#he was just trying to show me how to use a specific function in my code and opened up my desktop

[amathslutsguidetofandom]

Nothing is more embarrassing than your TA finding out that you write fanfics.

[nobodyfamousposts]

Scarlet Lady Top 10 Favorite Characters: Number 10

For @zoe-oneesama

Okay, I realized as I was writing these that there is way way WAY too much to each of these and why to be able to put them all into one post, so I'm breaking them down into individual essays focusing on each one to keep them palatable.

So without further ado....

Number 10: EVERYONE

Yeah, I know it may be cheating but at this point it was the only choice I could make.

I came to regret making this list, specifically because I couldn’t seem to make up my mind as far as who all would be on it. I reread the entire series. I kept switching people in and out as I was reminded of characters or scenes I loved. And I came to a realization that there is no character in the whole of this series I didn’t enjoy to some extent that they didn't deserve some love in this list and I kind of wish I could have added all of them just to give them all some spotlight.

Yes, it is partly because everyone is vastly improved compared to Canon. But as I reread the series, it came to mind that if Canon didn’t exist and I didn’t have the comparison between the characters, I still very much would have loved this series and everyone in it.

Cause and Effect Exist

It's important to have a setting in which the characters and their actions make sense for the world they live in. When the setting is supposed to be modern day earth, we need the people to be able to show that they are capable of surviving in it on a day to day basis without being so massively incompetent that they would do something like accidentally ingesting poison. Or forgetting how to breathe.

I would think it would be obvious, but sometimes Canon makes me wonder. Which is never a good look for a show that is supposed to have some level of seriousness and involve superheroes.

Here’s the thing Canon can’t seem to get: when a majority of the things that go wrong in a plot are because of everyone having to be stupid to make the plot work, you have a problem with the writing. Changing the material in a story so that younger people can enjoy it does NOT mean dumbing down the characters and throwing in arbitrary lessons with no real reason to them. Even if the show itself is geared towards kids, you can’t treat the audience like they’re stupid.

In Scarlet Lady, the people aren’t stupid.

Silly, yes. Wrong, often. Overdramatic, definitely. But while they may make stupid choices sometimes, they aren’t so dumb that anyone should have concerns about their ability to function at a higher level than an overcaffinated 2 year old.

They’re fooled initially the way many of us would be with a biased story that hits the news first. Oblivious to the problems in a situation that they logically wouldn’t have much direct insight into. Prone to making mistakes and incorrect judgement the way that anyone would. That's normal. That's expected.

But they’re not so incapable as to forget things that happen right in front of them between one day and the next. Or even between one scene and the next.

Things carry over. We see cause and effect. We see consequences—bad and good. And those consequences extend not only for the episode or season but for the entire series.

Aurore KNOWs Alec cheated her before and maintains a tight control over him and prevents more of his antics.

Adrien and Alya maintain a cold attitude towards Lila for some time after her reveal as a liar. And it even remains a point against her as used by Chloe as herself and as Scar to discount what she says.

The boys of the class remember Adrien’s “love letter to Marigold” and try to win him her merch because they’re bros like that. 

Adrien himself remembers the instances of his dad being a massive prick and instead of being surprised and “sad boi uwuwu” each time it happens like it’s supposed to be a surprise that the massive prick would choose to be a prick, he very clearly moves through the stages of grief to the point of a sort of acceptance that involves planning around and even for him.

Gabriel’s horrible parenting and general lack of concern for Adrien or his wellbeing as he ends up a casualty of various akuma attacks was played off for laughs when such incidents occurred. Then they were brutally called out against him in the Finale as a way to counter his claims of doing everything for Adrien’s sake. And the big reveal of the Birthday Scarf…utilized in the last way anyone would have wanted.

And Chloe is perhaps the biggest example as her antics ARE NOT forgotten or ignored by anyone. The classmates still interact with Chloe and are relatively nice to her, but they don’t just forget that she’s treated them horribly. They don’t act surprised when she does anything horrible. Nor does anyone just laugh it off or excuse it as “just who she is”. We see follow up to her behavior—the class fully expecting her to cause trouble and actively try to plan around it. People calling her out on past behaviors. And even bigger consequences as time goes on. Such as Adrien breaking off the friendship. And a blink and you miss it fridge logic moment in Ikari Gozen when you realize that when they said she was banned from all future Gabriel-involved competitions, they meant it.

The fact that by the time the big reveal happened that Chloe was Scarlet Lady, no one was shocked.

Story-wise, this is showing the passage of time and the effect the events of the story are having. It’s showing that there is lasting impact and that what happens to the characters matters.

Meta-wise, this is Zoe rewarding us for paying attention.

Continuity exists in Scarlet Lady. Time exists. The people exist. When anyone does anything, you get the sense that they aren’t operating in a vacuum. The things they do matter. There are consequences. There is an impact. And if there is an impact in the story, there will be an impact on the audience.

Which leads to…

Character Depth/Character Growth

Usually in TV shows of this nature, if there ARE character arcs for the side characters, they only occur over the course of a single episode devoted to focusing on them before moving on elsewhere. 

Canon didn’t give us that much at all in favor of having every episode that should focus on other characters learning and growing instead forcing Marinette to be wrong in some way and learn an arbitrary lesson that often would have better served for someone else.

In Scarlet Lady, the arcs we get are impressive for all that they’re relatively unobtrusive. They aren’t big. They aren’t world-ending. And the thing is, most change in life isn’t. It can just FEEL that way.

Like the way it felt for Kim when he first found out Ondine liked him and then had his confession to her screwed up.

And the way it felt for Kagami when she lost that first match against Adrien.

Then there’s the way it felt for Chloe when she was dismissed by her mother, had her popularity go downhill, and ended up losing her Miraculous.

…or the way it felt for Adrien when he discovered his dad was Hawk Moth.

The reactions we witness are in a great part due to actions outside of the characters’ control, but are ultimately a result of the experiences they have had and the ways they have changed as a result.

The question becomes: are the characters that we meet at the beginning pretty much identical to how they are at the end? Is the world?

The answer in Scarlet Lady is no.

Whether because the characters themselves change or our perception of them does, we can see that they have all undergone some sort of events that create a difference between the start and end points.

Not all of them HAVE to undergo some big emotional arc. Not all of them NEED to. But the characters still mostly go through some sort of growth by the end that I feel make them stronger and healthier people.

You’ve got the big life-altering changes like Lila and Sabrina.

You’ve got the little changes like Nino and Ivan.

You’ve even got the most minuscule, beginning stages of change in Chloe.

You’ve got growth that creates such perfect setup with Mylene when she starts off scared and traumatized by how things went with Stoneheart then is the one who confronts him in the end. And the parallel between the finale and the beginning when she returns him to normal by kissing him just like they did in that first episode to change him back then, too! (Just….GOD, I CANNOT GET OVER THIS!)

You’ve got them reaching out and making friends and relating to people they hadn’t before.

And by the end of it all, we get characters who feel like people rather than props.

They don’t all have to change. They don’t necessarily need to go through an entire emotional arc and back again. They just need to be part of the world they’re in.

Nino doesn’t just pop into existence when Adrien or Alya need someone to interact with. Kagami isn’t just a non-horrible or non-evil love rival for Adrien or a stepping stool for him to “practice“ at being in a relationship before it’s time for him to try the “real thing” with his endgame pairing. Luka isn’t just a decent guy who is the only actual form of support for the female lead and yet only lacking that precious “male lead” title or all around just not “Adrien enough” to fill the role.

Adrien isn’t just a “sad boy” meant to be a main love interest, Villain’s Morality Pet, and the one everyone idolizes and chases after just cuz he’s the male lead and that’s how you show he’s desirable I guess. Marinette isn’t the atlas keeping the story alive because no one else is apparently capable of learning lessons and changing, or even just the bare basics of functioning as individuals. Chloe isn’t just there to be horrible for no reason and get away with it so she can continue to be horrible until the writers suddenly need her to be sympathetic.

And the rest of the classmates aren’t just some Greek chorus there to fill the background.

We see them interact. We see them making jokes or jabs. We see them even…*gasp* having different opinions!

And on something as major and life-controlling as feelings about the “Hero of the City” no less! Why, that’s the sort of thing that would break up friendships and determine who you can sit next to at the cafeteria! The horror! The scandal!

And…oh hey. This puts the characters in different groups. It links them with characters other their Canonically designated pairings and groups. This lets them disagree on things and not need to vilify any of them. This creates implications that add depth to the story and to the people in it.

The characters can disagree without being enemies. They can be wrong without having to be evil. They can make mistakes without having to be stupid. And they can change and grow—both for better and worse.

And we see both and in different ways. SO many different ways.

Adrien goes from excited and impulsive to buckling under the forced responsibility and weight of a partner who hinders more than she helps.

Lila goes from selfishly bad and self-serving to selfish but friendly with better direction of her talents in a less self-serving way.

And Chloe just goes from selfish and bad to selfish and worse..

I mean, it says something that the combination of Lila’s growth and Chloe’s fall from grace resulted in Hawk Moth being unable to use Lila as a tool for his Heroes Day plot like he originally intended.

The key is that whether they necessarily grow or become better people, these characters are still IMPACTED by the events around them and AFFECTED as a natural result of the world they live in. 

You can’t help but feel for them in some way as a result. It’s part of why I love them.

The other part of why I love them is a bit more epic though…

Crowning Moments of Awesome

If there’s one thing I love, it’s seeing characters be awesome. I love it when characters get to be awesome. I would love to see more of it. Especially when the ones involved are characters you wouldn’t normally expect or get to see have a chance to shine.

And it’s when you see these characters be awesome that you really get the sense that yes, this character would work as a hero.

Seeing Max help against Robustus. Seeing Kim help against Odine. Alix stepping in during Pharaoh, calling out her brother’s fan fiction, and helping the heroes escape the security system at the Lourve. Alya stepping in during Copycat to clue Chat in to what’s going on and later keeping Anansi distracted to keep her away from Chat while he’s trapped. Rose kicking Nightmare!Chat in the face to defend Marinette even when she’s on the run from her own nightmares in Sandboy. Luka leading groups twice to stepping in and helping the heroes deal with akumas. Nathaniel standing up for Marinette and Sabrina when they’re accused in Rogercop and then helping the heroes in Reverser.

These little moments of support make such a big different and really make it make sense that the heroes would trust these people with magical jewelry to help them in battle.

And the little moments of characters being petty or strong or smart or turning the tables or just showing off what they’re capable of. Even without superpowers.

Adrien getting petty revenge for Nino and finding a tactic to counter Gabriel in the future.

The Police Force in Rogercop just saying “Nope” to obeying an obvious akuma. 

Zoe manipulating akumas twice to help the heroes. Her two Reasons You Suck Speeches to her mom and Bustier.

Every instance of payback that Tikki gets against Chloe.

Everyone in the Finale. Just…EVERYONE in the Finale. The characters who manage to avoid akumatization by either spotting the flaws in the illusion or refusing to give in to fear and even protecting others. Nora smacking any akuma that enters the home. Claudie pulling off Power Mom and ordering Max to stop attacking the city then helping to calm him down. Prince Ali and Juleka freeing Rose by kissing her! Chris, Ella, Etta, and Manon saving Mylene! Mylene saving Ivan with a kiss in a direct callback to how they first got together in Stoneheart! (Yes, I am still stuck on that!) Ondine saving Kim! Lila and Sabrina saving Alix! Luka facing Riposte alone and unarmed and then Kitty Section saving Kagami! ALL of the Heroes making a final comeback to help take down Hawk Moth for good! Just—AAAAAH!

How could Miraculous have peaked with this in Season 2 when this is Grand Finale material? Because there are few things more awesome than getting to see ALL the characters the heroes met and befriended and helped throughout the course of the story stepping up at the final battle to help take the Big Bad down!

Like…can we just take a moment to appreciate how everyone gets a chance to stand out in some way? Not all of them necessarily good, exactly (looking at you Andre). But still stand out and be memorable. Even characters who didn’t originally get much focus. Especially characters who were originally functioning as cardboard cutouts to fill a scene.

Anyone remember Aurore? How for the FIRST akuma in the pilot of the series and one who is quite frankly the most interesting and noteworthy, we don’t really get to see her again except in the background.

In Scarlet Lady, we got to actually look in to the contest and how she lost as well as the aftermath. She wasn’t some arrogant showoff who deserved to lose to the “sweet down to earth rival”, she was a girl who legitimately tried her best and had valid reason to be upset. Seeing her get revenge on Alec for cheating and humiliating her on live TV was well worth it.

Or how about the Photographer? Just there to take photos of Adrien in the park for a photo shoot or be the school photographer, but otherwise has no personality and is only remembered for his weird “spaghetti” line.

In Scarlet Lady, his role is two-fold. He acts as a sort of supporter for Adrien in his crush. Taking really good pictures of him being happy with the girl he likes. Taking more class photos at the behest of this girl for the sake of a friend who missed out on the class picture. And then there’s his OTHER role as a sort of antagonist to Chloe. He becomes one of the only ones in the early seasons willing and capable of dismissing her tantrums.

They’re both given more character. They get moments to stand out and BE awesome. So is everyone.

EVERYONE. From the classmates and big named characters we see regularly to the side characters who only appear once or twice. They all get some good scenes and focus that give them their own identities. All of them are memorable. None of them can really be ignored or forgotten. And part of what made making this list so difficult was that I found myself getting attached to pretty much everyone as I came across each of them that I couldn’t quite make up my mind.

Everyone in this fic has done something to make me happy and warrant my approval. Even the characters I normally wouldn’t like at all had their moments to shine and elicit an “okay, that was cool” from me.

Thus I grant this spot to everyone. To all the characters I don’t get the chance to mention. To all the ones I like albeit somewhat less than others. To all the ones I know are horrible but can’t help but like regardless. To all the ones I fought with myself for THREE MONTHS over which one would get this spot.

I love all of them.

[solxamber]

haii can i req octotrio, malleus, and leona (all seperate!) with a reader like kokomi from genshin thats also a jellyfish? romantic or not it doesn’t matter to me ^_^ also feel free to add more characters the more the merrier :3

Leona, Octatrio, Malleus, Riddle, Vil, Rook, Rollo x Kokomi!Jellyfish!Reader

a/n; i felt pretty inspired so i added quite a few <3

Leona Kingscholar

Leona pretends he’s indifferent, but your serene and calculated demeanor throws him off.

The first time he sees your glowing form under the moonlight, he blinks twice, convinced he’s hallucinating. “Tch, what’s with the light show? Trying to blind me or something?” But secretly, he’s mesmerized.

Your habit of calmly handling disputes in the dorm (often between Ruggie and others) frustrates him. “You can’t just talk people into behaving,” he grumbles, only to watch you succeed every time.

Leona’s competitive side comes out when he learns about your strategic mind. Chess games with you become a weekly ritual, and losing to you annoys him more than he’ll admit.

Despite his gruffness, he’s deeply protective of you, especially when someone comments on your jellyfish-like features. “Say that again, and I’ll show you why you don’t mess with jellyfish.”

Sometimes, he watches you float gracefully in water, pretending he’s there for a nap. “Stop staring at me, Leona.” “Who’s staring? I’m just resting my eyes.”

Azul Ashengrotto

Azul is immediately intrigued by your jellyfish traits and calm demeanor—after all, you’re a marine creature, and that’s his territory.

Your bioluminescence is something he secretly envies, though he’ll never admit it. “A marvelous ability,” he says while scribbling notes for future contracts.

Your strategic thinking makes you one of the few people who can keep up with him in negotiations. He offers you a job at the Lounge almost immediately, “to better utilize your talents.”

Whenever Floyd or Jade annoys him, Azul uses you as a buffer. “Perhaps you could… calm them down?” And, to his astonishment, it works. Even Floyd listens to you.

He’s absolutely fascinated by your glowing hair and jellyfish-like appendages. “Do they serve a specific function, or are they purely aesthetic?” he asks while trying not to sound overly eager.

Azul secretly finds your tranquil nature soothing. After a long day of scheming, he’ll seek your company under the guise of “strategic discussions,” but really, he just wants to hear your voice.

Jade Leech

Jade is utterly fascinated by you from the moment he meets you. Your resemblance to a jellyfish sparks his curiosity.

He constantly asks you questions about your biology, glowing abilities, and lifestyle. “Do you use your bioluminescence to lure prey, or is it purely decorative?”

Jade enjoys teasing you, especially when you’re peacefully floating in water. “You look so serene. It’s almost a shame to disturb you.” Then he splashes you.

He respects your calm and collected demeanor, but he’s determined to find out what flusters you. Watching your serene mask slip is his new favorite pastime.

If someone dares insult you, Jade’s smile grows even sharper. “I wouldn’t recommend making an enemy of a jellyfish, you know. They’re far more dangerous than they appear.”

He enjoys your company during his hikes, fascinated by how your glowing presence adds an ethereal beauty to the forest.

Floyd Leech

Floyd is absolutely obsessed with you. You’re a jellyfish, and jellyfish are cool—end of story.

He immediately nicknames you “Jelly,” much to your mild exasperation. “C’mon, Jelly! Let’s go do something fun!”

Floyd loves poking at your glowing features. “What happens if I touch this? Will it zap me?” (You have to swat his hand away repeatedly.)

Your calm nature intrigues him. “How do you stay so chill all the time? Don’t you ever wanna, like, flip out?” He sees it as a personal challenge to get you riled up.

He’s oddly protective of you. If anyone messes with you, Floyd’s mood sours instantly, and you have to calm him down before he does something drastic.

Floyd loves dragging you into the water to “swim like real jellyfish.” His playful nature contrasts hilariously with your serene floating.

Malleus Draconia

Malleus finds you absolutely enchanting. Your ethereal glow and calm presence remind him of a fairytale.

The first time he sees you glowing in the dark, he’s convinced you’re some sort of spirit. “Are you a creature of the night, summoned by the stars?” You laugh, which only confuses him more.

He adores your serene demeanor and often seeks your company when he’s feeling lonely. “You have a calming presence. It is… soothing.”

Your strategic mind impresses him. He occasionally consults you on matters of state, and your insight leaves him in awe.

Malleus is enchanted by your glowing features and bioluminescence. He often compares you to the stars and moon. “You shine as brightly as the night sky,” he says, his voice soft.

He’s protective of you, especially when others don’t understand your unique traits. “Anyone who dares mock your beauty will answer to me,” he declares, his aura dark and foreboding.

Riddle Rosehearts

Riddle is equal parts fascinated and exasperated by your serene and dreamy nature.

He struggles to reconcile your gentle demeanor with the strict order he upholds. “You can’t just let them get away with breaking rules.” But you always seem to handle things so effortlessly, he can’t help but feel a little envious.

The first time he sees your bioluminescence, he’s stunned. “W-What are you glowing for? Is that some sort of trick?” He secretly thinks it’s mesmerizing.

Your calmness has a soothing effect on him during his temperamental moments. When you gently suggest he take a deep breath, he can’t find it in himself to argue.

Your strategic mind earns his respect, especially when you help him resolve dorm conflicts with minimal drama. He finds himself seeking your counsel more often than he’d like to admit.

He tries to deny how much your presence comforts him, but when you glow softly under the moonlight, he’s reminded of the beauty of following one’s heart.

Vil Schoenheit

Vil finds you utterly captivating, both for your glowing beauty and your ability to remain so composed under pressure.

He immediately notices your bioluminescence and praises it as “natural elegance.” He may even use it as inspiration for his next photoshoot.

Vil admires your calm demeanor but insists on refining your presentation. “Grace comes naturally to you, but you must carry it with intention.”

Your ability to remain poised even under stress makes him jealous sometimes. He spends hours perfecting himself while you seem effortlessly radiant.

The two of you often engage in long conversations about leadership and balance. He’s impressed by your thoughtful insight, though he won’t always admit it.

He pretends not to care when others praise your ethereal glow, but he can’t help but feel proud, especially when you stand by his side at events.

Rook Hunt

Rook is absolutely enchanted by your jellyfish-inspired traits and ethereal aura.

The first time he sees your bioluminescence, he dramatically declares, “Magnifique! You are a creature of the heavens, a glowing gem beneath the sea!”

Rook constantly watches you, fascinated by the way you move and speak. He calls it research, but it’s really just admiration.

Your calmness intrigues him. He frequently tests your patience with his flamboyant antics, but you never falter, much to his delight.

He adores how your strategic mind contrasts with your soft demeanor. “You are as cunning as you are serene, ma chérie méduse.”

Rook writes poems inspired by your bioluminescent glow, claiming that no words could ever truly capture your beauty.

Rollo Flamme

Rollo is conflicted about you. Your calm, composed nature intrigues him, but your glowing features remind him of magic—something he loathes.

The first time he sees you glowing, he’s visibly unsettled. “Is this some kind of magic trick? I don’t trust it.” Yet, he can’t look away.

Your tranquil demeanor softens his usual disdain. He begrudgingly admits that you’re… tolerable, though his fascination with you grows daily.

Rollo’s jealousy flares whenever others praise your ethereal beauty. “They’re only bewitched by appearances,” he mutters, trying to convince himself he’s not affected.

Your intelligence earns his respect, though he won’t openly say it. He finds himself relying on your calm judgment more than he’d like.

Despite his feelings about magic, he catches himself enjoying the way your glow lights up dark spaces. It’s almost… comforting.

Masterlist

[hollowed-theory-hall]

Ok so Harry has a tendency to blatantly state out loud just how much the Dursleys don't give two shits about him (to the point that the people around him think it's just a typical teenager over exaggerating their complaints), but... Does he realise that the way he is being treated by them is wrong?

Also like, I know that the way the Dursleys treated him plays a huge part in the way Harry behaves and views himself- specifically him not thinking an adult is a reliable source of help and protection + his disastrouly low self esteem + how he doesn't respond to Snape's everything (which is the exact opposite of what James would have done) ... But what are the other ways in which he got affected and it shows? (Someone once mentioned that they hc that when feeling extreme emotions Harry tends to skip out on food and may have nearly wasted away in his second year had it not been for Ron and Hermione- which is also why they act so much like Harry's bodyguards)

Yep, Harry put no effort into hiding his abuse. He literally told anyone who would listen. By 5th year, he was making jokes about it to Ron and Hermione who seemed used to it.

Now, you've raised a few questions and I'll try to answer them to the best of my ability.

Does he realise that the way he is being treated by them is wrong?

I think he does. Most of his comments about his relatives' treatment definitely sound like Harry is very aware that he shouldn't be treated like that.

“I told you, I didn’t — but it’ll take too long to explain now — look, can you tell them at Hogwarts that the Dursleys have locked me up and won’t let me come back, and obviously I can’t magic myself out, because the Ministry’ll think that’s the second spell I’ve done in three days, so —” “Stop gibbering,” said Ron. “We’ve come to take you home with us.” “But you can’t magic me out either —” “We don’t need to,” said Ron, jerking his head toward the front seat and grinning. “You forget who I’ve got with me.” “Tie that around the bars,” said Fred, throwing the end of a rope to Harry. “If the Dursleys wake up, I’m dead,” said Harry as he tied the rope tightly around a bar and Fred revved up the car. “Don’t worry,” said Fred, “and stand back.”

(COS, page 31)

“It was cloudy, Mum!” said Fred. “You keep your mouth closed while you’re eating!” Mrs. Weasley snapped. “They were starving him, Mum!” said George. “And you!” said Mrs. Weasley, but it was with a slightly softened expression that she started cutting Harry bread and buttering it for him.

(COS, page 39)

But Harry wasn’t going to stand for this. Gone were the days when he had been forced to take every single one of the Dursleys’ stupid rules.

(GOF, page 33)

“Excellent,” said Lupin, looking up as Tonks and Harry entered. “We’ve got about a minute, I think. We should probably get out into the garden so we’re ready. Harry, I’ve left a letter telling your aunt and uncle not to worry —” “They won’t,” said Harry. “That you’re safe —” “That’ll just depress them.” “— and you’ll see them next summer.” “Do I have to?” Lupin smiled but made no answer.

(OOTP, page 54)

“You don’t seem to need many qualifications to liaise with Muggles. . . . All they want is an O.W.L. in Muggle Studies. . . . ‘Much more important is your enthusiasm, patience, and a good sense of fun!’ ” “You’d need more than a good sense of fun to liaise with my uncle,” said Harry darkly. “Good sense of when to duck, more like . . .”

(OOTP, page 657)

It seems Harry is very much aware that the way he is being treated is wrong. the younger Weasleys and Hermione are clearly aware of that too. Harry calls the Dursleys' rules stupid, he knows the Dursleys aren't treating him the way they should and that he doesn't have to take it. That he shouldn't have to take it.

Harry is kind of a best-case scenario of an abused kid and Dumbledore was so lucky Harry ended up functional enough for his plans. It could've so easily gone down differently.

Honestly, I'm enraged on Harry's behalf at how Arthur, Molly, and Lupin (and every other adult) just completely ignore his mistreatment. He really does just state plainly what's going on and has Ron, Fred, George, and Hermione backing up everything he says.

What are the other ways in which he got affected and it shows?

I do like when Harry's approach to food is affected by the Dursleys starving him, that being said, there isn't really any book evidence for it. It's an interesting headcanon to explore though. His low self-esteem, willingness to endanger himself, and his thinking that adults be counted on are definitely effects seen in the books. As for other things we do see in the books:

1. Harry is actually really quiet. He doesn't speak as much as Ron and Hermione and he's pretty awkward with social interaction. He mimics Ron in many ways since he never had any friends before him.

His approach to studying is one of the ways he mimics Ron socially. Harry actually read their school books before 1st year, he found Hedwig's name in a History of Magic. And he planned to study at the beginning of Philosopher's Stone. Then he meets Ron and realizes no one in Gryffindor except Hermione actually studies, and she is hated for it. So he didn't bother studying either, even though he planned to because he wanted to fit in.

2. Harry isn't great at emotional regulation, specifically anger. Harry is a pretty angry character and throughout the books, he actually has moments when he completely loses himself to a sense of anger.

A boiling hate erupted in Harry’s chest, leaving no place for fear. For the first time in his life, he wanted his wand back in his hand, not to defend himself, but to attack . . . to kill.

(POA, page 339)

“Madame Maxime!” said Fleur at once, striding over to her headmistress. “Zey are saying zat zis little boy is to compete also!” Somewhere under Harry’s numb disbelief he felt a ripple of anger. Little boy?

(GOF, page 275)

Harry sat there staring at Snape as the lesson began, picturing horrific things happening to him. . . . If only he knew how to do the Cruciatus Curse . . . he’d have Snape flat on his back like that spider, jerking and twitching. . . .

(GOF, page 300)

If Dudley’s friends saw him sitting here, they would be sure to make a beeline for him, and what would Dudley do then? He wouldn’t want to lose face in front of the gang, but he’d be terrified of provoking Harry. . . . It would be really fun to watch Dudley’s dilemma; to taunt him, watch him, with him powerless to respond . . . and if any of the others tried hitting Harry, Harry was ready — he had his wand . . . let them try . . . He’d love to vent some of his frustration on the boys who had once made his life hell —

(OOTP, page 11)

He does calm down the older he gets. But he definitely has a lot of anger in him.

3. Harry, in general, has a disrespect for authority. I assume this is an extension of his distrust of adults, in that no teacher or nurse ever helped him. Harry is so anti-authority and anti-orders, that he can resist the Imperius Curse decently from the first try.

Harry just doesn't do orders or authority. Actually in the earlier books, and even in books 6 and 7, Harry has his doubts about Dumbledore. He repeatedly tells people he's Dumbledore's man, but in his head, he has doubts. Like he has for any other adult with authority over him.

“Dumbledore’s been driven out of this castle by the mere memory of me!” he hissed. “He’s not as gone as you might think!” Harry retorted. He was speaking at random, wanting to scare Riddle, wishing rather than believing it to be true —

(COS, page 282)

“Because the Ministry of Magic’s still after me, and Voldemort will know all about me being an Animagus by now, Wormtail will have told him, so my big disguise is useless. There’s not much I can do for the Order of the Phoenix . . . or so Dumbledore feels.” There was something about the slightly flattened tone of voice in which Sirius uttered Dumbledore’s name that told Harry that Sirius was not very happy with the headmaster either. Harry felt a sudden upsurge of affection for his godfather.

(OOTP, pages 82-83)

He's very distrusting of adults and authority, but also his peers. He doesn't tell Ron and Hermione everything in the earlier books because he is very slow to trust. Which, makes sense for someone who grew up like he did.

4. His occasional impulsiveness is an extension of his issues with emotional regulation, I think.

5. I think Harry's cunning Slytherin streak is a result of his abuse. The Dursleys' mistreatment taught him to sneak around, to lie, to be clever. It taught him to keep a blank face when being yelled at because if he reacted it'll make it worse.

He learned how to insult the Dursleys in ways that go over Dudley's head. His little way to rebel.

6. His response to pain as well. We see it with Umbridge and the blood quill for example:

He let out a gasp of pain. The words had appeared on the parchment in what appeared to be shining red ink. At the same time, the words had appeared on the back of Harry’s right hand, cut into his skin as though traced there by a scalpel — yet even as he stared at the shining cut, the skin healed over again, leaving the place where it had been slightly redder than before but quite smooth. Harry looked around at Umbridge. She was watching him, her wide, toadlike mouth stretched in a smile. “Yes?” “Nothing,” said Harry quietly. He looked back at the parchment, placed the quill upon it once more, wrote I must not tell lies, and felt the searing pain on the back of his hand for a second time

(OOTP, page 267)

Harry can hide his pain and not react to it, and he does it well. He learned from the Dursleys that she wants to see his pain, and he isn't going to give her what she wants. Instead, he grits his teeth through it and doesn't react externally.

Even later in the book when Umbridge threatens with the Crociatus Curse, Harry just braces himself for it, not planning to break (in later books too, Harry is very willing to get hurt and just deal with it). He is willing to take torture without reacting, and I think this is something he got from the Dursleys.

These are the some other things that came to mind regarding your question. There are probably more that I can't think of now that I might add later. Harry is who he is in part because of his nightmare of a childhood. So many facets of his personality just link back to it.

[strawberryblondebutch]

hi! Random question maybe, but you seem very knowledgeable about hockey: there's a post on the PWHL subreddit right now asking about the differences between PWHL and NHL hockey. A lot of people in the comments are saying the skill level in the PWHL is much lower, which to me a weird statement for multiple reasons, but I don't know enough to disagree or agree with certainty. Do you have any thoughts? In general, what do you think are the differences between the style of play in the two leagues right now (other than ofc level of physicality l)?

That is a weird statement, which I'll get into in a second. To me, the biggest differences are such.

Fundamentals. This is not a PWHL-specific statement. It also applies to the WNBA vs. the NBA, and baseball players drafted out of college vs. high school. With truly all the respect and love to my prep school coaches, college is where you learn how to play your sport. You get by on raw talent until you hit the college level (or, for Canadian men's hockey players, the junior level) and then you learn how to actually play. Men are spending 1-2 years in college before leaving for the show. Women do a full 4-5. It's hard to imagine someone like Jason Robertson (who I love) succeeding in the women's game, because he's not a very good pure skater. He got by on his raw offensive ability. If he were coming up through the NCAA, someone like Mark Johnson or Matt Desrosiers would have grabbed him and said, "You're doing extra shifts in the barn until you stop looking like you're drowning out there."

"Then the skill in nhl level is just insane. Passes are perfect, players can handle bouncing pucks easily, and most importantly positioning is excellent - players are almost always where they are supposed to be (because they are big and fast) so zone entry/exit is super smooth.

60 minutes of Flyers hockey would kill this Redditor. I can assure you passes are not perfect and positioning is abysmal in the NHL, because again... these are the fundamentals that players would learn if they weren't plucked out of college/juniors on the basis of their raw, unhoned talent.

Roster construction. This is largely a function of limited roster space. The PWHL has less than 1/4 the positions than the NHL does. In the men's game, each line has a defined role. The first two forward lines are your top scorers, the third line does most of the checking and defensive play, and your fourth O-line is meant to tucker out the opponents' best scorers. The PWHL doesn't really have checking lines, because there aren't really checking specialists. Instead, lines are determined by the whims of the coaches by a combination of seniority and "riding the hot hand" - players who score more get more ice time.

Goaltending. PWHL goalies are smaller than NHL goalies and working with the same size net. Someone like Ivan Fedotov (6'8") can take up more space just by standing there than someone like Emerance Maschmeyer (5'6"). As a result, PWHL goalies tend to be far more mobile, and they start their post-to-post movement early, trying to anticipate where the shot will come from so that they can physically get there and block it.

Speed vs. acceleration. I think the comments about size that people in that thread were mentioning are largely overblown because they forget that everything is relative. It only really counts in two dimensions. The first is in goaltending. The second is in movement. Taller players can cover more ground with each push, which helps with their speed. Smaller players, because they aren't dragging as much weight around the ice with them, can push off from a stop faster, which helps their acceleration. It's why KCS is such a pain in the ass to play against: if she and I are both standing at the starting line, she (5'2", 125 lbs) can take off much faster than I (5'10", 170 lbs) can. I can hope to close the distance by using my strength and stride, but she's got the edge on that first 200 ft. Hey, you know what else is 200 feet? A hockey rink. She beat me to the other end.

[thatswhatsushesaid]

re: my tags about jgy and qin su in my reblog of that "does your blorbo have ptsd" tumblr poll, can we revisit that excruciating conversation in the jinlintai treasure room in cql? because one of my least favourite reads on jgy's expression and body language here is that he's being "creepy." and to be clear, i'm not trying to say you're wrong to draw those inferences here, because his behaviour is deeply, deeply unsettling, and i also find this scene hard to watch and to read in the novel. but i think if that's where your examination of him begins and ends here, you're doing yourself--and zhu zanjin's exquisite performance--a disservice.

so the 'creepy' bit is preceded by what jgy says to qin su while she has her back turned, and i find his words heartbreakingly sincere and very reflective of a man who has spent his life forced to feel shame and embarrassment over his mother, who he loves dearly and who he watched suffer right up until the moment of her death:

there are a few more very poignant lines in there about his mother and the depth of his gratitude to qin su (these show up in the novel, too), but i think the above encapsulates the same message. then the atmosphere shifts, and so does jgy's expression when he talks about jin rusong and how his death would have been inevitable--essential, even. this is also where i most often see him described as acting like a creep, and i have two separate responses to this that i don't really have the time to get into right now, but which have both doylist and watsonian components to them so 👀 you can probably make some guesses about what my arguments would be. if there's enough interest, i might come back to this later and put together a separate post about it, idk. anyway, i'm not going to get into the 'is he a creep' argument here because tl;dr no, i don't think he is, and also--

i find jgy's expressions here to be more indicative of a man who is, shall we say, Not His Best Self At The Moment 🫠 rather than a man who is intentionally trying to make a wife who, by her own admission, he has treated very well for the entirety of their marriage, uncomfortable. his attention isn't even on qin su or the hell that she is experiencing right now--because he is re-experiencing his own hell. because he, too, is traumatized by this knowledge! he's just had a decade and change to develop some deeply unhealthy coping mechanisms and masking techniques to hide it.

at this point qin su whips around and slaps him, which i know everyone likes to gif and fistbump and holler about in a positive way, but given there is no one in this scene who isn't enduring profound trauma in this moment, i, uh. you know. won't be doing that. i will focus on his face journey in the expressions that follow because they are just so

dissociating

dissociating

dissociating

/executive function switch is flipped in his superbly wrinkly brain, and then "qin su :) we still have so many guests to attend at the discussion conference :)"

a-yao? sir?? hello??? also i do not have the quote from the novel directly in front of me, but iirc he says something very similar here to what he does in the novel, which i'll have to paraphrase: that this revelation is only bothering qin su so much because she is actively thinking about it! it's only thoughts, you see! just don't think about it! haven't they actually been very happy all this time, while only one of them had to live with this knowledge and could not share it with anyone?

to which i can only respond with abject, horrified shock because, like. have you, jin guangyao? been happy and unperturbed by this devastating knowledge? because i think the answer is a pretty definitive no.

anyway i just wanted to quickly keymash my thoughts on this before they fled my brain completely but tl;dr yes, while jgy would not use this language to describe himself, he's absolutely got ptsd specifically around his marriage to his own half-sister, and their son.

---

this post has been added to my dreamwidth meta archive here: https://thatswhatsushewrote.dreamwidth.org/10607.html

[yangsharperavery]

my carmy/sydney related thoughts on season 2

i think when digesting this show, it's done more easily when we see who carmy and sydney are as people and how they bring that beingness to their dynamic.

it's interesting to see the takes from people who are troubled by what they saw in this season in terms of their relationship.

i personally thought there was so much fascinating groundwork that was laid.

we knew when molly gordon was cast they were likely trying to introduce a love interest for carmy.

i was not shocked, i was not surprised. i literally expected it.

doesn't mean i wasn't rolling my eyes but i was well aware of what function she would play within the narrative.

but the writing is so sharp that there are a million subtle elements of carmy's character, and what we know about him up to this point, including what was illuminated by the christmas episode.

let's first talk about carmy's choices and behavior where it relates to claire vs sydney and the restaurant.

we know that carmy is awkward, isn't incredibly relationally experienced and has sacrificed everything for his career and specific level of skill.

he'd just been ruminating on expanding his experiences as expressed in the al-anon meeting.

we know this man is intensely grief-stricken and also that he's battling his own mental health.

we also know he's literally been bred from chaos and emotional tumult.

even him not going to his own brother's funeral makes so much sense after that christmas episode.

he couldn't stand to witness what that type of grief had done to his already deteriorating mother.

so he's trying to conceptualize fun.

notice he wasn't trying to conceptualize love or relationships or a partner.

it was literally presented and integrated as fun.

so he runs into this girl he used to a have a crush on and even then, he's not sold because he knows himself, he knows his priorities, his propensities toward self sabotage, etc so he gives her a wrong number.

yet she persists.

so to me, this may seem like a sign to him to give this a chance, do some exterior exploration of something outside of the kitchen and outside of his career and outside of his own neurosis.

so he's just going with the flow. trying to be "normal". not really knowing the content or context of anything. another reason why he wasn't even calling claire his girlfriend.

claire even brings up the fact that they'd hung out so much but didn't actually talk.

which is SPOT on because the audience only actually ever sees them talking about their careers or what they were like as kids/teenagers.

but you know who carmy DOES talk to? hmm, more on that later.

so claire is symbolic of this thing that was pleasant when he was younger, when he was less of this grown conglomerate of anxiety and disarray and sorrow. a part of him that's separate from all of his current worry and fixations and dysregulation.

him saying he loves her so much and that he thinks she's so great actually rings hollow because we, the audience, didn't actually get to see when and where that level of specific emotion or intensity occurred.

so off rip i don't believe him. i don't think about it in the context of if or when he and sydney explore anything, because it feels patently untrue to me.

and completely separate from sydney.

it's not earned. it's not rooted. it's not tacitly valid.

it's fine. it's a good time. it's some laughs and conversation and sex and a nice, normal person he has fond, nostalgic memories of.

and i think it's written that way on purpose!

so him professing this to other people feels like this way to continue digging a hole of his own distraction, his absence, his lack of attention to detail.

i completely understand the frustration that many feel about interpreting this like carmy was essentially choosing claire over sydney.

carmy was trying to have an unfamiliar and different experience and didn't have the depth perception, the self awareness and the internal regulation to recognize he was doing it to the detriment of something so deeply and irrevocably important to him.

as soon as sydney brought it up, he got defensive but then moments later recognized his errors and apologized.

she told him she didn't want to share his attention.

he told her she was absolutely correct and that she deserved his full focus.

what's fascinating about this part is they aren't even explicitly talking about the restaurant.

she says "me" and "i", he says "you".

uh. wow.

now even in the context of JUST the restaurant this is saying ALOT here.

him instantly apologizing and agreeing with her requests means a substantial amount.

carmy isn't an ass because he stood sydney up for the palate cleanser. or even because he went absent when he shouldn't have.

carmy is deeply troubled and wounded and suffering and he was grappling for something else to feel or do or think about besides what he's ALWAYS thought about and done and fixated on.

that's why he's unreliable, that's why he's haphazard and emotionally or energetically messy. he's coping.

that's why he knows he makes mistakes all the time. because he feels like he's a screwup in a lot of specific ways in his life so he's used to it.

he's not being malicious or cruel or even unkind to sydney.

and this isn't an excuse. it's a reason. it's what all the information we have about him up to this point is providing us.

and yes, his timing is godawful.

but he trusts this person so implicitly because he knows how talented and capable she is.

carmy does not know HOW to be a partner, of any kind. where would he have learned that? where would that have been modeled for him?

"this is what you wanted originally and i'm giving it to you."

so let's transpose the way carmy and claire are presented with how carmy and sydney are together.

he literally can't WAIT to hear what sydney has to say. about literally anything.

at any given time.

"say more please."

all he wants to do is listen to her talk. he wants to know everything about her. the personal stuff too, almost especially.

he listens to her so closely. in the first or second episode she loses her train of thought and he repeats everything she just said.

i don't even think it was restaurant related.

he brings up her mother not once, but twice.

he feels like he should have known that sydney lost her.

he wants to pour into and believe in her because he does. he already does.

he's ready to apologize to her because he knows what a mess he can be and often is.

he knows what his anger can do. he knows how he was conditioned and raised in the industry and he doesn't want that at all for her, least of all from him.

especially after she walked out last season.

he's hyperaware of it. he calms down instantly both times she does the sign for sorry that HE taught her.

he has this propulsion to NEED to know what's happening with her in the very moment something occurs.

he did it last season when she quit on the spot and he kept trying to talk to her when she was leaving.

he did it this season when she was frustrated and trying to say goodnight after carmy was actively telling everyone goodnight and to go home, yet he tried to talk to her when she was leaving.

"what?"

"i'm saying goodnight."

he was repeatedly ushering everyone out but because of the look on her face, carmy's like wait, "what's that about, what's happening?"

he can't stand it!

same with them outside last season when he brought her food and asked what was wrong.

if something is up with her, he reacts immediately.

if she's peeved, he wants to know why right away, he wants to know what to do to make it better, how to approach it, what to say, he goes out in search of that information in the moment it's happening.

sydney is his soft place.

he feels very anchored and tethered to her and i believe she feels the same with him.

sydney is his respite. his peace. the thought of her literally calms and stills him.

her being energetically seats him.

we saw it penetrate his seismic and consistent panic in real time.

that was clearly displayed for all of us to witness.

he doesn't want to be cruel or unkind or anything other than present and communicative with her.

i'd venture to say he actually doesn't want anything more than that, besides maybe the restaurant to succeed.

now sydney is in her "i have something to prove" era.

she is so driven and so determined but she's also a realist and is inundated and surrounded by all this proof that what she's doing may be foolhardy.

at the very least, it's incredibly risky. it's a jump.

and someone deeply ambitious and creative and tuned in and focused like sydney has such fear of failure.

because she knows what it often means for someone like her.

that's why she overextends herself so continuously.

she's often had to and she thinks it gets her closer to the opposite of failure.

she was not only aware of the gaps carmy's absence was leaving but also planning this tasting menu with a MILLION things on it because something was gonna be the star because it MUST.

and i think the carmy absence flares a bit of abandonment as well, like he's left her in a lurch.

she has feelings about that.

she finds out why he did, and TRIES not to have feelings about that.

that's confusing and she's already beyond stressed out so she tries to stuff it.

her success is so tied to her identity because she's worked so hard to get where she is and still feels like she's not where she wants to be.

so she wrestles with worthiness and worry and the financial climate of affability for restaurants. she's riddled with what if she can't hack it?

she has evidence of that being true in the past.

she has evidence of her past failures and those are what keep her up at night, not the infinite possibilities of her future successes.

and that's also why she picked carmy.

because she was always going to pick the best.

she was always going to follow the career and moves of the standout in the industry.

of the person that made the best meal she's ever had.

so if he's anal retentive or jumpy or doesn't call about changing the structural elements of their restaurant while it's happening, she deals with it because she picked him.

she chose him. and then he chose her.

(and then she lightweight chose him again when she came back)

so that's why when they're talking he so often checks in by looking her in the face, scanning her expression. he instantly picks up on something being off or wrong or him being "shitty".

or why when they're under a damn table, despite being peeved or annoyed with his disappearing acts, she lets out the most vulnerable, softest admissions about the perceived necessity of her contribution and future failure.

or why he responds with "i couldn't do it without you" so instantly, so rapidly, it's like it's etched in him. that's the quickest response he'd given to anything she said to him the entire season, she barely got the words fully out before he was verbally soothing her.

then he STAMPS this by saying "i wouldn't WANT to do this without you."

there was such an unexpectedly, viscerally aching quality to that exchange.

it's honestly searing.

i'm sorry are these wedding vows or are we talking about opening a damn restaurant?

or the way he says "you love taking care of people" to her when she talks about making sugar food.

that's also a stellar mirrored moment because i've seen a few people, i believe @eatandsleepwell is one, talk a lot about how that's one of carmy's main drivers and internal tenants.

they see so much of themselves in each other.

the buried parts, the unknown parts, the odd parts.

the parts they wanna work on. the parts they wanna exalt.

they are so similar. they are also quite different.

they have reflected one another in the narrative since s1 ep1.

they exist so flawlessly within the others interstices.

she wordlessly hands him pepto for his stomach.

he tells her he won't let her fail.

the pulsing undercurrent of sydney and carmy is pretty fucking palpable.

there's people on social media who weren't convinced or didn't ship them last season that have suddenly completely seen the vision.

whether the writers actually go there or not remains to be seen.

i don't necessarily trust that they will or won't to be honest because i know there are so many moving pieces and variables and factors.

ships get bypassed and messed up all the time.

i don't watch any shows for ship guarantees but i know how writer's rooms work.

i'd venture to bet that at least 1/3 of that room DOES have an interest in seeing something happen between carmy and sydney, (maybe even 1/2).

or at the very least the option to have it explored.

different people write different episodes, the showrunner/creator can scratch or add whatever.

scripts are TIRELESSLY edited and shortened.

yet there is alot that makes the final cut that points to the potent carmy and sydney marrow.

him giving her the captain reigns before they served for the first time, her saying 'let it rip'.

to me, sydney walked into that failing sandwich shop with a mission that day, they locked eyes and immediately fused.

something happened to the both of them in that moment and they largely don't even realize or can adequately reckon with its magnitude yet.

[just-a-sleepy-idiot]

Herbert West Imagine: Being your Roommate and slowly starting to care about you

Why is he so cute it’s so unfair. Shout out to @herbert-west-did-nothing-wrong for being an archive of cool Re-animator content and furthering my hyperfixation hoho hehe

Content/Warnings: Gender neutral Reader, Some fake dating, Violence against Zombie animals, Dr. Hill is obsessed with Reader the way he is with Meg in the movie, Swearing, Herbert being addicted to the Reagent like in the uncut version & Withdrawal, Autistic Herbert West

When his unsuspecting Roommate turned out to be a Insomniac night owl his initial plan of secrecy had to be turned around. Or to be more specific, it was rather the very unfortunate moment when you happened to catch him wrestle the Re-Animated Raccoon that tried to claw through his labcoat in the middle of the night when he realized that he couldn‘t get around some explaining. „Get it off me!! Get it off me!“ He yelled, trying to keep the beasts treacherous little zombie hands away from him. „Fuck! Fuck, Herbert what the hell!?“ You yelled back while hurriedly grabbing a towel and trying to pry it off him with that. The Racoon ended up Re-Dead eventually, after an excruciating fight that showed you the extent to how fucking Undead that thing turned out to be. You stared at Herbert in Horror, he was heaving and leaning back against the Operation table he had set up. He was quick to jump and talk to you, „Listen-„

You were this close to demanding he‘d move out as fast as he had turned up that evening a few days ago, when he knocked at your door with the sign you had posted to the Hospital staff‘s board about looking for a Roommate. You were vaguely aware of what he was studying, at least you witnessed how strongly he defended his opinions about Brain death against Dr. Hill, who was the head surgeon of the clinic but also his teacher. And as such the older man was more than inclined to fail Herbert in class over his upfront disrespect. You were somewhat uncomfortable with Dr. Hill as well for a long time, and maybe the fact that Herbert openly disputed against him was part of the reason why you didn‘t turn him off when he turned up on your doorstep.

But he showed you, he proved to you, that the insane claims he was using as his explanation were actually true. His research has led him to revive the dead, no matter the damage the body has taken before, because soon after the wretched beast you had just thought dead came back to life, if that absolutely murderous state it went into could be called life.

You were sat there, next to him and stared at the cadaver. Blood on Herberts shirt and loosened tie, and you in your silly Pyjamas. „Which is why I need your help Y/n.“ Your head turned quickly, „Help you?“ He scooted a bit closer, „Yes! You are the perfect assistant. You are hardworking, we work in the same Hospital and you have no functioning sleep schedule.“ You frowned at that, but well, he was right. „We could do something great, conquer Death!“ He put a hand on your shoulder and you looked him in the eyes for a very long moment. You let out a stressed out sigh, „for gods sake.. ok, alright. This is.. just insane, Herbert, but it‘s the kind of insane that I can‘t just leave be. I‘ve never seen anything like it.“ Herbert smiled, patting your shoulder enthusiastically.

That is how he got himself an Assistant by chance. As long as he could keep you motivated to keep going and pushing through the Horror his research would really benefit from the help you were providing.

You weren‘t as obsessed about working day and night as he was though, which is why you didn‘t react too pleased when he stormed into your room at nearly 4 in the morning to tell you about a new theory he had. He didn‘t really notice how you were snuggling a plushie, or how you had curled up in the moment as he ranted on and paced your room excitedly. You let out a long stretched moan and grimaced at him, “I was sleeping..!” You complained, but he didn’t really listen. Only when you threw a pillow at him he halted, looking at you in offense. “That was uncalled for.” “Apparently it is! I wanna sleep Herbert now gooo” you stood up and shoved him out of your room. “No bursting into my room while I’m sleeping!” He turned around, getting a last look at your sleepy, disgruntled face before you shut the door on him and went back to sleep. Only when he huffed and puffed, walking back down into the basement, he remembered how you have looked sleeping. Curled up like a Pillbug, he thought.

The next day he found that the lack of sleep had not really made you forgiving towards him when he tried to tell you about his findings. He clenched and unclenched his fists nervously, frowning as he tried to figure out his next step of action. Herbert never needed to prove himself to anyone or be particularly likeable to make it to where he was now, his work spoke for itself. So he genuinely didn’t know how the heck he was going to fix something that was well.. a person. He needed you to be cooperative, and pissing off his only assistant was not very beneficial to his work.

When you came home, Herbert was already sat there and stood up quickly. „Look,“ you already looked at him pretty much pissed, much like this night while you threw him out. He came forward and firmly held out a plastic bag, neatly wrapped inside was a piece of your favorite cake. „No more bursting into your room while you’re sleeping.“ He said, lowering his head without breaking his continuous eye contact. „Is that.. how did you know I liked that?“ He nodded, „See I‘m not always listening but my brain is always taking in information.“

You took the bag and raised your brows, a slight smile on your lips as you took out the cake. „Alright.. I accept.“ you said, putting down the cake to go into the kitchen to get a fork. „So what did you find out?“ He smiled as well, clapping into his hands and starting to explain it all. You came back with two forks. You made Herbert try some too, as it turns out he is more a dark chocolate kind of guy, and he makes a face when he finds things too sweet that makes you giggle.

Herbert was always eager to go back home and experiment after work, the days were Dr. Hill taught were especially agitating to him. „I feel like every minute I am forced listen to this man it’s diminishing my brain capacity.“ He complained every time. Those were days were he stayed in the lab until the sun rose, and listen, throwing stones in a glass house and all but this was too extreme. You noticed he was still up when you woke up to pee. Did he even eat dinner? You spied into the kitchen, no trace of dishes.

He was scribbling down a new variant to his substance he had thought of, it was brilliant! This would solve at least one of the major problems you had been encountering in your experiments, he couldn’t wait to put the chances into action and see how the reagents power changed. Herbert lifted his gaze without fully looking up when he heard the familiar creak of the wooden stairs. „You need to see this Y/n.“ He bickered you closer. He was surprised to find a plate with Pancakes in his field of vision. He looked up from them to you. You were in a different set of silly pyjamas now. „You didn’t eat. How are you gonna save me from Zombie Goldfish if you faint?” You joked and reached for his notebook to read his new results. He stared at you for a while, then said „Why do all of your pyjamas look like that.“ „Hey!“ “Also by now I deem you capable enough to bring down a Zombie fish yourself.” “That is the sweetest thing you ever said to me Herbert.” He shot you a look over his glasses.

Though, he ate the pancakes when you left and they were good. You didn’t make them too sweet. Judging from the way you giggled at his reaction to the cake you must have had remembered. Hm.

It was another night, another period of labwork he was up to with you. You were replicating the reagent for him into smaller, portable versions you could take into the Hospital to begin and document the reactions to human bodies with low dosages. You poured some of it too quickly and a cloud of poisonous gas errupted from the glass, you nearly fell back trying to evade it- your chair already tipped over and you closed your eyes, but the crash didn’t come.

You looked up, still holding onto the glass for dear life, and saw Herbert looming over you from behind the chair. He had swooped in and grabbed it from the back before you could fall. Why did this somehow feel.. close, the way you looked up at him that way. The way his knuckles turned white from gripping the chair, and the way he frowned down at you. You eyed his face. “You should avoid dying before I perfected my reagent.” He said, still holding you. Your feet dangled in the air, you put your head further back. “Don’t worry, I would come back as a ghost to haunt you.” “Why would you do that?” You raised your hands up to his face, cupping his cheeks, surprisingly gently. “I wanna spook you once, not see you as composed as you always appear to be.” Herbert swallowed, his eyes flickered over you for a moment. Your fingertips were warm against his skin. Why were you.. your lips parted in a smile. He cleared his throat and carefully set your chair down again.

“You really need safety googles, let me see if I have an extra.” He looked through his stuff, finding his thoughts trail off. He paused for a moment without noticing, briefly letting his eyes flicker around without really focusing on something. When he found them he turned around and gave them to you for you to try on. “Do I look good?” “You look safe. That is good.”

A week or so later you were both at the Hospital, working as usual. Herbert went to your station to discuss your next test subject, he happened to find an older man who was sure to die soon of his illness that he intended to try and Re-Animate. If the bodies weren‘t registerested in the Morgue in the first place it couldn‘t be traced back to the few with the authority of entering it, aka you. So if he just waited until the patient died and took his chance before anyone took the body he would make for a perfect test subject. When he arrived at your station he looked around for you, only eventually finding you cornered against a door by none other than the most dimwitted person in the Hospital; „Dr. Hill, I really need to be getting back to work..“ you said and tried to walk past him, but he blocked your way with his body.

„Now Y/n there‘s no need to be in a rush, I‘m sure someone will handle it. Surely you‘ll have some more time for me to discuss dinner.“ „Well.. um, like I said, I‘m sorry but I‘m already getting something with Mr. West tonight.“ The older man rolled his head back for a moment and laughed spiteful at the mention of his name. „Yes but you are rooming with.. Mr. West, so you will have plenty of occasions to eat with him. But you see, I am a very busy man and my company is high in demand. You should prioritize me making time for you.“

Herbert saw the way you smiled, and from what he had learned about body language over the years he would most likely interpret this as a sign that you were flattered and comfortable with his invitation- but there was something that went against that deduction; Your eyes. Either way he didn‘t look people in the eye or he did so to an extent that was considered staring. But he had seen you smile, at him, at the cake he got you, at the note he left on the fridge that said ‚Leftover Dinner left, Bag of Eyes right! Do not accidentally microwave‘ so he knew what you looked like when you smiled. And.. you weren‘t smiling with your eyes right now. You always smiled with your eyes, did that mean that your expression was simulated? Were you in distress?

He approached swiftly, clearing his throat to get Dr. Hill to turn around. „I shouldn‘t be surprised to find out that your ignorance isn‘t limited to your scientific research, Dr. Hill, but here we are. Y/n, I need to discuss something with you.“ You were more than happy to use the moment of Dr. Hill‘s bubbling irritation and slip past him and next to Herberts side. „Mister West.“ He said through gritted teeth, „It seems like you are compensating your inability to surpass me by taking something from me in reach, but let me assure you that a Roommate isn‘t as important as a Lover can be.“ When he said the last words he looked at you with a smug smile, not even hiding that he thought of himself as your suitor. You looked horrified.

„I agree. Now if you‘ll excuse us, it’s 3 PM and therefore Y/n‘s Lunchbreak.“ Herbert held eye contact with Dr. Hill as he put a hand on your back and led you away. The older mans eyes widened in disbelief at the implications of him agreeing, of the way he put a hand on your back when you left. „Are you saying you are-?“ Herbert didn‘t stop to listen and made you follow his pace as well. Did he just hugely imply that he and you were affiliated? Yes. Did he plan to do so? Certainly not, but it just happened to be the perfect split between pissing of Dr. Hill and helping you out of the situation and potentially even future attempts like these. How wonderfully efficient.

„Now, I wanna show you the perfect candidate for our-„ „Herbert“ he looked at you, eyes flickering over your features as he rapidly noticed a change in your expression. Your cheeks were reddened, your lips slightly pressed together. The redness even extended to your ears. „You are embarrassed. Or flustered. Which is it so I know for future reference.“ He observed and you blushed even more.

„Now the whole Hospital is going to think we are a Couple!“ He shrugged his brows and led you further through the Hospital, you whispered as a colleague walked past. „Potentially, since Dr. Hill is more concerned with spreading misinformation anyway than working.“ He paused, „Ah, I did not account for the possibility that you already have a crush on someone here. If they heard about that it wouldn‘t be to your advantage.“ „Yes, I mean, I don‘t but- now we gotta act like it in front of him too.“ He hummed in acknowledgement, well, surely that wouldn‘t be too hard.

He had you meet the man that he meant to Re-animate if everything went according as planned, you inspected him and gave Herbert a look. It was doable, his body was weak so in case of aggression he could easily be restrained for both your safety, and lastly the man had decided to donate his body to science anyway after his passing.

„I think I can ask to switch shifts to his station and make sure the beeper doesn’t go off once he passes.“ You said as Herbert walked you back to your station, „Then you distract the nurses while I get the body out in a Wheelchair.“ Herbert added and you nodded, slightly nervous about the whole thing already. Bringing a full human back to life.. was it even possible to conserve the refined parts of the human brain and personality or would it operate like the animals as well that he brought back?

You reached your station. Herbert surprisingly took your hand in his, your eyes widened yet you didn’t resist the gesture. Reaching out, he did that a lot, he does in when he fails to verbalize what he wants to communicate in an emotional extent. But people usually react with.. a leap of faith, and trust in him when he does this instead. Touch, hold onto their arm for a moment. And he reaches out for your hand now and you trust him, you let him.

„Listen, Dr. Hill is watching us.“ He said, and you blinked, eyes darting to your hands as you suddenly understood his gesture for what is meant- an attempt at portraying romance.

Your hands were warm, almost beaming with heat. It wasn’t uncomfortable.

„Would you consent to me pretending to kiss you for the sake of proving our lie. He isn’t close enough to actually see if our lips touch.“

You squeezed his hand and slightly stepped closer, breath hitching. „I consent.“ He studied you, sighing and wetting his lips. The way he looked at you, if he reciprocated eye contact at all, was always intense and yet this was.. as if he was actually taking in much more of you. Not just reciprocating a gesture to an intense amount, but actually looking at your face, all of it. Why did he feel his pulse raise? He took another step towards you and closed in- until there were centimeters left between your lips. Your noses slightly brushed against each other, your breath gently fanned over his skin. Both of you had closed your eyes, Herbert felt your hand on his chest clenching slightly onto his shirt. You radiated warmth, why did he want to have you even closer than that?

He stepped away again, opening his eyes. For a second he saw you, with closed eyes and a reddened face.

„I think that will suffice for a bit, depending if Dr. Hill has enough audacity to flirt with someone who is supposedly already committed.“ He concluded, straightening his glasses. He felt weird, somehow.. anxious? Anticipating? Frustrated? Disappointed? Hm. Hard to tell.

„Ah.. yup! Um, maybe it works!“ You said, swallowing and bidding him goodbye until work ended. And Dr. Hill actually walked past you that shift without saying anything else, purposefully not acknowledging you as it seems.

You felt anxious about going home that day, not really knowing what has changed exactly that made you feel that way. What did you expect to happen? Nothing actually.. happened! You did not kiss, this shouldn’t feel so Sitcom-ish. And yet-

you came home, the kitchen light was on but you didn’t see Herbert. He must be home, he was always tinkering with something as soon as he was free to do so after work. Sometimes he didn’t even wait until then, but right now there was no light coming from the basement. Only from his door, and that was unusual. You never even saw that man in a pyjama once! As far as you were concerned he had an identical set of clothes to sleep in. ‚I can get behind wanting to revive the dead but that is just weird Herbert‘ you once told him, to which he replied ‚at least I don’t sleep in something that is patterned with geese‘ which really only showcased your point.

„Hey, do you wanna eat something?“ You asked, not straightforwardly showing your concern. „Y/n..“ he muttered, and you frowned, now opening the door. What you saw was a very distraught looking Herbert, rummaging through his things with the small fridge he kept in there open as well. „Fuck- there are no probes in the right stage!“ he howled, hands shaky and room disheveled. „What are you talking about??“ he turned around but didn’t look at you, his eyes darted over the room panicking. „I can’t.. inject any of them at this stage this is..“ his breath hitched, you were putting the pieces together in your head. He was talking about using it on himself, and judging from the erratic state he was in he was physically addicted to it. He was pale too, the withdrawal must have kicked in a while ago. He behaved both impulsive and weakened. There is.. something you needed to do. He sat down on his bed, fidgeting and running his hands through his hair. „It keeps me awake, keeps my mind running.“ That didn’t even sound unlike him, it made sense for him to try and find a way to ditch any kind of the human experience he didn’t like. He did it with death so why not sleep too while he was at it.

„That means you‘ll go to sleep after a while, once your body gets exhausted enough from the withdrawal.“ He nodded, you sat down next to him on the bed. „The Hospital doesn’t have a the tools of dealing with the specific addiction you’re dealing with right now and we don’t have any reagents that are ready to fix either so.. I‘m gonna stay here ok? Monitor you so I know you‘re safe. I‘m gonna fetch that terrible Novel I‘m reading right now to distract you from the pain with a different kind of pain, hold on.“

And he let you do so- listening to you read the book to him while fidgeting nervously and running a hand through his hair or over his arm as he tried to let himself be distracted by what you were saying.

You kept reading to him until 5 AM, Herbert was still struggling but getting more weaker by the hour. He frowned and closed his eyes here and there to rest a bit, visually displeased to be requiring that sort of thing. He muttered that it was wasted time he could use better, but his physical agony seemed to find a bit of relief in this. ‚You were usually asleep now‘, he said when he noted how tired you were at this point, ‚you should just go to bed.‘ He didn’t understand how stubborn you were on staying with him to look out for his safety even though he assured you he was fine. You were nearly drifting off to sleep yourself, resting your eyes as well when he asked „Why do you even care so much?„ Your answer was murmured as your consciousness slipped, „Because I care about you“ your head sunk more against the bed frame behind you since you both resorted to sit at the end of his bed.

Herbert stared at you, frowning once more but slightly bewildered. He was important to you? Personally? Your lips parted as slumber caught you fully in mere moments after those spoken words. If it wasn’t for what you said.. he would have never even thought about wether he reciprocated what you felt, but somehow he found that- he did care about you too. He had cared about your distress earlier and went to resolve it without fully acknowledging why, despite being highly agitated just by the thought of exchanging a word with Dr. Hill. He cared about your opinions on his Experiments. And he even cared about how you felt about him, and it wasn’t even fully based on the necessity of having you as his Assistant. He pressed his lips together.

Herbert straightened his glasses and looked over to you again. With a sigh he grabbed the blanket and put it on top of you, covering you up to your shoulder which made you intuitively sink further into the mattress. He crossed his arms and closed his eyes for a bit as well, fully keeping his stern expression as he slowly fell asleep as well without noticing.

For the first time in a long time he fell asleep again, and for the first time in a very long time he wasn’t alone.

I was literally non stop writing this since I watched the movie a few days ago. I would love to write more for him or maybe even write a part 2 of this? If ppl like this and want me to I‘d love to hear what you have to say. Comments get me motivated and keep the hyperfixation running

[cripplecharacters]

I’m working on a robot character, and I wanted to know if it’s at all inappropriate to have the character (named Blip, uses he/it pronouns) have the “robot equivalent” of a traumatic brain injury and acquired facial differences, if that makes sense?

As it’s planned right now, he has one broken “eye” (kind of a camera lens) that no longer processes visual input, a damaged antenna and internal processor that sometimes misreads incoming signals leading to confusion, and a staticky slur to his speech (its voice would otherwise sound like a generic Siri-type thing, but it occasionally breaks into static). It also has visible damage to the side of its face with the broken eye. (Not a dented-in head, though, because I have a feeling that would conjure up ableist caricatures of brain injuries and I want to avoid that).

I just want to check if any of that sounds offensive, or if you have input on how to represent these features better. Thank you!

Hey! I'll answer for the part related to the facial difference and leave the brain injury to other mods.

Honestly this sounds fine to me. Just on the basis of this being a robot character named Blip, which seems quite silly (positive) and I enjoy seeing characters with FDs who aren't dead-serious and joyless all the time. The fact that he's not human (or even too humanoid, from the description) also helps since a lot of the negative tropes specifically affect how real humans are seen, if you're portraying an anthropomorphized computer then that's just very different. I don't think anyone would see a real person without an eye and think of a robot which avoids the entire "ableds think it's normal to compare a burn survivor they saw in the grocery store to Freddy Krueger" problem, even if you do end up falling into a trope with this character.

Definitely a good call in avoiding the indented skull* since the way it's generally used is a caricature and a borderline dogwhistle at this point. If you want to show that there was some sort of injury on the side of Blip's head, you could give him a different colored-metal plate there (or whatever else it's made out of), or give it a shiny texture to contrast with the rest of him being matte, make the damaged part thicker, etc. If his eye was damaged and is camera-like, you could have the shutter not close, or not move, or otherwise work differently from the other one (that's how my own ptosis would translate into a robot character... I think).

*Craniotomy, craniectomy, congenital cranial conditions, these are all real things that real people have and live with, so this isn't to say that this is always a no-go, because it's not. However, one needs to be very careful and sensitive to represent it respectfully due to what I originally mentioned. I'd strongly advise going with a sensitivity reader if that's something anyone reading this would want to include in their writing or art, and this aspect should be taken under consideration from the starting concept of the character.

For last advice, I'd try to not describe him "broken" as a whole if you're trying to represent him as disabled, since the whole "disabled people are broken". Not that it's wrong to refer to a body part like a leg or an eye as broken if one wants to do that; I mean referring like that to the entire person (or robot). I mention it since it's a common thing when it comes to robot fiction etc. but might come off weird in the context of an obviously disabled one.

I hope this helps,

mod Sasza

Hello,

As the human brain is basically a computer and our brain injuries are basically damage to that computer that changes how to computer functions, having a robot character with a TBI is a fairly easy thing to do. Damage to a human's sensory cortex (part of the cerebrum, one of three main parts of the brain) can cause sensory symptoms like the ones you're describing. This damage would be in his equivalent of the parietal lobe, which uses the information provided by external senses to navigate and have spacial sense, the temporal lobe, which has the auditory cortex and also helps with processing visual input and doing things like speech and reading, or the optical lobe, which is responsible for visual processing. If you'd like your character to have a more human brain in structure, you can look into other abilities that might be affected. But you can also just design his brain however you want it to be designed and that works, too, since he has a reason for his brain not being accurate to a human's brain.

Slurred speech is definitely a symptom that can come of a traumatic brain injury, especially a brain injury to the temporal lobe, and what he has also kind of sounds like a stutter or maybe him trailing off, which can also be issues we get.

And yes, I agree with Sasza about the dented head, definitely a good thing to avoid. If you want, you could incorporate a metal plate implanted on his "skull," which is a medical treatment for certain types of skull injuries to prevent complications and also to give the skull a more normal shape, which is called a cranioplasty.

Everything sounds good on the traumatic brain injury front

Mod Aaron

[itsclydebitches]

Hazbin Hotel: Let's Talk About Cursing!

Trigger warning for lots of cursing in this post (obviously) and discussion of canon abuse scenes

As I delve further into the Hazbin Hotel fandom, I’ve inevitably come across a variety of people who dislike the show for an equal variety of reasons. One criticism I’ve seen with some consistency is in regards to the cursing and yeah, I get it. That’s not going to be everyone’s cup of tea. However, the repeated claim that the cursing is only there as a—failed—attempt at bad, lazy humor got me thinking about why I personally liked the cursing, and why I think it serves a greater purpose in the show.

Now yes, some of the cursing does function as an arguably simplistic joke. The most common setup I’ve noticed is one that leans into a contrast in tone/personalities. We see this a lot with the polite, comparatively timid Charlie as she navigates her distinctly vulgar domain.

Charlie: “Hi, mister!” Demon: “Go fuck yourself!”

The entirety of “Happy Day in Hell” plays with this contrast, setting up Charlie’s slightly skewed, but significantly optimistic perspective of Hell. We are shown again and again how her lyrics are contradicted or twisted into something less innocent through the visuals: a “revealing” street where it’s “hard not to stare” has BDSM going on in a nearby window, Charlie will “open the door” for her people and then literally does so... for a guy who’s already dead. (Or, you know, temporarily out of commission until he heals, or whatever demons do when they’re ‘killed’ by things other than angelic steel.) The entire point here is to contrast the happy, skipping girl claiming that there’s a “warm, fuzzy feeling” in the air with the actual environment of unchecked fires and decaying limbs. And yes, that can be amusing. Not necessarily for everyone as humor is highly subjective and dependent on context, but distilling this contrast down to the shock of a polite greeting getting a “Go fuck yourself!” in response is a kind of entertainment. Especially when Charlie’s reaction adds another layer: for me that’s a very funny—and currently relatable—expression.

We can potentially make the case that this humor format overstays its welcome, but I personally think the show does a good job of keeping Charlie’s cursing both simple and comparatively rare, so that when she is put into these contrast situations the humor lands better. The best example I can think of in the latter half of the show is Susan. There we get the whiplash of polite, trying-to-get-these-people-to-like-her Charlie reaching a breaking point to become “FUCK YOU, YOU OLD BITCH” Charlie. It’s a moment that builds off of the earlier surprise of the courteous Alastor calling someone an “Ornery old bitch”—while Rosie is trying (and failing) to find a nicer way to phrase this.

However, as stated above I think the cursing serves more of a purpose than to just be funny for (some) viewers. Beyond those who simply find cursing distasteful, I’ve seen a fair bit of, “This is so stupid. No one even talks like that!” going around.

Except... I do? I talk like that.

See, I like cursing. I was born to former hippie parents and grew up playing MMOs, so cursing was something I became pretty acclimated to. Personally, I’m glad I was because I’m fascinated by language and cursing—for better or worse—is an integral way that many people communicate. I was taught to see cursing not as the Bad Forbidden Thing You Must Never Ever Do, but rather as just another form of expression, something to be used in moderation and under specific circumstances. Once I became an adult I already understood how I wanted to curse and when it was appropriate to do so. People at work are often shocked when I tell them I curse a lot because no, of course I’m not doing that at my job. That isn't considered professional in this space. Among my friends though?

We can sound a lot like the Hazbin crew.

Undoubtedly the most common curse in the show is “fuck” and its variations, which very much tracks with my personal experience among other people who curse. In fact, it’s so ubiquitous that it barely counts as a curse at all in some groups. It’s more of an easy, accepted way to add emphasis. Vaggie’s “What the fuck was that?” about Alastor’s commercial is a perfect example. She’s pissed and simply saying “What was that?” doesn’t carry the same weight, no matter how angry she may sound when she says it. Vox’s long “Fuuuuuuuck” at the end of “Stayed Gone” conveys an emotion you just can’t capture any other way. No dialogue at all would create a fundamentally different experience of Vox’s feelings and another non-cursing response is just gonna hit different. Not necessarily bad, just different.

“I don’t want to go to the party!” “I don’t want to go to the freaking party!” “I don’t want to go to the fucking party!”

The above represents three distinct characters to me and I think Hazbin Hotel gets that. Cursing isn’t thrown around randomly because something something cursing supposedly sells; it’s all linguistically logical. Characters curse when something surprising or bad happens, or when something unexpectedly good happens, when they’re angry, trying to be sexy, or they want to add that emphasis. That’s a lot of different situations where cursing can be useful and when you use “fuck” in your daily life a lot you become pretty desensitized to it. As said, for many it’s barely a curse at all. Which means that when you really want to curse you’ve got to up the ante. It doesn’t surprise me one bit that the two uses of “cunt” I can recall—a word that is generally considered far worse than “fuck” and makes a lot of people understandably uncomfortable—is used by two of the worst characters in moments that are meant to horrify the viewer:

Adam: “Can’t wait a whole year to slaughter those little cunts / I know it’s just been a week, but we’ll be back in six months!” Valentino: “When I say you’d better get that fucking cunt out of my studio, you say...?”

This horror is especially emphasized in Valentino’s scene. The creators know this word is coming up and deliberately build towards it. Angel is currently being abused and has been reminded that Valentino “owns” him. The above question is a part of a trio that Valentino asks (a standard structure in writing), wherein the third option is the outlier/most shocking of the three. The animation leans into that shock, with the music building and Valentino grabbing Angel to pull him close right on the word “cunt.” Perez even puts emphasis there because he knows that this is a significant word that will change our understanding of Valentino.

Despite having hit Angel multiple times and taunting him with the contract, this is the moment Valentino stops playing the ‘nice’ employer. This is the real him. No more fake compliments and endearments aimed at Charlie, no more fake comfort/intimacy aimed at Angel. That “cunt” conveys a hell of a lot about how Valentino really sees them and when you have a cast of characters who are already cursing on the regular, it takes a word on that level to do that kind of work. If Valentino had said, “get that fucking bitch out of my studio” it wouldn’t have had nearly the same impact because he’s the kind of guy who uses "bitch" even when playing ‘nice.’

Adam’s line from “Hell is Forever” does very similar work. The scene needs a word to align with the horrific reveal that another extermination is just six months away, that conveys Adam’s deep disgust for Charlie’s people, and that still catches the viewer’s attention even though he’s the character (I believe) who curses the most. Here the music drops and Adam is a little closer to speaking than singing; there's this shift because, like with Valentino, our perception of him is shifting. This isn’t just some egotistical idiot who wants to be called “Dick Master,” he’s the leader of an army coming to gleefully kill them. Framing a whole world of people—people Charlie loves—as “cunts” while treating their murder as a holiday that can’t come soon enough creates an, 'Oh shit. This guy is actually a threat' understanding that you can’t quite get with anything else.

On a smaller scale, cursing does other character work throughout the whole show. I watched a number of cursing compilation vids for this meta (that was a trip lol) and again, cursing is not thrown in randomly. Each character has a unique way of cursing that aligns with their personality and motivations:

As said, Adam curses the most in the show which helps sell his truly over-the-top, irreverent personality. Linguistically, the amount he curses also allows for some fun grammatical play. Lines like, “Fucking love putting my name on shit, shit’s the best!” help convey the versatility of cursing.

Also as said, Charlie curses a fair bit but she’s comparatively polite and her cursing tends to be a result of genuinely big emotions—like saying “Crap” when she’s shocked and falls, or “Shit!” when Adam locks her out of the room—rather than sprinkled into her conversations as a modifier. That leaves space to create those moments of amused surprise when Charlie really let’s loose.

Sr Pentious curses even less than Charlie which fits his secretly gooey center. He talks a big game at the start of the show, but he’s actually quite bad at being, well, bad (especially the Amazon version compared to pilot!Pentious). His idea of getting one over on Alastor is ripping a bit of his coat. He loves his Egg Bois and “doesn’t want to live” without them. He has no desire to go into battle without minions/a big machine to hide behind and, of course, he’s the first to be redeemed. He's too much of a secret sweetheart to curse a lot.

Interestingly, Niffty doesn’t seem to curse at all. At least, not enough for me to think of examples off the top of my head. Right now I’m inclined to read that as an extension of her lived experiences/design—the cute 1950’s housewife archetype who is obsessed with keeping things clean doesn’t [gasp!] curse—as well as a way to maintain her legitimate creep factor. As said, cursing is common among the hotel residents and is a way for them to linguistically fit in. Niffty, however, is positioned more as an outsider (despite how much they all obviously love her): she’s actually scary in a way most demons aren’t and despite how weird this whole world is, she stands out as someone no one else can make sense of (even Alastor). If cursing is normal, Niffty is a character who is decidedly positioned as not normal.

Angel curses a fair bit, though his irreverence is conveyed more through innuendos. Angel is great at verbally twisting others’ words (especially Husk’s) to give himself a conversational advantage:

Husk: “Go fuck yourself” Angel: “Only if you watch me~”

Husk: “You’ve come—” Angel: [very loud orgasm noise] Husk: “...to the right place.”

Meanwhile, Husk uses “fuck” plenty, but he’s also one of the few characters who use “bullshit" too. I wouldn’t say there’s anything particularly revealing about that choice, but just giving him a go-to curse that’s otherwise used infrequently helps make his character distinct in a cast of other cursing characters.

Vaggie occasionally curses in Spanish, showing us her heritage if she used to be human, or a distinct knowledge/verbal preference if she’s always been an angel.

Heaven, as the ‘good’ side, doesn’t curse as a general rule, which leaves room for cursing to do more of that silent character work. We’re reminded of the stuffy, overly critical beings she’s dealing with when Charlie receives the combined judgement of the court for saying, “Fuck yeah!” In contrast, we understand just how shocked St. Peter is to see a Morningstar when he lets out an unintentional “Fuck!” The angry vindication of Charlie’s “That’s what the fuck I’ve been saying!” lands harder after multiple scenes of very little cursing, and Lute’s “Some crack-whore who fucked up already? / He blew his shot like the cocks in his mouth—” helps set her apart as an exorcist + Adam's second in command: her shocking violence comes through in her word choice too; words that supposedly don't belong in Heaven.

In what’s arguably the funniest line in the whole show, Lucifer undermines his dramatic standoff with Adam by going, “You mess with my daughter and now I’m going to fuck you.” Beyond just cutting the tension, that fits his bumbling, oblivious personality perfectly. Lucifer is crazy powerful and can absolutely wreck Adam. He also has none of the classy intimidation that, say, Alastor displays when he tries to convey that. This is a depressed himbo who makes ducks in his free time and settles on, “Hey, bitch!” when greeting his estranged daughter. Of course he’s going to accidentally turn a threat into a promise of sex.

Which finally brings me to Alastor, someone whose cursing is already understood well by the fandom. He’s characterized as manipulatively courteous, using manners to both hide his true nature and draw attention to his power—’You’re so beneath me I’ll just calmly sip my coffee and politely ask who you are, despite the fact that we've fought multiple times.’ This is a guy who calls people “My dear” and unironically insults them with the phrase “wacky nonsense.” So when he curses you can BET it’s gonna have an impact. It sure did for me. I had to pause the episode after Alastor’s first “Fuck you” because it was so shocking to hear that language from him. And that’s the point! The scene wants that reaction from the audience. The "Fuck you"s visceral anger contrasting the fake laughs he and Lucifer have been giving, the quick-fire exchange that’s suddenly cut short by Alastor’s choice of a direct insult, the fact that he’s officially dropping the polite veneer they’ve both been indulging in and raising the stakes before Charlie intervenes, the loss of the radio filter that otherwise demonstrates his control over a situation... all of it screams, ‘THIS IS AN IMPORTANT CHARACTER MOMENT.’

"Fuck you” reveals that, for the first time in the show, Alastor is legitimately threatened by someone. Which makes sense given that, you know, Lucifer is the King of Hell. Cursing for Alastor isn’t normal, so when he does curse it’s going to reveal something about a guy who otherwise is obsessed with being unknowable. Having the King of Hell dismiss him is actually infuriating in a way Sir Pentious’ threats could never be and the exchange kicks off a rivalry that rattles Alastor in ways Vox’s never has. (Side note: is it any wonder people ship them? Character A making control freak Character B feel vulnerable is classic!) It’s no surprise to me than that the one other true curse we get from Alastor is, “I’m about to end your fucking life,” delivered to Adam who, like Lucifer, poses a legitimate threat and does end up beating him. I say “true” curse because calling Susan a “bitch” does similar work for him, but the takeaway is humorous rather than dramatic. It’s funny that the only people who can piss Alastor off enough to curse are the First Man/a powerful exorcist angel threatening his life, the literal King of Hell... and Susan.

So there’s a lot going on here, more than what many viewers might assume if they approach the show as just “stupid,” needlessly vulgar entertainment. As shown above, I don’t think the cursing is needless, especially given that, well... they’re in Hell. They’re sinners, supposedly the worst that humanity has to offer, so of course they're going to curse a lot. Does cursing mean you’re a bad person? No. Can you craft a hellish world that doesn't rely on cursing to convey a group's immoral nature? Sure.

Does it make sense that a writer would equate a sinful, irreverent cast with linguistic rebellion and would want to convey a certain vibe that, frankly, you just can’t get without dropping an F bomb?

Yeah, I think so. No one has to like that kind of creative decision, but it’s worth acknowledging it as a deliberate choice.

That’s all! Thanks for reading this fucking long post ✌️

[brucewaynehater101]

So there's a fic that I think you will like. It's called The Definition of Valor by Nerdpoe. Really short, spoiler free summery. Instead of loosing his Spleen, Tim looses his eyes. He makes special gadgets to help him with this, such as a device in is cowl that scans the room he is in and tells him what is where via coded sounds, like say, two low A notes followed by a chirp means there is a wooden desk to the north east of him. He also makes a special computer program for his grapple so when he points it somewhere, it will adjust his aim so he never misses and always attaches to a good spot.

This fic is giving me *so many* thoughts about the potential fall out of this being found out not as soon as Tim gets back to Gothem because he never tells anyone. Specifically it's making me think about Tim who is Bruce's dad not telling Bruce because he doesn't want to worry his son. He doesn't want to worry his grandchildren/siblings either so he puts in colored contacts and wears glasses when his cowl isn't on. The glasses and an ear piece have the same tech as his cowl to tell him where everything is.

How long would it take them to find out? Tim would never tell them, so do they find out on accident because Tim forgot the contacts that are his normal eye color, or because Ras is mad at Tim and tells them what Ras did to Tim? Maybe he got to mad and while ranting at a Rouge (either Harley or Two Face would be especially funny if he's just been hanging upside down and ranting and raving fo 30 minuets already) over one of their traps, he accidentally lets slip that he's blind, or maybe he yells at Riddler, "Nygma, this isn't fair! I've been completely blind since last July and my usual tech that tells me what's around me is getting fucked by your signal jammer! So either read the riddle to me out loud or let me go!" and then later Riddler scolds one of the other Bats for letting the blind one do the visual puzzles much to their confusion.

Hi!!! I love that fic so much! Have you seen the sequel for it as well? It's short, but a great read. I would die for more of this concept.

In that fic, Bruce turns out to be a good dad. While I may hate Bruce, the way that guy handles the situation in that fic is fantastic.

However, I would like a fic where this concept gets a delayed reveal. In the AU, Tim figures out how to function without his eyes.

He engineers technology to read people's facial expression/body language to help him out. It reads words for him, etc.

I wonder what excuse he'd give for wearing the earpiece and glasses all the time. Maybe he says it's another aspect to separate Timothy Drake from Red Robin?

Just Tim gaslighting and girlbossing his way into pretending he can still see. I kind of want him to keep up the ruse for a long while.

When he does get found it, it'd be hilarious if the others forget he's blind. Tim has engineered technology to assist him, but he still can't see. So they'll try to take him to activities they did together when he could see (like star gazing) or they'll ask him what he thinks of the color of their outfit. He also ruthlessly uses his blindness as an excuse to mess with people. If Timothy Drake-Wayne is known to be blind, he'll use it to accuse Luthor of being ableist at every chance he'll get. He also bullies the shit out of governmental agents and companies that don't provide accommodations.

I'm also a fan of Riddler finding out about it, but him just changing his puzzles to be accommodating. I'm biased towards Riddler (I love him so much) so it'd be cool to see the silent show of support like that.

Another AU idea: When Tim blows up Ra's bases, the explosions cause him to become deaf or hard-of-hearing.

Dealer's choice on how much hearing he loses, but I feel like this could be great to explore deafness and misconceptions commonly held in our society.

Tim would probably already know how to sign and lip read (might even know multiple different sign languages), but he would face a few difficulties.

He chooses not to disclose his hearing loss

People often cover their mouths or face away from someone when speaking (which makes lip reading arduous)

Ableist people suck

The world is set up for hearing people, so a lot of issues stem from a lack of accommodations rather than Tim's ability to hear

Tim chose not to tell anyone about the change in hearing for a few reasons: he doesn't trust anyone (especially during his adjustment period) and he doesn't want to be underestimated (wants to prove himself in the field before they try to pull him from it).

As far as technology to help him, the comms were easier to program than other auditory inputs. Since they were designed to transmit clear voices, he merely has to train a program to automatically close caption whatever is spoken (the automatic ones used today are useful, but still make too many errors for Tim's preference. Some also only do words automatically and leave out helpful information like laughing, choking, screaming, computer dings, etc.). Each Bat member has their own designated color. For those he doesn't interact with often, it says their name before every time they speak up.

Tim incorporates the visual overlay into his goggles and glasses. He can read what people contribute to the conversation based on that. It also leaves his hands free so he doesn't need to look down. His wrist computer stores records of what has been said so Tim can go back over it if he misses it. He also has the ability to change where the words appear on his field of vision.

I also hc Alfred is the first to notice that Tim is staring intently at his lips when he talks and has difficulties with the conversation when Alfred changes the way he pronounces words or isn't facing Tim (this is before Tim's tech gets perfected). From then on, Alfred makes a point of facing Tim whenever the teen is in the room. They both don't talk about it until the rest of the family finds out (however long that takes).

Feel free to add more to either AU!

[drdemonprince]

on the topic of your "bad gender" posts, the one you made mentioning sexual abuse (especially by mothers) is something nobody talks about at all and I'm glad you mentioned it.

My psychiatrist said I have CPTSD after I went through a huge breakdown after putting pieces together that I've been experiencing long-term sexual abuse from my mother (incredibly long story, but you get the idea). I still completely struggle with seeing what she's done and does as abuse, because it is totally buried in my mind that it is not abusive or strange because she is my mother. No matter how many times my friends and partner say it's wrong, or things like "imagine if it was your father", or my DBT therapist is straight up with me and tells me I was groomed by her, I just cannot get the idea that her being my mother specifically makes her behavior acceptable. (especially since I didn't come out as broadly transmasc until I was 18, and was thus seen as a complete extension of her and her body prior to).

I genuinely cannot comprehend where the line is between normal care and abuse because of what I've learned (from her or otherwise) maternal care looks like "compared to" paternal. And I just haven't found anything that's been able to really help me grasp what I've experienced because I just cannot understand why, or what I can do. The only thing I've found with others describing my specific experience is the MDSA subreddit, which is usually just extremely triggering for me to browse (obviously the content, but also the daughter framing and just the everything about it) so I don't go there, but it has shown me that many of us have lived very similar experiences, we just rarely recognized it as abnormal because it was our mother. Perceiving men as the inherently "bad gender" especially in terms of sexual abuse just makes me see red, and is a lot of why this can keep going on unnoticed. I don't really know what I'm trying to say, and I'm sorry to dump this here. It's hard to discuss the nuance of it without being kinda specific. I just saw you mention it and I rarely see the topic brought up, so I guess I just wanted to say thank you for doing so

Thank you so much for sharing this, anon. SO many children endure parentification, spousification, covert incest, and sexual abuse at the hands of their mothers and never get that mistreatment recognized as such because people view women as benevolent, passive caretakers rather than full human beings who are capable of harm. Adults wield immense power over children, particularly parents, and this power structure functions in much the same way men's power over women does -- it makes children into the property of adults, and facilitates abuse.

You are not alone in this experience at all. I'm sure you've heard all about Jeannette McCurdy's Memoir, but if you haven't read it, you might find it affirming. The poet Anne Sexton also sexually abused her daughter, Linda, who wrote a memoir about it called Searching for Mercy Street that is also a powerful read. The host of the podcast The Mental Illness Happy Hour is an adult survivor of covert sexual abuse at the hand of his mother, and he speaks about it quite frequently and thoughtfully on his show, and has interviewed numerous guests who have also survived covert incest. As a male survivor of sexual abuse at the hands of a woman, he's a rare, needed voice, and I've gotten a ton out of listening to it. There's also a self-help book on covert incest that I've read and appreciated called Silently Seduced. You may also find value in Issendai's analysis of estranged parent forums -- lots of documentation of abusive female parents and how they justify themselves to be found there, and the author eviscerates it expertly.

I hope that reading and listening to some of this material will help you to more clearly see the outlines of your own abuse and to recognize it as wrong and distinct from true maternal care. It wasn't my mom who was the chief boundary violator in my household, it was my dad, but a lot of what he did mimicked the traditionally "maternal" abuse profile, and all these resources helped me wrap my head around it a lot better. It's triggering stuff, but I think it is worth plunging these depths when you feel safe to do so, to what ever degree you can comfortably manage. You might want to dig up the Mental Illness Happy Hour episodes specifically about the host's abuse experience first, since that focuses on a man's experience of having been groomed by his mom.

Thanks for writing. My inbox is open if you wanna talk. This stuff was a foundational trauma for me that I have processed heavily and I'm always willing to discuss it more with people who have been there. <3

[slaaverin]

Last bluemoonpunch's reading

Excuse me ladies and gentleman but this here is my last day as a jikooker, I'm retiring. Can't take it anymore.

Their last reading is REALLY enlightening. I'm so mind-blown I need to share a few snippets so that the message truly sink in.

*speaking of "Temperance"

"It is quite nice though if you consider that no matter how much other people try and destroy their image, and no matter how much they limit themselves for the sake of peace, they remain a star, the remain as some kind of celestial image that you can imagine floating brightly in the sky, looking down on everything with a sense of understanding and compassion."

Jimin really is an absolute angel, just putting that here because with the amount of hate he receives on the daily I would have lost it.

Now about the relationship:

"This is quite funny because all throughout this I’ve been trying to figure out if this is a connection that is already in play on a conscious and physical level, or if I’m just picking up on the inherent soul connection. With these cards it’s like saying, “No, I’m not WAITING for this person, they’re right here! No, I’m not SNEAKING AROUND with this person, they’re right here! No, you’re not MISSING anything, it’s right here!”"

DON'T YOU SAY? IT'S RIGHT THERE? I WONDER WHAT THIS COULD BE. OH MY. crying shaking throwing up currently

"The 7 of Swords shows a person sneaking around, specifically stealing swords and doing so in a way that’s going to trip him up. If we consider the potential of Temperance also being in the entertainment industry, there may be a need to keep things quiet, but there is no desire, with the card in reverse, to go unnoticed. The swords are still held by the blade, words, confirmation are still held back, but there is no desire to hide or “sneak around.” This connection is a visible connection to both him and other people."

Did I tell you that recently Jungkook put Jimin's name on his chest? I think they really want it to be visible. And we saw it, because we have two functioning eyes.

"It’s like they were signaling or trying to slyly put themselves out there, but people refused or maybe even denied the connection in terms of their companies or management refusing a public relationship. On some level people are refusing them while accepting others and it’s very frustrating and confusing, specifically to Jungkook. It seems like, from that higher perspective, Temperance understands it, does not like it but understands it and is more compliant with the idea of needing to sneak or keep things hidden. There actually does seem to be a lot of frustration in this set now that I’m lingering on this one — “No, you’re not MISSING anything, it’s right here!”"

Well Jungkook did do a live entirely focused on Jimin basically professing his undying love for him. So it's safe to say he's not really into the "sneaking around" thing, if he could tell the world right now our man would in a heartbeat. Thank god Jimin is the level-headed one lmao

"The 10 of Pentacles is more externalized and has to do with legacy and building up wealth, status, and solid foundations for themselves and their family that can be trusted, that can not be undone or taken away. The 10 of Cups is more internalized and represents absolute bliss, absolute personal, internal happiness and satisfaction with what is there. Both of these cards imply family, marriage, and growing old together."

Until they are 50? Until the end of their lives? Family? Ok this is for me folks, I can die in fucking peace. Not that it's not something we already knew but STILL.

As jikookers we truly always win it's crazy *unhinged laugh*

Let me go back to sleep it's 5am.

It's only little snippets but I highly encourage you to go read the full reading for better understanding.

Hey, look at us, who would have thought? Not me 👀 OR MAYBE WE KNEW ALL ALONG???? Anyway good stuff

Jikook are in love.

Thank you for coming to my ted talk.

Read here

[thedustyleaves]

Do you have any tips on coming up with pose? I looks at your kids fullbody drawing and im in awe on how you can make different unique pose but still similar concept.

Aw gosh, thank you!

I needed to think about this one, because it’s something I do subconsciously, so thank you for asking such an excellent question!

What I really like doing when I'm drawing poses is capturing something mid-motion, especially mid-sentence.

Because of my hyper-phantasia, I can picture my illustrations in my head, and they're always in motion and with sound, sometimes with smells, etc. Then I take a snapshot of that and try to capture it.

If you prefer to thumbnail or need to have the images laid out before you, I’d suggest filming a short video of yourself doing the pose to feel it out. I do this myself when the image in my head isn’t clear enough! It helps me find out what my body is actually capable of doing.

For example, in this scene, I knew I wanted Dakon, Christie, and Kain to all be looking at Raki, so they had to surround him to fill out the composition.

I wanted a window to bring in a source of light and to give it that noir feel. Since the windowsill isn’t particularly wide, I knew that whoever was sitting there would have to support themselves somehow. So Christie is using her hand and left foot to balance herself (because it’s important to keep a hand free for coffee) and she's the shortest one of the bunch. Thinking about physical stuff like that helps bring physicality to the scene and makes the poses varied by making them function within the physics of the world.

For something like my vampire illustration, where everyone is sitting (or standing), I wanted their poses to reflect who they were and match the composition as well. I used Raki’s more outgoing personality to take up a wider space in the illustration by having him lean across and physically open up with his arm out, and point up at the paintings behind him.

Dakon is more reserved, and I wanted that to be in his pose as well, but without him shrinking away, so he’s leaning on Kain’s chair while supporting his feet, so he’s not that short in the picture.

For Christie, sometimes simple is best, and I felt like she could carry herself by simply standing tall and proud, with the little surprise of the axe in her hand. Dakon and Christie also mirror each other, by facing opposite ways.

Kain’s pose is probably the simplest but most “effective” because it’s so dead-on, symmetrical, and demanding of attention. He wants you to look at him, if that makes sense. So they’re all doing the same thing but in a variety of ways to show personality and to work with the picture itself.

For something like my kids halloween illustration, (or in my comic when they’re all together and walking), I try to focus on their legs never being in the same part of the walk. So Christie and Dakon are at the extremes of the walk, but with opposite legs forward. Kain and Raki are both mid-walk, but one is running and the other is trying to look scary with a lifted leg.

I have a soft spot for mid-conversation faces as well because it brings an image to life when it’s not just >:( or :D all the time (although Kain is 99.9% always :DD). This is an old one, but I think it’s one of the images where I’ve leaned into mid-convo the best. I did it to try and make it more obvious that Dakon is pointing at something or someone he wants to talk more privately about, hence why he’s also leaning into Raki.

I hope that was somewhat helpful!

Is there any specific illustration you were thinking of maybe? I can always try to break down my thought process behind a particular drawing as best as I can!

[dandysworldhcs]

I have so many headcanons on their designs and such so just bear with me

- I honestly see Astro as a sort of centipede, a nocturnal arthropod that is actually pretty chill if you don't antagonize them. I also see him as having ADHD combined with narcolepsy, he's always moving his hands underneath his blanket and his mind is always racing despite constantly being fatigued.

- Razzle and Dazzle are rats, why? The rat king phenomenon! This is one of my only voice headcanons but they sound like ENA, specifically the newer one

- Dandy is a False Dandelion. I also base my design of him on a Ammit, which has the head of a crocodile, the upper body of a lion, and the lower body of a hippo, his Twisted form reflects this the most. I also see Dandy as bigender. Him and Sprout are also brothers with Sprout being the older one.

- Speaking of Sprout, I honestly see him acting like a MMO healer while on runs (Examples; “No, I'm not out of tapes, I just don't like you”, “If you get in the way you deserve to get hit”, “You got one shot, I can't out-heal stupidity”.)

- Shelly has other dino features, although it's actually based on cephalopod’s using tools, her tentacles hold onto replicas of fossils that give her the illusion of having a tail, horns, etc, and she can change them out. Also she has ADHD, she just matches the symptoms more instead of autism (Autistic and even AuDHD Shelly's are valid tho).

- Vee has high functioning ASPD that's comorbid with Autism, yes I did as much research as possible as to not demonize either, but I personally see her with these two disorders, as due to being a robot she doesn't feel complex emotions and has a weak sense of right and wrong (outside of her programming, that is), she doesn't feel guilty for being blunt, rude, or for not noticing others feelings, but she does try to make up for it if someone points it out, even if she doesn't feel bad about it.

- Pebble is a Toy Poodle, and Coal is a Saint Bernard, with Pebble being a service animal and Coal being a search and rescue mountain dog, in the cartoon they were both used to show kids how dogs can help people outside of being companions, that service dogs shouldn't be distracted or pet without permission, and that they shouldn't be scared of working dogs in certain situations no matter how big or intimidating they seem. Also they're very much ‘Old dog, young dog' dynamic.

- Shrimpo has low functioning ASPD and struggles to hide his symptoms. No pronouns and AroAce.

- Gigi is a chameleon, simply because chameleons will grab onto whatever you hand them, self explanatory.

- Goob and Scraps are chimeras instead of being a dog and a cat, Looey is their oldest sibling, no reason for this, it just showed up in my mind and I can't get rid of it, Goob and Scraps honorary circus members as a result. Goob also has Ataxia (Impaired balance and coordination, specifically in his arms, which causes clumsy movements) and Hypotropia (downward facing misaligned eye) which causes weaker vision in his ‘lazy’ eye.

I'm going to stop now because I'm just rambling at this point.

- Wisteria Anon (if that isn't taken just yet)

These are all so interestiing... especially the rnd one I have literally never seen that one proposed before !! Little rat rnd d'awww..

I'm also very much an ataxia & hypotropia Goob enjoyer, as well as the Coal & Pebs one... these are so neat!

[ohcorny]

hey corny. so i always see people recommending to outline their story before starting it, but could you talk a little bit more about what that means? what is an outline and how do you structure one? how long are the ones you write, depending on the project? do you focus on plot beats or feelings? how specific do you get? can u recommend any readings for learning more?

up front i don't have any resources for this, only experience. and outlines feel like one of those things where it's like... there are a million ways to do it and the way that works for me might not work for you. i have a friend who writes out all his ideas on index cards and that, for me, is insane. but he's also a better writer than me so who can say what is right or wrong.

anyway an outline is essentially a sketch but for a story. you go through the whole thing, start to finish, and figure out what goes where and what happens when. the idea is that this is the stage where you work out all the big picture stuff and make sure it all fits together, now, and not after you've drawn twenty pages and suddenly go "wait shit that doesn't work" and have to do it over. it is much easier to delete and rewrite a paragraph than to redraw several pages.

doing anything more, ie including dialogue or feelings, depends entirely on how useful that information is to you at that point in the process and whether the purpose of the outline is for your own guidance, or so somebody else can tell what you're trying to achieve.

this got really long with multiple examples

here is an excerpt from the original outline i used to pitch Hunger's Bite to publishers. this one had to be polished to a professional standard, because somebody else was going to read it and decide whether they wanted to give me thousands of dollars to tell this story. (also several of the details are no longer accurate. for instance it now takes place 9 years earlier lmao)

this paragraph represents the first eight pages of the book. the final book is 264 pages long, and the outline was 12 pages of paragraphs as dense as this one.

it establishes where we are, who's there, and what they're doing. i describe their conversation, but i don't commit to the dialogue. i will occasionally include snippets of literal dialogue, but usually only if it's Important Dialogue, or i just don't want to forget a good idea i had while outlining. it's not expected at this step.

an outline written as part of a pitch to a publisher should tell the whole story, with all the important details, and leave nothing ambiguous. they need to know the tone, shape, and the arcs. no secrets! all the spoilers. outlines for yourself should do this too, but outlines for others need to be as clear about your vision as possible. again, an outline like this exists for the purpose of getting you paid thousands of dollars. you should write it like that.

in comparison, here's an excerpt from the outline i wrote for revisions to my WIP prose novel, so i could show it to my agent (who already read the draft) to be like "do these changes sound good?" i'm not selling it to anyone yet, just making a guide so i can have a conversation about it. so it doesn't need to be neat, it just needs to be functional and clear. the first chapter was entirely new stuff. the second bit was just writing down what was already in the chapter that existed.

i have historically been very bad at outlining things when i don't think i "need" to, and only wrote this one after having written like 60k words of the book without any overall plan. i gave what i had to my agent for feedback and then sat down and figured out how i could apply it. it's made the whole revisions process significantly less daunting. now i have a checklist for things i need to do! this one was a paragraph or two for each chapter, with the ones that needed a lot of rewriting given a bit more detail.

lastly, here's a bit of the outline for the first roger crenshaw book. i was the only person who had to see this, and since the story was planned to be very short i didn't have to worry about a whole lot. as long as i knew what was supposed to go where, it would work. honestly it's not a whole lot different from the previous example.

this one was like five paragraphs and it did the job, and this story was like 15k words. you only need as much or as little as will actually help you on the page.

basically if you take nothing else from this, it's that there are multiple ways to write an outline, that it does not need to be perfect if you're doing it for yourself, and that it only needs what you think is important (unless it is for other people. then it should have everything). and also it's a good idea to do it earlier in the project than after you've written 60k words or drawn--jesus christ i got up to 12 chapters in never satisfied? it's amazing i didn't quit sooner