesnt know shes the magical girl that's trying to thwart his evil plan of taking over sage's island mwhaha

YES YES YES. And every week he gets his ass handed to him. You're determined to keep Sage's Island safe!!!! He's trying to get to know you through the fights. The (one-sided) sexual/romantic tension is too much. Tako who flirts at every chance during your fights... you genuinely want to take him out (defeat him), but he wants to take you out (on a date). And it's so obvious he's down bad for you, but you have no idea he's Azul Ashengrotto (your fellow classmate) and he has no idea of your identity either. Azul's trying to balance his love for the magical girl he fights on weekends and his darling classmate who he sees during the week hehe. How fortuitous that they are the same person.

Please imagine that trope where the villain ensnares the hero in tentacles, but it ends up looking more erotic than threatening....... orz evil villain tako whose tentacle is holding you upside down by the ankle and he's monologuing about how he'll take over the island and you'll get to watch, powerless against him. But then he looks at you and your skirt has flipped up and he's granted a gratuitous panty shot!!!!!!! Tako who gets a nosebleed on the spot. He's such a loser pervert. <3

Omg omg or you're squirming in the tentacles and ranting about how you'll get him for this, but Azul's trying so hard not to give into the horny thoughts because the way the tentacles are looped around you and squeezing is so attractive to him.

Like that one scene where Stocking's fighting the octopus ghost LOL.

[aran-morinorea]

this is for the user who just went through and liked 49 of my 87 total posts in the last couple hours. no reblogs so idk if you would want me to @ you but im so so so glad you like my nonsense. in return for all that dopamine let us go straight from the most recent post in the Worst Road Trip tag to the end of maglor's pov.

He just kept talking. The only indication he noticed my shock was a near-imperceptible impression of smug satisfaction. “He doesn’t have that much family left, you know!  Elrond had to stand with him at the wedding. Do you realize how angry I am that you didn’t show up to replace him?”

I needed him to back up a bit, because I had not known anything about this. I asked, “Wait, Celebrimbor is married?”

He said, “Yep!” and literally nothing else, because (as I was learning) he's an asshole.

I pressed, “To who?”

The asshole in question rocked on his heels and literally glowed with glee, saying “Me, actually!” and I’m not convinced I have ever hated anyone more.

So I threw my hands up and cried, “Well, who the fuck are you then!”

And the apparent actual fucking Maia leant in close, his smile dimming, and said very seriously: “Your nephew’s husband, we’ve just gone over this.”

I almost tried to stab him with the stupid flute. When I instead just tried to back up, he kept pace with me, and the cliff was behind me. Close behind me, at that point.

And then I had to dance around three more conversational sidesteps before I could get a name out of him. Even then, what he actually said was, “I have several,” which is the most Nessa-coded bullshit I’d heard in literal Ages, but he at least gave me, “Tyelpë prefers to call me Annatar. I like Tar-Glóriel best, though, since it’s very clearly one of a matched set.”

It didn’t make much sense, but it told me he was (cultivating an image of) some kind of royalty. I didn’t actually remember whether Eregion had a monarch, though. I thought I’d heard something about a scandalous new governance type, but it's not as though I'd been keeping up with gossip much. In any case, this bitch’s nonsense wasn’t making me want to follow him anywhere. And it was hard to believe - “Your husband calls you Lord of Gifts?”

““Tar-Glóriel”” explained, “It’s how I introduced myself to him the first time, I suppose it’s nostalgic,” which was on the outer edges of plausibility but life was already so damn weird, so why not. “I’d like to prove it accurate, however - why do you think I came all the way out here?”

Wait. Wait, “Are you trying to take me to Celebrimbor as a centennial present?”

“Yes!” I tell you, this bastard somehow sparkled like it was laughter, and said, “I thought a tearful reunion with a long-lost family member would be a good gift.”

And then his face went suddenly almost-serious again, and he laid a gentle hand on my shoulder - not appearing to notice me trying not to let him - to ask me softly, “Are you going to be a good gift?”

[beanghostprincess]

i honestly think the weakest link in the one piece fandom are people who don't like usopp

[boygirlctommy]

tommy misunderstood the joke about him becoming mangoball!tommy now hes going to WRITE mangoball

[greenerteacups]

GT!!

Your writing inspires me every time I read it! I have long admired how you so skillfully drop deep insights into your writing in seemingly throw-away lines. You masterfully weave impactful themes into your narrative without disrupting flow for even a beat.

Personally, this is something I struggle with in my writing, and I'm really trying to improve. How did you learn to do this so well? Any tips for a new-ish writer?

Thanks for sharing your beautiful art with the world :) I wish I could scream at you in person about how much your writing has impacted me, but I hope you feel my respect and admiration across our screens! 🫶🏼🫶🏼

Thank you so much for the kind words! I offer you an answering scream into the void, out of mutual appreciation for the inspiration and kindness.

I think "writing themes" is tricky, because it depends on the kind of fiction you're trying to write. Some authors are deeply invested in telling a story that communicates a particular idea about how to live. (Contemporary critics tend to be dismissive of this mode because they see it as unrealistic; real experiences don't happen in order to communicate ideas or parables, etc.; and to that I would say who died and made you king of fiction, nobody said realism had to be the goal of all books ever, and the fact that the current literary climate happens to favor realism is an accident of taste and culture, not an objective standard of quality.) Those authors — I'm thinking of people like C.S. Lewis, G.K. Chesterton, Nathaniel Hawthorne, Harper Lee, George Orwell, Oscar Wilde, Paul Coelho, Anthony Burgess, most big-ticket science fiction novelists since Isaac Asimov and many fantasy novelists as well — have characters who act as representations of particular ideas. If you want to write that way, you might consider what you want one idea to "say" to one another in the moral thesis of your story: how do you think these concepts engage with each other? If you were going to visualize that by treating these concepts as people, what would they do to each other? What flaws would they have? How would they survive in different environments? What would be the "conclusion," i.e., which of them end up better-off? Is that a good thing? Why?

Alternatively, maybe you want a story that's more naturalistic and character-centric, and you don't want to necessarily give your reader a moral at the end of it. That's fine! In general, I've found that when most people talk about "themes," they use it as a sort of a catch-all term for "the author is thinking Deeply about Some Stuff," which doesn't necessarily mean that the text takes a position on any particular moral problem. It just means that the problems your characters have are rooted in choices they make, which allows the reader to see how certain ways of living may result in certain costs and benefits. The Great Gatsby isn't about capitalism and inequality per se, but watching Nick run around with these rich people, it's hard not to think about what capitalism and inequality are doing to each character in the story. Which kind of inevitably makes inequality and capitalism one of the themes of the book. It's not that the author put it there on purpose as an easter egg for you to find; it's just that if you want to discuss the book on a level deeper than a straight-up plot summary (asking the big why and how and what-if questions of analysis), you'll probably need to think about the ways that money and class are playing out in the story. It's woven into the structure of the story, right? These are concepts with force and energy in the novel, and they're moving pieces on the board. Conversely, some concepts don't play a role in the novel. For instance, nobody in the book is particularly religious. (Except, of course, the murderous idiot Wilson — and whoa, what does that seem to say about religion in the book?) So the redeeming power of Christ is clearly not a "theme" of Gatsby in the same way it very much is a theme of, say, Brideshead Revisited.

In that case, you might try dedicating a freewrite or two to what your concepts are. What's moving your pieces? Why you think your characters have the problems they do: what do you think causes them to fail? What in their pasts made them that way? In what situations would their faults become virtues? When they hurt other people, why does that happen? What institutions, systems, and social rules might have shaped their thought process? What do they believe, and does it help them or hurt them?

[human-rocket]

Hello there! I can’t get The Holiday AU out of my head. Would you mind if I tried my hand at writing the fic?

Omg please do! I can’t write at all so was hoping someone would!! 💗😭

[goldyluna]

I got inspired by @rosehippiefield's post about Shin's advice on how to deal with Midori and his own behavior towards Sara (that you can find here!). It made me want to analyze more his reasons behind all of his cruel acts. And how some other people from our main cast were affected because of the death game. So.

People can act very differently in different situations. Their emotions and behaviors are always connected to something they go through. No matter if we understand why and how.

So people that are aggressive, cruel, judgmental, rude, miserable, or every other negative adjective usually have a reason for being the way they are. Knowing the reason is really important for understanding others behavior. Of course understanding the reason doesn’t automatically mean we should like this person or forgive them!

Aggression can happen as a natural response to stress, fear, or a sense of losing control. People also react harshly and negatively when they feel like they are mistreated, people don't listen to them, or they are just frustrated. Fear is a really important factor in how we act too.

In Your Turn To Die we have a really specific situation. A few unsuspecting people got kidnapped and put in an unknown place to fight for their lives.

Death itself is a really strong stressor. So adding to it that basically everything is unknown is really not helping with the pressure.

Like was said before, people can behave differently even in similar situations. Really important are the personality, previous experience and predispositions.

Our main cast experiences different things, and because of that, their perspective and way of going through their current situation can be even more different.

Each of them will react differently because of the trauma and reactions of the body to the situation. Some of them even had traumas before landing in the Death Game by Majority.

There, of course, will be feelings connected with experienced trauma (during and afterwards). There are some that we can also see in the game:

Anger

Numbness or difficulty feeling any strong emotions

Lost

Fear or panic

Grief

Worried

Irritation

Confusion

Restless

Hypervigilance

Shock or horror

Shame

People may be affected by trauma in many different ways. There may be problems with looking after yourself, not being able to have a stable job, being distrustful, forgetting things or they can struggle with low self-esteem. People like that can experience flashbacks, panic attacks, dissociation or suicidal thoughts.

After this long introduction, let's take a closer look at some of our characters!

NAO Nao lost someone very dear to her. She even went a little crazy for a moment. But she is so strong mentally she moved past the death, she didn't give up.

A lot can be said about Nao. That she is rational, really smart, selfless and she is not afraid of making sacrifices for a greater goal. That's why it was her that pushed fake Reko down the pit, saving Sara from making the decision.

She doesn't hold a grudge against Shin. She really pays attention to details, so she notices Reko behaves differently. But she still hits Shin because she got scared (Kai's making) and, more importantly, we get the Massacre Ending.

It is not the greater good, this is not selfless. It is selfish and only for her (and Sara), so she can live. Because it is not fair for anyone to be destined to die.

KANNA Kanna was searching for comfort from Sara. She viewed her as someone safe and trustworthy. Someone she can look up to as a big sister.

I am not saying she was replacing Kugie, but at that moment she needed a sisterly figure and Sara suited this role so well. She gave her support and spent time with her. Sara was the one that was there for Kanna and was from the very beginning.

We see Kanna as someone cowardly, shy and innocent. Maybe a little too trusting. The death she experienced at the beginning didn't help and only made the whole experience worse. But she was with people that she trusted and wanted to help. That she was so brave in the second Main Game, making her death a choice. And even if she lived, her demeanor changed. At least a little. She wants to live for those that died for her and it is making her stronger.

Kanna will always be Kanna, but thanks to all the people that support her, she could show her real self. The prettiest flower in the game.

Q-TARO Q-taro is someone who changed his ways. He could escape with the tokens he got (and did), he could leave Gin for dead. But he wants what he thinks is the best. Being alive was the best he could think of at the beginning.

He is an easygoing and friendly giant with high levels of anxiety and selfishness. He has his moments of doubt, like with the tokens.

When we give him enough tokens, he escapes. Even when Rio tells him that, if he inserts all tokens, everyone else will die. Even when he is offered his tokens back. He just apologizes and turns away from Sara.

When we won't do the trade with him, he can't go with his plan. When his doll talks during the coffin roulette, he admits he wanted to abandon them all even if it meant killing someone. And when he talked with Mai after she woke up, he said that he would do the same as her, but he didn't have the opportunity.

He trusted Mai and didn't blame her for the stabbing because he understood. He made the whole plan of saving others by dying himself. Sacrifice from a guy wanting to live hits so hard.

KEIJI The thing with Keiji is complicated. He is a liar, a murderer and a skiver. But he also is so full of guilt and anger. He is still grieving. Years passed, but he still feels guilty about the death of Mr. Policeman.

He is angry, desperate, lost in the dark thoughts. And he acts on them during his First Trial. But Megumi was his friend once, someone really important to him. They drank together, worked together, spent a lot of time together. So he had another's blood on his hands and the whole death game on his head.

He isn't trusting anyone because he knows he himself has something to hide. But he suppresses all the emotions and hides behind humor and fake flirting. He lies about being a policeman because he thinks that would be the way for others to not think he did anything horrible.

He doesn't feel like someone who can do anything about his situation, let alone theirs all. It is easier to give responsibility to another person, even if she is only 17 years old.

He acts how he believes is the best. He acts without telling the person that is supposed to trust him the most his plans. For the best or for the worst.

The death game isn't really a good supplement for therapy.

SARA Sara is very strong-minded, very befitting for a leader. She is our main character, so it is obvious a lot will revolve around her. But even this is too much. There is just so much on her shoulders.

She is only in high school but she almost died a few times (and she did, probably, as we are the players, so the GAME OVER screen isn't strange for us) in a very short time. She got people she can trust and those that hate her and make her life harder. She became a leader for all of them and they look up to her.

"Are you going to be our goddess of victory... or our angel of death?”

A lot of pressure is put on her. She will be the reason everyone will survive or die. Isn't that comforting, Keiji?

But okay, some may say that she is a born leader anyway, but she holds onto Keiji really hard. He is her anchor after Joe. It is also a way to destroy her if she will ever lose him. Because while Sara is she's extremely competent, she makes mistakes. But we know she will always get up.

Sara is also even more interesting, because we know her rate of survival is 15.5% (and the % of our participants is really curious in itself and deserves its own post). We saw a lot of faces of Sara thanks to simulations. She could be merciless, manipulative and ready to do anything to survive. She is obsessed and selfish, not caring for anyone else, just herself.

And we can't blame her, she wants to live. When we are desperate, we do things that aren't good. Those horrible situations, life-threatening ones, make us different people.

Have you ever heard about the Johari Window?

The Johari Window is a quadrant diagram that is used to show how we know ourselves and how others perceive us. It can be a tool to understand ourselves—how we behave, our character traits, skills, attitudes, knowledge and reactions.

Like the name suggests, there are four parts to this model.

Open Part - there are things that are known to you and others. If you know you are shy and you act shy towards other people, all of you know that you are shy. We know Nao is an artist. She knows that and tells others she went to study art. She was completely Open with that.

Hidden Part - is when there are aspects only known to you. You keep them hidden from others so others won't know those things about you. For example, you can be very opinionated, but you don't show it to others. Then they can't know that your opinions may be different than theirs because they can't hear your thoughts.

Blind Spot - it is the complete opposite of the previous part. There are things that others know about you, but you are not aware of them. Kanna is really clever. She figured out the password to Kai's laptop when Shin had a problem with it and she knew that Shin tampered with her sister's message. But she still thinks of herself as not smart (she says that in chapter 2 part 2).

Unknown Part - this one is really interesting, because about this part neither you nor others know about yet. Mostly it stays a secret, but sometimes, where there is a really unpredictable situation that can, for example be life-threatening, that Part may come to light.

We never can know how we will behave during those situations that we never lived through. We don't know if we will fight, flight, freeze, flop or fawn.

Q-taro and Sara are perfect examples of the Unknown Part of the Johari Window.

Q-taro's high level of stress pushed him to do some horrible things. When he had to actively choose if it was him or Gin that would die, he didn't do anything. He let Gin get hit because he was afraid to die, even if the poison would work slower on him. Some shame him for this, but if we were in his place, would we do differently? Click a button that could kill us. We don't know and we hopefully won't.

We may say we would do or not do some things, but until the situation happens to us, we won't be sure.

Similar with Sara and her behavior. All the things she did, all the thoughts, emotions, relationships and ways of doing things we see are a result of some really important factor. She changes after the logic route, why?

Because of Joe. He is her tranquilizer, her anchor, her morality. He was the person that made Sara care during the death game.

Her whole behavior switched only because of one person.

When we pick Kanna to live, Sara is how we know her. Compassionate, strong, mature. But when Shin lives, Joe dies again, but this time in her memories. It makes the situation similar to those in simulations.

Even Sara is terrified by what she is doing.

SHIN (+ Midori)

And that's why Shin is so suspicious of Sara all the time! But let's start at the beginning with him.

Shin is, like every character in YTTD, a very complex character. We know him as an annoying, scary and cruel man for most of the game. Some of us hate him still and some took him as their favorite.

What he did and his reasons aren't forgettable. But it is nice to see a reason behind his behavior.

Midori is sadistic and really cruel. He torments others for his own amusement and loves to watch them break. He loves to make others be afraid of him—and that's why he always tries to be intimidating by holding eye contact and saying unsettling things. He is mean and childish, but he also is really good at reading people. He uses that for his own use, to push the limits of others, control them and let them fall in desperation.

Shin spent a lot of time with Midori. He was his only friend in school and he was so scared of him. Midori did everything to make Shin uncomfortable, but also unable to leave him.

But thanks to that, he knows a lot about him. Shin knows Midori loves control, so taking it away from him is lethal. He knows that Midori is so afraid of death (even if Midori thinks nobody will ever kill him), he is a coward that cares only about himself.

When Shin gives Sara advice, it is so ironic. He tells Sara she should act how he acts towards her. To try to intimidate Midori, make him scared, take away his control.

The advice is important, because only thanks to that can we see how Shin sees Sara and his situation.

Sara is so similar to Midori. Shin can see in her all those cruel acts that never happened. She is in so much control because she is the leader and makes a lot of final decisions. She can be so intimidating. She has sometimes emotional outbursts (that are entirely justified). Additionally, she has a really high % of survival that automatically makes her the most dangerous enemy.

Of course Sara isn't like Midori. Their reasons are different and Sara is genuinely a really good person. But Shin has problems with distinguishing them.

Shin definitely got traumatized during his "friendship time" with Midori. It affected him so much, he is searching for danger in anything remotly similar to what he already knows. His defence mechanism and heuristic try to save him, but it does more harm than good.

He got hurt by someone close to him, so he is extra careful. He doesn't want to be too close to people, prefers to be distant and mean. He prefers to act as someone he hates and is scared of, why?

Because he is afraid. In his own eyes, he is weak and easy to get rid of if he is useless. He thinks the way to survive is to act as the only person that made him feel the worst.

Intimidation, cruelty, cunning, manipulation, lies. Those are the keys to survival in the world where it is kill or be killed. If he is those things, he may live longer than if he were himself.

But as we know, Shin also isn't like Midori. He cares—for Kanna, Gin, even for Keiji and Sara. And he wants them all to escape, despite everything. But going back to old Shin isn't an option anymore. Too much has happened.

Fear is infinitely connected with anger. Anger makes people mean and impulsive. That's why after Kanna's death, he made the worst Joe experience for Sara. That's why he was so mean to Kanna when it turned out that she isn't the Sacrifice and is ready to die for him.

That's why he hates Sara. He is so, so afraid it hurts.

He wants to destroy any possibility that could hurt him and the only way, in his opinion, for that to happen is to hit first. And that's how they should fight with Midori.

Fight fire with fire.

But if anyone knows how extinguishing fire with fire works, then they know that at the end both fire dies and the forest will still be burnt. There will always be victims, no matter if they are main or side characters.

Fire destroys. Midori is so widespread that he can't be stopped by using only water. Sara is a small fire that Shin wants to nip in the bud before it is greater than the forest itself.

But we are heading towards the end slowly. There are fewer and fewer people. Relations will always be strained but also deeper, on another level. Let's see how they will act in the final chapter!

THE END

Finally, I just want to say: there always will be choices to choose, decisions to decide and fires to fight. We can hate, love or like anyone for any reason, but it is important to understand the other person.

Sometimes life is so unpredictable. We won't know what will happen and what we will do. We don't know ourselves as well as we think we do.

But let's be kind to ourselves and others. We don't know what they went through and what will happen to us.

[larentsbabie]

For everyone getting their panties in a twist over the recent denial, I only have 4 simple things to say.

1. Every time he gets a chance, he says a huge load of bullshit. All he has to say is, “Despite what people think, Harry and I are not in a relationship and never have been.” It’s a simple straight denial. How hard is that? But no. It’s always him going on a tangent over a fucking “chicken Parmesan” which is not even related to the “ship” and him going on a tangent about “iPhone conspiracies” and “google”.

2. If a rumor doesn’t go away after 14 damn years, maybe it’s time antis and locals start thinking that it might not be a rumor.

3. If there is nothing to hide, they wouldn’t hide their “friendship” over stupid rumors cause they’re both 30 year old men who could ignore public. But still, despite numerous mentions of them both saying they’ve been in touch. We only ever see Louis interacting with Liam and Niall and Zayn ffs but not Harry. And we see Harry interacting with Niall. We see Liam interacting with Harry but we never ever see interactions between Harry and Louis. Why?

4. Lastly, if we are claiming an artist to be closeted, you can’t be so dumb to take an “off-the-topic-denial” to be a proof of them being straight.

But yeah, sure! Go on! Twist your damn panties until you tear them apart. You won’t notice one of us give a fuck cause you mistook us for someone naive and easily manipulated.

[zephyrchama]

Sorry to bother, but are you the person who wrote the story about a MC who pretended to be a demon as a kid? I can't seem to find it!

Sorry if my English is too poor. (╥‿╥")

Yes! Maybe?

Your English is fantastic! Thank you for asking, I can understand you perfectly! ✨

At first I couldn't remember, but is it possibly this fic?

MC sees a demon on the street and it reminds them of their demonsona from when they were a child. If it's not that fic, then my apologies! Someone else might've wrote what you're looking for.

[doki-doki-imagines]

Hiii! Love your work! So ever since that episode Chigiri calls Isagi attaboy, my brain has been just in there. So could I maybe get some good old, fast, maybe a little rough Chigiri calling reader Attagirl? Maybe a little bit of degradation too. Like being mean maybe

This man lives in my head tent free jdkdkd

“You dumb whore, instead of complaining can’t you put your mouth to better use?”

You knew from day one that Hyoma is a moody guy and you also learned how to deal with him, but today he really reached to apex, mood swinging back and forth and you were way too angry (and horny) to deal with it; thankfully Hyoma followed your lead.

Your mouth now kissing his boner through the fabric of his boxer, you can feel it twitch already, his hips grinding into your mouth begging to feel your mouth without any barrier.

It’s funny teasing Hyoma when he is in such a bad mood, but you are human too. You pull his dick out, usually, you would kiss the tip and lick slowly the shaft with the utmost care, but today isn’t the right one for such a nice treatment. You take as much as you can, moaning around the shaft.

“Ah finally” Hyoma groans. He then grips your hair, something he usually wouldn’t do, and forces you to take him all, your gags and tears make him just more aroused. He keeps you there for a second, enjoying the tightness of your throat, then let you go.

Tears running down your face and a string of spit connecting your abused mouth to his tip; a picture that is going to be framed in his head for a long time.

“Just say you wanted this from the start you bitch” A nasty snark escape his lips.

Hyoma grabs one of your hands and guides it to his thigh, a silent promise that he is gonna stop at the first tap, then he pulls your head again and starts fucking your face.

“You take it so well – You feel so good, fuck”  His words only spur you to do better, laving your tongue on the sides of the shaft as good as you can, your mouth making wet, sinful noises every thrust.

“K-keep going for a little bit more”

You nod, as best as you can since he is still keeping your head in place, the vibration making a delicious shiver run down his spine.

“Atta - attagirl” This time it’s your turn to feel the shiver; it is so good to be praised.

“Goddess, c-can I come on your face?” Hyoma moans, the aggressiveness of earlier almost vanished.

This time you don’t have time to answer, Hyoma already pulled out, jerking off at the sight of your tears, snot, and overall miserable face. A few more pumps and you found your lips and cheeks stained by strings of his cum.

“W-was it too much?”

“You were just perfect”

“Give me a minute and get on all fours, it’s time for me to reward my good girl.”