#he's just a man hit him with your car!

[valkyrjah]

she sits across from bella at the cafe. it's just across her bookstore, which means that there is no reason for her to also open a little cafe with her bookstore. but it's still a cute little plaza, with a plant nursery tucked in the side. the plaza gets enough foot traffic where gwyn isn't worried about her small bookshop getting lost in the large corporate world.

cappuccino sits in front of her, and later that night, she'll probably regret the caffeine when she's fighting for sleep. but that will be a problem for later. she tucks her legs underneath her, and props her chin in her hand, attentive as the sun creeps closer to the horizon and builds long shadows of the building.

he told me i'm better off, but i'm not. said @l0mb

gwyn hums, a musical note as she considers, before she drops her hand and straightens. she doesn't know what that's like, to love someone like that. but lose, that gwyn understands. is he why bella came here? but she doesn't ask that, feels that their friendship is still too new for her to be that curious.

"why do you think you're not better off?" she challenges, eyebrow raised in genuine curiosity. "i mean, look at what you're doing. you're living life for you, and not for some boy. and you shouldn't be expected to have it all figured out yet. "

[zomb13queen]

[blueberry-obsessed]

[feroluce]

Randomly consumed today by the thought of henghill cuddles, but like from a specific point in their relationship, like after they've only recently started laying in the same bed together.

It's something that takes them a long time to work up to; they both have nightmares, and yeah, Dan Heng is a Vidyadhara and he can heal himself beyond anything Boothill could accidentally do to him, but still. Boothill is made of metal now. He's heavy. It wouldn't take much, just a single flailing limb to cause some damage. He still gets up after Dan Heng falls asleep, and sneaks down into the guest cabin in one of the other cars.

But he'll lay in bed with Dan Heng until then. At first Boothill would always try to situate a blanket between them, because well. Metal isn't exactly pleasant to cuddle. But more and more lately, he's noticed Dan Heng keeps worming his way around their soft barrier and just kind of...rubbing his hand along him? Open palm up the curve of his side, across the planes of his chest, into the star-shape at his solar plexus, down the plates of his abdomen, back to his side again. Fingertips tap soundlessly against metal, or press into dents and divots, or smooth over old scars in the steel.

"Ya don't hav'ta do that, ya know."

"Does it bother you?"

Dan Heng's hand has already stopped, settling somewhere on the futon, neutral ground. Boothill clarifies that no, it doesn't bother him. But he can't feel any of it. He only knows he's doing it because he can see the motion out of the corner of his eye. Dan Heng doesn't need to go through the extra effort to do things for him like he would someone with a normal human body.

And Dan Heng goes quiet, just long enough that Boothill gets curious and turns to look at him over his shoulder. He has the cute little furrow between his brows, like when he's thinking.

And then he opens that pretty mouth of his and says, "That's alright, I think I'm doing it for myself, anyway" and Boothill nearly wheezes because wow, Dan Heng is almost never quite that honest when it comes to himself fdklsajlkd

Boothill cackles in surprise and asks point blank what he means, because what could he be getting out of that? Given the implied permission, Dan Heng's hand starts it's usual route again. Side, chest, solar plexus, abdomen, side. Boothill can practically hear him chewing on his words.

"I like that you're warm," is what he finally says, and Boothill suddenly feels like a bullet has just grazed something vital. "All the processes you run increase your temperature," Dan Heng's hand fans out across a span of steel and he holds it there, like he's soaking up the heat. "And your metal is smooth, it feels pleasant to touch," his fingertips move in circles, slip into a divot perfectly sized, rub back and forth. Boothill silently wills one of his cooling fans threatening to open up to stay closed.

"I like how you feel under my hands. That's all." Headshot! No recovery possible.

"...Suit yerself, then," and Boothill quickly turns back over before Dan Heng can see it in his face, how close he just hit to his heart.

[whirlybirbs]

it’s 5:20am i cannot sleep i am consumed with thoughts and yearning for keigo takami i need to be euthanized

[dw-flagler]

In this post, I will attempt to calmly, reasonably, and in-a-good-faith-manner argue all the points raised by tumblr user @library-bat-girl in the following posts. I am starting a new thread so as not to further destroy the original poster, @skitterenjoyer's, tumblr notifications. Worm (+MHA) spoilers ahead. This will be a long post.

Firstly, I would like to apologize on the worm fandom's behalf. We will not engage in ableism of any kind. I sincerely hope that this was a singular incident and @skittersdrippygirlcock will be better about this in the future.

"MHA has better characters,"

My Hero Academia's primary achievement, I think, is managing to make many decently well rounded characters in a fairly short time-span. It certainly has very good visual character design, with easily memorable character designs, like Mina Ashido or Tsuyu Asui. Most of Class 1A is shown to be more than single-note gimmick characters. For a story with such a tight schedule, and only so much page real-estate, that's impressive! For instance, a character decidedly outside of the main cast, Fumikage Tokoyami, is shown to have more to his personality than "is an edgelord," showing a humility and friendliness that is highly against-type. This is very different than a lot of its peers, especially in Shonen manga, where side characters (and sometimes even main characters) are never more than their tropes (see Fairy Tale, One Punch Man*, The Seven Deadly Sins, or Black Clover). My Hero Academia does clear that bar, by making side characters little more than their tropes. This is to say nothing of the primary cast, who, again, is largely defined by tropes and easily slotted into standardized interchangeable Shonen roles. Rival, Love Interest, Rival but Nice About It. Additionally, MHA has an uncomfortably sexualized main cast, for one composed primarily of minors.

This is compared to Worm, in which many characters are fully realized and could have been the protagonist (and often were in older drafts of the story, due to Worm's 10-year development hell). Every character that gets an interlude, and most that don't, all have fully realized interiority, traumas, and wants. In fact, this is one of the major themes of Worm. Every character, from the protagonist Taylor, to characters so minor they're seen only once (see Damsel of Distress, Dauntless), to major antagonists and monsters (see Jack Slash, Bonesaw) all have their own story, even if this is never shown on-screen. There are no "side characters" in the same manner as in My Hero Academia, because every character is a protagonist of their own story, and not in a trite "life is so beautiful" way.

Taylor isn't the center of the universe, there's an entire world outside of her 3-block bubble. The mechanism by which all characters get their superpowers means that the mere fact of having powers implies this about them. Even the seeming exceptions, aren't (see Alexandria, Garotte). Taylor is a good character. I don't even know how to elaborate on that. She just is. Worm does not have the character Minoru Mineta.

"a better plot,"

What... what is the plot of My Hero Academia? For the life of me, I can't seem to recall. I can tell you the general formula of most of the arcs for the first ~2/3rds of the story. Class 1A goes to do a hero high school thing, like do rescue training, or on-the-job training, or on-the-job-training, or on-the-job-training (they do it like 4 times for some reason), the League Of Villains shows up (even when it's seemingly not the league of villains it actually is the league of villains) they fight about it, the class beats all the villains, and Deku beats up strongest bad guy and also breaks his bones. Repeat step 1. But like. What's... the plot? The League of Villains is evil and wants to kill people and do bad stuff. They explicitly do not have greater motivations. There's generally themes of passing-on-to-the-new-generation, so there's Tomura Shigaraki as the arch nemesis to Izuku Midoriya, just as All Might's Nemesis is All For One. Eventually they fight a big fight about it and I stop reading because I find out about Worm. From what I understand (I have not read the conclusion) the series ends without addressing any long-running questions, wrapping up any character arcs, or concluding anything in a narratively satisfying manner. As if severely rushed.

Worm, there are maybe 15 main stories going on simultaneously, which are all tied into the final confrontation with Scion. The most obvious is Taylor's and the Undersiders' story, about taking over Brockton Bay and defeating Coil, which is a smaller part of Coil's story about taking over the bay, until their confrontation with him in arc 17, when it supersedes Coil's story, and then intersects with Cauldron's story, the Traveler's story, the Case 53s' stories, the Wards' story, all of it, in arcs 18-19. This is one example. A great deal of attention is spent making sure the reader knows that Taylor, the Undersiders, Coil, all of them, are bit players in a very large game. Despite this, it's never hard to follow, because Wildbow, while lacking some of the more flowery prose, manages extremely well at making his stories easy to understand.

"I feel like even people who like Worm can agree that Worm is not the most consistent piece of fiction ever written. The disjointed way it was written meant that emphasis was primarily put on 'What Wildbow thought was cool in the moment', [sic] and the story RADICALLY shifts gears every time a new arc starts."

What? Huh? Worm is extremely consistent. Like. 1.1 to E.x. It's, like. Not disjointed? Oh my god, are you talking about interludes? Is that what you mean? The interludes shift gears? Because that makes sense. It's one of the hardest things about worm, yeah. It's gripping! The interludes are a great idea to expand the world of worm, but the problem is that taylor's story is so intriguing that stepping away from it to focus on something else is hard, no matter how individually interesting. I want to read about taylor's escalation spiral, not the travelers! (As opposed to My Hero Academia having random escalation and de-escalation between arcs with no real explanation. We're reading about lives-on-the-line battles with child-slavers and then move to playing on a playground with little kids? Best I can think of is that this whiplash is intentional, but this is never communicated to the reader. Worm does not do this. Any de-escalation is met with the explicit understanding that this is merely a period of calm before things get even worse). Taylor's story wraps up in an extremely narratively satisfying fashion, following her story to its logical conclusion. There were so many ways it could have been avoided, but there was really only one way that it could have ended.

"better worldbuilding,"

This actually offends me. MHA could have had great world-building. It doesn't. Every potentially interesting bit of world-building is backpedaled out of or stopped before it could get anywhere. Or it's just never elaborated or expanded upon. Everyone having a superpower could have been cool, but the implications of this are nonexistent. The reasons for this having no real implications, that being the banning of quirks, also has implications that are also immediately backpedaled out of. It's been hundreds of years since our time, yet life is exactly the same. Nothing ever happens. Endeavor is a cool concept. I like Endeavor. his existence implies such interesting things about the world, how important hero ranking is to these people's lives, that he would create this horrific system of domestic abuse to try and get to the #1 spot. What does this say about this system of heroes that operates like a popularity contest? It could have said a lot. It says nothing. What does the League of Villains, a league of people who call themselves out-and-out villains, who base their ideology in opposing this system of heroes, say about society? Nothing. On purpose. Worm does something with this. One Punch Man does something with this. My Hero Academia puts it in the story, and lets it sit, unused, for a decade.

Worm has... unique world-building. Because it's both good and bad at the same time. Worm's #1 feature is its world. It's brilliant, full stop. Triggers, The Birdcage, the PRT, Exclusion Zones! Why does the status quo exist? what does it say about that society? What does it say about our society? Why hasn't society radically changed from how it is in our world? This is explained. This plays into the themes. The story wants to say something about this world, and so it does. There are characters whose stories explicitly delve into these themes that are set up in the worldbuilding, like Armsmaster, or Battery, or Bonesaw, or Coil, or Piggot or Alexandria or Taylor herself or Brian or Lisa or ANY OF THEM THEY ALL DO THIS. Sorry.

Anyway, the bad part is that the actual world is not well built (and is kind of racist). What's going on in Europe? There's a 3 blasphemies! a 3 what? never explained. What's going on in Asia, aside from Japan? China is a monarchy for some reason. Why? It's never elaborated on. India gets a little bit of elaboration, we're told its different but not how it's different. Wildbow uses machine translation wrong and names some guy caliph of dogs. This is like worm's #2 problem honestly (#1 is Amy). Wildbow tries to make the implication of a well thought out globe without actually making a well thought out globe.

"stronger themes,"

It really doesn't. As I said in the worldbuilding section, MHA makes a point out of not saying or doing anything. I don't know if editors made Horikoshi walk back the more ambitious story beats or what, but there are multiple points in the story where the author pretty much looks you directly in the eye and goes "This Story Isn't Saying Anything At All Even Though It Looked Like It Would. Lmao."

Worm has lots of themes. I think Armsmaster/Defiant's story is my favorite. His entire character arc (which is fully realized despite him being a background character for nearly the entire story) has a point to it. It says something. It's misanthropic and uplifting simultaneously, and manages to feel like it earns both. It's a shared theme with Bonesaw/Riley's story, explored in two different ways.

"Meanwhile MHA establishes an actual overall theme/message right from the start that expands and develops throughout the story. The worldbuilding is informed by the message, which informs the characters arcs and the people they become by the end of the story."

I notice that you never actually say what that message is. What is it? Like, for real. I'm not being confrontational or anything, like what is the message? Cuz' I can't think of one. My Hero Academia, at its very core, is a defense of the status quo. Much like its world-building, but much less forgivable, because it does do something new and unique with its world-building. MHA could have done some extremely interesting stuff with its early implicit critique of heroic society as shown with characters like Bakugo, or Shigaraki, or Endeavor, or Overhaul, or Midoriya himself! It just doesn't! It doesn't do stuff that Worm does do!

Worm does have a message. It has a lot of messages, actually, some that the author disagrees with somehow. Prison abolition, for one. We know Wildbow loves prison. Anyway, the big one is in the subtitle: doing the wrong things for the right reasons. Taylor's constant spiral of escalation, her dwindling attachments to her friends and greater focus on treating herself like a soldier is prevalent, and it is to be avoided. Taylor isn't a sin-eater. They don't exist. From what I remember, this is sort of explored in Deku's character arc for a short period of time, but much like everything else in MHA, it is backpedaled out of.

The funniest is "don't text and drive" though.

"Just on a basic level the way that the audience is meant to feel about Taylor oscillates wildly between being directed to think of her as a misunderstood victim of circumstance, or history's greatest monster."

That's kind of the point. Like. the audience isn't meant to look at Taylor the same way throughout the entire story. It's meant to change as she changes. Taylor's opinion of Taylor changes. The mistake here is saying it "oscillates wildly." it doesn't. It's a slow and steady change for the worse, as Taylor gets more violent and starts throwing away greater and greater parts of herself to become more like a robot and less like a person.

"But a bigger issue in general is tone. It's very focused on being dark and gritty and edgy, and it makes the mistake a lot of consciously edgy media does. IE: it thinks that all it has to do to be smart is be bleak and/or graphic. It doesn't really try to say anything, in fact it contradicts itself throughout the book as I mentioned before, it just throws in extremely graphic scenes and content periodically to remind the audience how fucked everything is."

Did you read the boys and think it was worm? What? It's not being smart when it's bleak or graphic? I actually personally like the endbringers or the slaughterhouse 9, and not because I like watching people suffer. These things exist for a reason. It's not being dark for the sake of being dark. The heroes could stop the slaughterhouse 9. We see that, when they almost stop the slaughterhouse 9 (it's explicitly shown that they are stopped from destroying the slaughterhouse 9). The question then becomes why don't they? It's a grim, brutal calculus, and one that wasn't worth it. That's the point. The Endbringers are different. It's not until arc 27 that they're really explained. You could either read them as a criticism of Eidolon or of ableism, honestly. I mean, it wasn't intentional, he didn't create them on purpose, he needed something to fight, because without that he's nothing. His powers are all he has.

"Worm spends so much time trying to be edgy that as with a lot of edgy media the edginess loses all impact quite quickly and becomes sort of cringe."

I don't really think so, but like. Okay. I don't think this is a reconcilable viewpoint (none of this is really but this especially), so like we're probably gonna have to agree to disagree. The only thing I can really think of as edgy for the sake of edginess is Amy's arc. But even that's not really true. It's meant to be an utterly avoidable tragedy that could never have been stopped because of the people involved. Much like Taylor, actually. Amy could have stepped back from the brink, but she didn't, because Amy could never have done that, and nobody else was willing/able to help. It's supposed to be a thing where you sit back and think of all the tiny ways this could have easily been avoided, but wasn't.

"When body horror happens it still has impact because it's not happening constantly."

I mean, I guess. But like. I never got desensitized to the body horror in Worm. It hit pretty consistently for me throughout. As opposed to MHA, where it was usually walked back by the end of every arc. I never felt much tension or suspense because it felt as if there weren't actual consequences. In Worm, when Brian was strung up on his nerves, it felt disgusting because I was fully aware Worm would explore the ripple effects of this. It felt entirely possible he would die there, or never recover, because Worm didn't pull its punches. MHA did. This is a matter of opinion. We'll just have to agree to disagree about it.

"But most importantly - you root for the heroes because the world actually seems like it's worth saving."

that's just, um. sorry. I'm really trying here. That's just. Uh. Dumb. Do you root for Batman cause Gotham is a nice city? Everything's worth saving, that's, like, at its most basic what the concept of a superhero is about.

"Not only that but MHA simply does villain protagonists objectively better than Worm."

um. No? There straight up aren't villain protagonists in MHA. The villains are the POV characters for, like, one arc? You know what, here's a good spot for it. It's stated throughout the story that Shigaraki and the League of Villains have a goal, beyond just death and destruction. They're here to stop the corrupt society of heroes (that MHA hints at the existence of before backpedaling away from), and bring about a fairer society. But then, and this part pissed me off, one of the characters, I think Bakugo, says: "you're just using that as cover! you just want to kill people, you have no noble goal!" and shigaraki's like "dang you caught me." and then it happens again with Deku! Because My Hero Academia is allergic to saying something. Nope! They're villains! No moral depth here! They're Villains, We're Heroes, Go Put Them In Jail.

This is opposed to Worm, where- "The characters of the villains and their origins are used to highlight the flaws in the Superhuman society"

"Most of the villains are only villains because society failed them in some way, and the specific ways in which that happened become big plot points that then play into the future arc of our heroic characters."

I had to walk away from my computer for this one. It's hard to be civil. It's really hard. Polite and reasonable.

So Worm is about this. To even say this without a shred of irony makes me thing you've never once read a single word of Worm and are doing this purely as bait. Or you've read all of Worm and are doing this purely as bait.

"They're actually extremely complex in a way that ends up being fundamentally important to the overall story - where in Worm the villains are either based heroes fighting a corrupt system or they're histories [sic] greatest monsters... until they're presented as heroes again."

I think I get it now. I really think I do. You're not supposed to agree with all the characters. Like. Worm is inconsistent, in that it follows the perspectives of inconsistent people. Of course Triumph and Armsmaster don't agree on what is right! They're different people, they have different perspectives!

"See. Worm fans keep saying "This is Bait." It's not Bait, you all are simply ridiculous and obsessed with this series to such a degree that you feel compelled to say "This is Bait" instead of just... ignoring it, because you have no actual counterargument."

Perhaps worm fans are inclined to believe you posted rage bait because you brazenly walked into another fandom's post and wholeheartedly proclaimed that the thing they liked was Stupid Idiot Bullshit For Fucking Morons, and refused to elaborate until prompted, at which point you said several things that are demonstrably false about Worm.

"Your only response to anything I've said is pedantry, bigotry, and deflection. If it was obviously just bait why are you engaging?"

Well, I'm engaging because I've been in a foul mood since I woke up this morning. Also because you, again, said some very rude and patently false statements about a story that I really enjoy and find narratively rich, even in its faults.

"MHA's characters do fall into archetypal shounen character roles - but they are all given a solid amount of focus explaining why they are like that and developing them into something bigger."

Again, as I said, it's a genuinely impressive feat to have an ensemble cast like what My Hero Academia has, and give so many of the characters a degree of depth, with such little manga to work with. I think worm does it better, but worm doesn't have to be economical about it. MHA does. The problem I have with this statement is that it becomes a question of scale. How much bigger? They're no longer defined by their tropes, instead defined by their opposition to their tropes. It's still a one-note character, you've merely changed the note from C to C sharp.

"so almost every member of the cast has an arc that either develops them past the person they initially seemed to be or explains why they're like that."

This is probably my favorite part about MHA. They do have arcs! I love ensemble casts! it does a much better job in this than all of its contemporaries, even One Piece. However, they are comparatively simplistic arcs that all follow a similar formula.

"I've heard people say MHA is neocon or pro-establishment but the story literally concludes by showing that society HAS TO FUNDAMENTALLY CHANGE or the same problems that created the villains in the first place will keep happening. The entire time skip specifically focuses on the fact that for eight years the main characters have been forcing change in the world and addressing the issues the villains brought up."

Now, I'm going to be clear. I stopped reading My Hero Academia around chapter 275. I don't know the exact number, but it was the latest chapter in ~mid 2020. I would occasionally attempt to reread, in an attempt to catch up, but give up around chapter 200 out of boredom. I don't know exactly how the story ends, but I have read ~2/3rds of the story. I feel this gives me a pretty good understanding of the general tone of the story, unless it wildly changes tone at the 3/4ths mark, which you have explicitly said it does not, as it is extremely coherent and consistent. Therefore, I believe I can state with some degree of confidence that MHA does not do that.

I would certainly believe that it tries (and fails) to SFP it, but SFP does not promote a fundamental societal change. That's the problem. Strong Female Protagonist was willing to come up and say that Alison lived in a fundamentally unjust world, even if it was never willing or able to offer real change. And hey. You do what you can. I sincerely doubt My Hero Academia is even willing to call its world fundamentally unjust, from the 200+ chapters that I did read.

"In the case of the actual main characters, they have extremely comprehensive character arcs."

Adding this behind the last point just so that I don't have to reiterate I haven't finished the book. I am, however, very much not inclined to believe the actual main characters had extremely comprehensive character arcs.

Which plays back into the initial theory that ANYONE CAN BE A HERO.

man, spider-man did that better (not a real argument, but like, spider-man totally did that better). Not least because midoriya specifically could not become a hero were it not for all might giving him a power.

No, the Villains don't get happy endings,

Why not? Why do they go to jail, even the ones who changed and wanted to redeem themselves? Endeavor never goes to jail. He did some horrible stuff. He's redeemed himself in the eyes of the story, right? Anyone can be a hero, right? So why not them? Why haven't they redeemed themselves in the eyes of the story?

You may wish to turn this back on me and ask why doesn't Armsmaster go to prison? Because he's similar in some respects. But worm never calls prison justice. (for some reason, even though wildbow totally loves prison). Prison is punitive, a tool for those in charge to control those it manages to capture. Maybe some deserve life in the birdcage. Many don't. It doesn't matter. Because the birdcage isn't a tool of justice. It's not meant to be. it's a box to put the uncontrollable capes in, until they can be used as meat shields. So Armsmaster doesn't go to prison because the story says explicitly there is no point to it. But MHA? MHA says there is a point to it. Endeavor needs to go to prison if he wants to atone. He's escaping justice every second he's outside.

I have actually read Worm, and for the first half to two thirds I loved it.

Weird. That's exactly how long I really enjoyed MHA. Not, like relevant, to anything. Just odd. I mean, I don't actually dislike MHA. I think it's fine, actually. It feels like Indiana Jones and the Last Crusade to me. Funny (when Mineta isn't around), bombastic, and a good time, even if I don't think it's super thematically rich.

I'm not coming at this from the perspective of someone who has never seen any of the merits of Worm, I'm coming at it from the perspective of someone who really liked it, gave it a fair shot, and was eventually disappointed when it ended up not tying together right.

See, this makes me more inclined to think it's bait, actually. since you said "Oh yeah. MHA is published. MHA's been an ongoing publication with a large following for ten years, in a notoriously competitive industry. Now this might seem kind of unimpressive, it's a very low bar to clear I know. But it's one Worm hasn't, so. I dunno, I'd say that's fairly objective. Now you may think "Yeah, but Trash fiction gets published all the time." And that's true but again - Worm hasn't. The worst piece of fiction you can think of got published and Worm didn't. You wanna be an asshole about this? The thing you love is so mid that it was self published in 2013, couldn't get picked up for professional publishing until 2019 and as far as I can see has stayed in development hell since then." in your previous post. Sure, perhaps we can say you were pissed at the time, but "the thing you love is worse than trash fiction, an altogether nothing piece of literature that isn't even worth the paper it would hypothetically be printed on" does not strike me as the words of someone who "really liked it, gave it a fair shot, and was eventually disappointed when it ended up not tying together right." In fact, going back through your other statements on the story, you seem to have genuinely disliked it from the very beginning, on grounds of being too edgy (which I can fully understand the logic of): "IE: it thinks that all it has to do to be smart is be bleak and/or graphic," thematically incoherent: "It doesn't really try to say anything, in fact it contradicts itself throughout the book as I mentioned before, it just throws in extremely graphic scenes and content periodically to remind the audience how fucked everything is," and utterly devoid of purpose or meaning. "When it does introduce new lore that new lore is almost always overly convoluted and acts as a catalyst for things happening, but not really things happening that play into a wider theme or message. It's just "Oh and here's this team of god-level serial killers who are gonna string a dude up by his nervous system." Like yeah, cool visual, but what is any of this actually saying?" This does not sound like a ringing endorsement of the first half of Worm to me. In fact, this sounds like you hated every second of it.

"And frankly given the number of comments that are just people saying "Bait" - I don't think any of y'all have engaged with this in a fair or honest way"

I'm going to reiterate on my previous statement. I like my hero academia. Capeshit is my favorite genre, it probably always will be. They're my favorite genre of story. While I find the themes—or lack thereof—extremely frustrating, I still think of it as fun. I gave it a fair shake. I would probably really enjoy the ending if I didn't have a reading list that was 300 books long.

[lovethistoomuch]

me interacting with the man with sunglasses:

1st playthrough: oh, come on mysterious ex-partner guy, just loosen up a little, just talk to me. kim is way cooler than you btw.

2nd playthrough: oh my god, jean, it's so good to see you! I love talking to you! You're the coolest guy ever! I'd love having you as my partner, please just talkt to me please, I'm so sorry, I love you! I love you! please forgive me, jean!!!

[quirkyrahne28]

I’m not saying I hate Batman. But every time I see someone comment about hating that he died because he’s too special of a guy to get killed by Harley, I actively want to hit the man with a car.

[girlwiththegreenhat]

never thought i would see kitt start beating the honest to god Shit out of somebody but you know what? good for him. thats what you get for making him ATTACK his BOYFRIEND !!!!!!!!!!!!!!!!!!!!!!!!!

[604to647]

ok, so, a super late reaction

i know you thought i'm mad at din, but i'm not (? 🤔 really?). i'm just miserable on how the thing goes, and need a moment to digest

sorry to say that i'm very disagree with your note about the emotional punch not achieved...... imo this is well-executed, i'm so glad that you adopted a lot of din's POV. compare to the 1st breakup (yea that still made me a bit upset, and this is the 2nd time dude, though pretty bird miraculously recovered in no time then, how can she trust you anymore???), i can fully feel his struggles, can see that he tried his best; since you have wonderfully illustrated his reluctance and longing. on the logical side, i understand this will be an obvious option for din who with protective nature, just like what he did to grogu in season 2 of the show

HOWEVER, i'm still voting for pretty bird to get a new gorgeous marcus something who is a pro hockey player (credit: @whirlwindrider29), she deserves that!!! and our plan got concurred by @heartbrokenlilbitch-nef (🤝🏻)! tin can can certainly go through some torture right?

Hi babe!! First, thank you so much for reading and for caring about their story! I so appreciate your kind words on the writing 😭😭 I'm very glad that there was some emotional panache in the last chapter and that Din's POV felt true to his show character and showcased his struggle. I will try to show more of that in the next chapters!

Now... feel free to be as mad at Din as you want 😂😂😊 To quote that TikToker "He's just a man! Hit him with your car!" 😂 He really is just a man and he is making decisions for Pretty Bird and keeping things from her and though his intentions are pure, this is a big no-no and she will not be standing for this type of behaviour ever again, don't you worry. I know it may seem like she recovered and forgave him very quickly after the last breakup, but we have to remember that even though it was 7/8 chapters for us, for them it was just 2 weeks of dating/getting to know each other. Sure, they had a really strong connection, but it was only 3 (very good) dates and while she had been sad and confused, it was really over the loss of potential.

This time is very different - this has been a deep and meaningful relationship that's spanned (if I count it out properly) about a year. The feelings of loss and hurt run very deep here, which is why these next two chapters are about Getting Over Someone - it will take a while. And even then, it isn't even until the final chapter that we get to Forgiveness. 🤔🤷🏻‍♀️

As for Hockey Player Marcus (or rather "Markus" as surely he would be Scandinavian 😂), he seems like a good guy and I don't know if I would want to set him up just to be a torture device for Din 😂😂 As it is, you can rest assured that Din will be tortured enough 😅😅 However, since you've expressed such an interest in Pretty Bird dating again, you've helped me make an important decision on where to end this next chapter; I've been writing these next two chapters together and have been debating whether or not to include a certain scene in part 1 or part 2, and now I think I'll include it at the end of part 1 😈😈

Thank you again as always for reading and for being invested in the story! I hope I can take it somewhere you enjoy 💕💕😘

[otherion]

the thing about william i really like is that the man is a fucking coward. serial killers notoriously target vulnerable people and he fits that to a T. he targets kids, he targets his employees, he targets his own children. he knows that the only people who would take a night shift at freddy's are people who don't have a better option, random people who've hit hard enough times that they need this paycheck that bad. he knows that kids are easy to isolate and there's no chance of them overpowering him. he knows that his children are legally his property.

he only targets people who can't fight back, too, and if he's worried about someone being able to he kills them indirectly. he kills employees through inaction, maybe doesn't even do it for a reason other than it being something he is allowed to do because they signed a contract saying that their families, if they have any, won't even know they're dead for three months. he can't even kill michael in person because michael is an adult now. he might be able to hit him back. he's not a little kid anymore who he can punish for locking his door knowing that he's too small to defend himself. the only people he ever kills directly are kids younger than eleven, and after he almost gets caught the first time he makes robots to do it for him.

which is what lets him succeed. it's why he gets away with it for so long. none of his victims survive(except jeremy, who is left unable to tell anyone even if he figured it out), and none of them have people left who can fight a successful businessman with lawyers on his side(which they must have if he was allowed to keep opening new locations after every single one of them had to close on account of child murder).

but it's also what ultimately kills him. he went back to the scene of the crime, and the ghosts were there, and he was so, so scared of getting hit back this one time that he freaked out and put on the springlock suit in a desperate attempt to regain his position of complete power. despite being the man behind the slaughter, he's just... that scared of a fair fight.

[pierregazly]

oscar 😭😭 fight back against Sainz king

brake check him back!!!!! hit him with your car!!!

[mekanikaltrifle]

Mage game yesterday was fucking nuts but not in the 'Laine fell into Quiet and skinned theirself with a knife while nobody was watching them' way from a few sessions before. This time Malcolm's ex boyfriend Kenny seems to have got himself fucking embraced as a Nosferatu, the fucking idiot, everyone ended up having to defend him from another nossie which they successfully destroyed (and now have had their first real encounter with vampires. Much to everyone's unhappiness), and then once again Malcolm had paradox burn and this time... he collapsed afterwards.

There was something on the other side, which says it gave him a blessing and may have been responsible for allowing him to return to the world of the living after his accident killed him.

This, of course, is a big deal for a depressed atheist to suddenly have credible evidence of a higher power taking an interest...

[bambina-daydreamer]

[ladyimaginarium]

i swear to g-d im& not even the jealous type but jfc i HAAAAAAATE this feeling when im& just lowkey like. who's :)))))) this :))))) bitch 👀👀👀👀🔪🔪🔪🔪 :))))))

[lesbiansanemi]

WARNING FOR ANIMAL DEATH/MUTILATION IN THE TAGS

I think I’ve figured out why it’s the stuff with my cats that gets me the most viscerally upset when it comes to my roommate and I think I need to tell him why that is… we had a talk and he apologized for a lot of stuff but I just feel like I need to explain why I react so intensely to him hating my cats/wanting me to get rid of them