#how to create a plot

[kimyoonmiauthor]

World Lit: Three basic ways to choose events.

So kinda piggybacking on the whole Story structure thing, but I’ve been thinking about this ever since I learned that the plot isn’t the basic for a lot of story structures and perhaps why particularly white male European lit doesn’t follow the other types of ways to choose events. So I’m throwing a theory out there, but I honestly haven’t read extensive texts to back this up... but I do know this is true from talking to other writers, and consuming a ton of fiction in all different kinds of forms.

So generally, you have the story driver...

What I find keenly interesting is that youtubers often pick up on the conflict-only narrative and call it weak. https://www.youtube.com/watch?v=aqqfMtFs_sY

Such as in this case, where she says, “But I don’t FEEL anything.”

Which is interesting to me, because the argument from Lubbock et al about the conflict narrative was that it was supposed to bring “more emotions”.

Though I suppose WW1984 also argues that you need other ingredients.

But in this case, of the pure conflict narrative, a bunch of bad things happen and you choose events around those bad things happening.

In a pure Brecht style you would have a huge ensemble cast of people, and the “bad things that happen” would show the “true worth of a person” to “prove they are a leader.” In his opinion, this would not be divorced from character development but in line with it. So think more like Les Miserable, but more uplift--he was all about the uplifting third act.

In the Brecht style, and to a certain extent Lubbock (though not entirely), you would base things around character-->event-->character (multiple)-->event, etc. Until the conclusion. This (including setting, etc) would then become the “plot”.

And then the main thrust of the story would be located in the “plot” in this type of story theory.

BUT, let’s look at Japanese, Korean, Chinese, Apache, Inuit, Aboriginal (loosely all together according to the source I have), some of the Pacific Islander stories in the South Pacific, and to a certain extent, West African folktales.

The way you choose events isn’t located in character, because often the character serves a higher master. It serves the story. And the events also serve a master, also the overall story. So often events are chosen around a theme or a Tone. So if you have a moral tale, instead of choosing the worst thing to happen to an individual character to lift them up, you would choose every type of event you can think of around a certain theme.

For example, Toni Morrison was super adamant that Beloved was not plotted around conflict in the white male term on the Charlie Rose show. And if you follow the traditional way Griot and diaspora from that region center their stories is around morality. If you follow then, the events are carefully chosen around morality of slavery in Toni Morrison’s book Beloved. (And yes, I did read it.) It doesn’t ask all of the easy surface level questions, does it? It asks some of the questions about Uncle Tom’s Cabin, and white-made narratives about blackness even when well-intentioned. And also about the main theme of Beloved’s morality itself. The characters move through this morality.

Under the Queen Umbrella (Korean, original title is shroom) also thematically chooses things around parenting, family, and what love means under those circumstances (also the radical acceptance part of the drama made me well up with tears) and what does it mean to protect someone? What does it mean to be a parent? What does it mean to be a mother?

Personally after consuming a ton of fiction from different regions, I think when it’s good, it’s really good, Japanese are masters of command of tone. I fan myself all the way through the sheer command of creating a mood without particularly theme, but by casting subtle touches here and there from Japanese literature, film, and command of story. It bleeds so well into everything (and then I cry in envy). And I don’t mean only Kurozawa. (Though c'mon, Kurozawa is a master). Events chosen around tone are there to create a singular mood, and this is often done so well.

I also have to give a shout out to Apache and Zuni storytelling which masters stories that sound different to the same person at different ages. And you can tell how carefully the events are laid out to get this effect.

But what I get from watching reactions, etc is that people resonate strongest with things that make them think and feel strongly. And maybe event-based is fine for say, your lazy watch Hallmark movie, but people often get bored of such a thing, and are demanding they FEEL something more than just the excitement of an action scene. It’s a thought I’ve wondered about too... resonance. How do you achieve it in more of a universal way? Is a universal way possible?

But I think this examination might help people to think more about their event structures as more than just serving character development, but also trying to serve a larger purpose and hit people in the feels more. Personally, I think the pushback on the other types (even if it might make your writing stronger to play with this type of event selection) is because of the individualism that came out of late state capitalism and industrialization. The push towards individualism became a lot heavier in the 20th century, so the idea that through a series of events a character could improve individually and rise to the top (Mary Sue/Gary Stu it) became more seductive than thinking about morality, as a theme, especially for those who held the most societal power. And also after all those wars, etc, thinking of man as an emotional being became less appealing, and if you delete examine the majority of story drivers, they directly lend themselves to tone/theme type of plotting. So pushing back on that and making it less accessible (i.e. pushing it to universities where the general public can’t access it), helps mitigate the damage from asking those hard questions, I would think.

I don’t begrudge conflict-event-based plotting and narratives, but I do dislike how many of the scholars did it at the cost of others and the diversity by calling theirs more commercially viable and accessible. I think the other types from around the world, and from the European and European diaspora backyard should also get a chance to have their piece spoken.

[skellycrows]

Dc x Dp Fantasy au

fantasy AU where Tim is, predictably, a prince of the kingdom of Gotham. except he continues to want nothing to do with the family bullshit and much like how in canon he made up a fake uncle, he attempts to worm out of being trapped (read- loved and cared for) by investigating a neighboring kingdom via infiltration. Bruce does not enjoy this. Bruce does not have a choice, because trying to stop Tim is like trying to keep a cat away from that one thing you really don't want said cat to touch; impossible.

bordering kingdom meanwhile is a place of magic and mystery and ghosts. this is why so little is known about it. its freaky. this is all due to the fact that its set, functionally, in the place where the border between the infinite realms and the physical world is thinnest. due to all the magic shit the people there have learned to live in very specific ways for their own safety and most newcomers either leave before learning much or, yk, die. this means what little information that gets out is vague and unreliable, and all the other kingdoms are really wary of the place. any attempts to reach out and establish connections have been met with silence, as if its cut off from the world. spies don't return. forcing their way in would risk strife and war. as it is, they mostly ignore the place, since it doesn't cause them much trouble- except that recently, odd glowing green creatures have been escaping into the other lands. somethings gotta be done.

Tim decides he's that something.

Meanwhile, Danny, teen boy that's freshly coronated as king, attempting to deal with stabilizing both Amity kingdom and the infinite lands, the magic keeping all the malicious shit where the people that can handle it weakening, among about a million other things when a pretty boy his age that knows how to handle political shit and somehow adjusts to the crazy magic society shows up: "please save me please please please-"

[starbuck]

the thing is, i love The Narrative, but i also absolutely adore a truly character-focused tragedy where everyone’s downfall is caused not by larger narrative forces, but by hundreds of tiny decisions made by characters who, despite their best efforts, just suck.

[peace-hunter]

tfone au where OP is created as the last of the primes but way after them, a sparkling born at what were thought to be the last days of the war against the quintessons, the beginning of a new generation of peace after eons of war. a child meant to be loved and raised knowing nothing of war nor sacrifice.

he's kept mostly out of the spotlight by his siblings, who don't wish to expose him to everyone's optics so young, and want to wait until the war is done and over to properly introduce him to their people.

except of course the primes are betrayed and murdered by sentinel, the war is lost and everyone who knows and cared for the truth is either banished or outright killed in order to suppress it.

and the high guard, the ones the primes trusted the most, the ones that were supposed to protect them, the ones who failed in their most important duty, have to make a choice. to take the last prime, their last hope, with them to the surface, a hostile environment where there's little to no supplies and where they'll be hunted down by both sentinel and the quintessons as the biggest threat to their regimen.

or hide him in plain sight. place him where sentinel won't think to look for him. one more sparkling among many. and hope it will be enough to keep him alive. pray to primus that he'll protect his last child long enough for them to come back for him when it's safer (even if most of them have already lost their faith on him when he allowed the rest of his children to be massacred like that)

they almost lose their resolve when they realize they will have to take the little one's cog away in order to make him blend in with the rest of the newborns (and oh do they burn with murderous intent when they see what sentinel has done to their people but it's not the time yet-) but in the end they decide an impaired little prime is better than a dead one.

and so in the chaos of thirteen dead primes and a sudden energon crisis, a little sparkling who very few mechs really knew about and even fewer had seen completely vanishes. and in the depths of iacon a mech in charge of a new batch of newborns scratches their helm in confusion as they realize they must have miscounted the first time.

optimus prime is quietly erased from any official records by sentinel, written off as dead when they find a sparkling's frame mangled beyond recognition after an attack on the base of those rebels that insist on being a thorn on his side. killing the sparkling hadn't been precisely in his plans, he probably could've found some use for it after all, but he's not particularly upset about it either.

and orion pax grows up with an ache on his spark that tells him he's missing something far more important than a t-cog and dreams of gentle and loving hands, cradling him against the frames of mechs he cannot recall the faces of.

[starry-bi-sky]

tales of the passerine - danny fenton being bruce wayne's first kid

okay okay. so this is like a continuation/elaboration of my oneshot/prompt i wrote about the idea that Danny was the first batkid. We have a lot of aus where he joins the family after the rest of the bats do, right? So hey! Lets shake things up a bit. Danny is the first to be adopted by Bruce Wayne.

Danny's parents and unfortunately Jazz die shortly after the events of TUE -- how so? I was gonna say an ecto-filter explosion, that would call back to the TUE explosion and trauma behind that. But lets do something new! Carbon-monoxide poisoning.

It's not too unexpected for something to break in the Fenton house, especially with the Fenton parents' questionable understanding of proper weapon handling and lab safety. The water heater broke from a stray shot by one of the weapons, and was promptly MacGyver'd incorrectly. Danny went to stay with Tucker for a guys' night, and came back to a dead silent house.

(Danny's neighbors got a very unfortunate shock when he ran to the next house over in hysterics.)

There was a lot of shuffling around with CPS, the police. People had to be called in to handle the equipment in the lab, and the GIW was rumoring to show up in aid to clearing the scene. When Danny heard of that, he immediately went and dismantled the ghost portal to the best of his abilities. He burned the physical blueprints of all his parents' inventions, their blueprints on the ghost portal, and their most dangerous weapons were destroyed beyond recognition. Anything to prevent the GIW from getting their hands on his parents' tech.

It opened up another investigation, but he was not under the list of suspects. He was placed in the care of Vlad Masters, where they then went back to the rebuilt castle mansion in Wisconsin. Danny, terrified of the future that has once passed and may do so again, shuts down in his grief. Inadvertently, he ends up somewhat repressing his ghost half. Something Vlad, who is grieving Madeline but relishing in Jack's demise and his custody of Daniel, is not very happy with.

Vlad's... gone into a bit of a mental health spiral. He's becoming increasingly possessive over Daniel, the final remnants of his friends and a liminal being like him. He doesn't like that Danny's repressing his ghost half -- both out of genuine concern as a ghost, but also because of his desire to control Danny and groom him into the perfect son. If you ever had a phase where you read Dark SBI found family fics, first off; me too bro, and second off; those are the vibes I'm thinking of.

Danny's mentally shut down from grief! And fear. He's dropped into a bad depressive state -- paralyzed with grief and the terror of the inevitable. Clockwork saved his parents because he believes in second chances, but what's the point of that when his family ended up dead anyways? Danny doesn't wanna believe that he's destined to become evil, and he's holding out onto that hope, but it's a thin line, and he feels utterly hopeless and trapped. He hasn't used his powers or ghost form since he trashed the lab, and Vlad has alarms set up to prevent him from trying to escape.

He's also unintentionally cut off Sam and Tucker -- both of whom are so scared and concerned for Danny too, and are trying their damndest to reach out to him. He keeps ignoring their texts. Danny basically haunts Vlad's manor. He goes out to eat if he has to, attends parties Vlad drags him to, and stays in his room all day if he can.

At parties, Vlad doesn't allow Danny to leave his side, or really talk to anyone -- not that Danny wants to. A product of Vlad's increasing possessiveness. Well, he almost doesn't let Danny leave his side. Danny has a habit of slipping off to hide somewhere for the parties whenever he can, and Vlad reluctantly allows it so long as he stays alone.

This becomes an advantage when eventually, Bruce Wayne returns to Gotham after missing for years, and holds a bright charity ball to celebrate the return. Vlad has been chomping at the bits to get his hands on Wayne Industries, and with the return of its owner there is no better opportunity to wipe out his rival. He goes, and he as normal, brings Daniel with him.

Vlad thinks Wayne will bleed his little heart out for Daniel's poor orphan sob story -- he's a fellow orphan himself, after all. He's not wrong; Wayne's little heart will bleed, just not in the way that benefits him.

Bruce sees Vlad and Danny approaching before they're even close enough to introduce themselves - and like with many of the children he will soon come to care for, it's like someone set a mirror into the past right in front of him.

Danny Fenton's suit is tailor-made for him, and despite the fact that it's his perfect size, the sag in his shoulders, the ducked down head, and the way he hunches into himself all pictures the image of a child in shoes too big for him. There's a far away, glazed over look in his eyes and grief marble-cut into the lines of his face. There's not enough makeup in the world that will hide the dark circles under his eyes.

("My nephew, Daniel Fenton." Vlad's hands are possessive on Danny's shoulders. Bruce immediately notices the way the boy tenses under his touch. "His parents passed recently, and as his godfather I was designated his guardian.") ("I'm so sorry, the loss must've been terrible.") ("Yes, carbon-monoxide poisoning caused it. Daniel was out with friends, when he came home... they had already passed.") (Bruce immediately dislikes that Vlad shared the details of their death unprompted -- he likes it even less when Danny flinches at the reminder and hunches into himself.)

Danny runs off at some point earlier into the charity. At this point, parties are still being held at Wayne Manor (because iirc google search mentioned that was a thing at first before it was changed), so he disappears and hides in one of the empty rooms nearby. It just so happens to be the same room Bruce Wayne hides in when he needs a break from all of the socialization.

Thus begins a long, long process of trust. Bruce can't reveal his hand as being smarter than he looks, but he can be compassionate. Kindness needs no measure of intelligence. He keeps Danny company for as long as he can before he runs the risk of being found.

Rinse and repeat. Vlad insistently wants Wayne Industries, and he'll go to as many Wayne parties as he can to get his hooks into the man. The problem is that Bruce Wayne is never alone, and getting him alone is impossible. Finding him too. It's like the man never stops moving. Always talking to someone, always circling somewhere. He orbits around the room as if he isn't the sun of the Gotham Elite's solar system.

Danny's had such repetitive behavior that Vlad never thinks to believe that Bruce Wayne is disappearing to go talk to him. That "Vlad's" son is even interacting with him at all. Danny never gives him a reason to think so, and neither does Bruce.

Danny doesn't actually acknowledge Bruce until a handful of parties in, where he hands Bruce a small slip of paper he smuggled in that says; "don't trust Vlad". Danny's face stays carefully blank, but he's so tense that his hands are trembling, and he's purposely looking away from him. Bruce plasters a smile onto his face, slips the paper into his pocket, and tells him "okay".

(he's been busy with his own goals with the mafia, but he sets aside time to investigate Vlad Masters. He was holding off. Until now.)

Danny does eventually start speaking to Bruce, he's starting to really like the guy. He's starting to see a little hope, even as Vlad is starting to get more and more agitated with him the more he refuses to use his powers.

He reaches out to Sam and Tucker again, and starts trying to reconnect with them. Vlad has spyware on his phone, and he limits the amount of times he can talk to them. A weird parental control lock of some sort that leaves a time limit on how long he can talk to them for. 30 minutes. Danny doesn't tell them anything about Mr. Wayne.

Danny, slowly, wants out of here, and he's slowly gathering the motivation to do it. Vlad is genuinely scaring him -- and Danny wonders just how truthful the past-future Vlad was when he told him that Danny wanted his ghost half separate. He starts trying to come up with an escape plan.

Vlad has anti-ghost wards everywhere around the mansion, and while they're always on, they boost to full power at sunset. The doors and windows are always locked, all main exits have alarms set on them. The only reason it's not super extensive is because Danny hasn't tried leaving at all yet, so Vlad hasn't had to tighten anything.

At night, Vlad locks the door to his room and puts up an anti-ghost ward around the room. The mansion is on the outside westward side of Madison, more entrenched in rural Wisconsin. The closest town is a four-way stop sign with one house on three corners, and an open bar on the fourth. Not much to go.

He refuses to go to Sam and Tucker; Vlad would look there first. It's too dangerous. Vlad would sound alarm bells and have a manhunt looking for him, Danny can't risk going just anywhere. Too much risk of being found, sold out, or caught. There's really nowhere for him to hide.

Until there is. Bruce is telling Danny about the history of Wayne Manor, and says, as casually as saying the weather; "The manor has dozens of empty rooms, I'm sure Alfred wouldn't mind filling another one if he could." And quietly, hesitantly, Bruce places a careful hand on Danny's shoulder, unrestrictive and gentle; "He wouldn't mind getting one ready for you if you need one."

And there it is. There's his out.

Danny, just as quietly, replies; "I'll keep that in mind."

The ball starts rolling.

Now I've been trying to summarize this au as much as possible for length convenience, but Vlad has been steadily growing more and more controlling. More emotionally manipulative. More agitated at Danny for not using his powers.

He wants Wayne Industries under his thumb but he's been steadily growing more and more concerned with Danny. He's started grabbing him, yanking him around, shaking him; trying to goad him into using his powers. He gets angry when Danny doesn't react, or tells him he doesn't want to use his powers. He hasn't outright attacked him, but he's getting there. This has been happening over the time it takes for Bruce to indirectly offer Danny sanctuary at his home.

It all comes to a head when Vlad stops going to parties at all -- something Danny has to pretend he isn't upset about -- because Vlad doesn't want him around other people anymore. Vlad rarely goes now without him, and only leaves to go to a Wayne function or to handle something at VladCo.

Danny can't wait for Vlad to leave long enough to escape. So he leaves during the night of a big storm. Vlad's locked him in his room, but Danny doesn't bother trying to go for it; he goes to the alarmed window instead. Danny's been repressing his ghost half so long that he can't access his powers immediately anymore -- he can feel it, he knows its there, but he can't quite reach it.

He breaks the lock by hand.

Immediately the alarm goes off through the entire castle, filling the room with red, and he scrambles for the rope the Wisconsin Ghost left for him a few months back. Danny's already out and climbing down the side of the castle before Vlad even reaches his door -- the only good thing about the entire room being ghost-proof is that Vlad can't get in that way.

The rope ends before it reaches the bottom, and he's still twenty feet in the air. It won't kill him if he lands it right. Danny takes his chances, and drops. He breaks his ankle, but he survives.

And he fucking books it to the back garden. He hears Vlad shrieking over the thunder and rain.

I'll save the full experience for a future oneshot, but Danny makes it out into the nearby woods and forcibly experiences what it's like to be in a horror game, trying to hide from the thing that's hunting you. There's only one thing going through his mind; "i'm going to die"

I have this mental image for this scene. Very stereotypical horror imo. Where Danny is hiding behind a tree, with a hand over his mouth, and Vlad is a few feet away from him, glowing ominously red through the trees, trying to search for him.

Danny doesn't get away from this unscathed, but he does get away alive. That's all he could ask for. He gets away by getting his ghost half awakened long enough to transform into Phantom and fly to Gotham.

But he gets to Wayne Manor, he gets to Bruce. Or, at least, Alfred answers the door from his insistent pounding. Danny's just in tears and Alfred gets him in the living room, wrapped in a towel, with ice on his swollen leg before he has to step out and alert Bruce.

Bruce already breaks multiple traffic laws on a nightly basis. And that's just with the sheer existence of the batmobile itself, not including the speeding and military artillery attached. He breaks double the amount trying to speed back to the cave and get out of the suit.

Right off the bat: Bruce will know, at least before Dick enters the picture, about danny's powers. He'll figure out something considering the fact that Danny traveled from Wisconsin to New York in a single night. That'll be a bit of complicated affair, but I've already got something in mind.

Actually it'll probably be very soon after Danny joins the family, because Bruce tries to offer to fight for custody for Danny - the state Danny was in at arrival is clear enough evidence for a trial. But Danny immediately shuts it down, says it's not going to work and then Vlad will know Danny's with him and he won't be safe. He tells him that Vlad cannot know Danny was with Bruce.

Danny's biggest regret was not telling his parents he was a halfa, and while he doesn't want to tell mister wayne (yet), he does tell him about Vlad being one. He needs to know why Danny can't be seen with Bruce. So he tells him, and Danny's current plan is to just hide out from Vlad until he turns 18. That way, he has no more legal jurisdiction over him. After that? He's not sure.

And to wrap this up, since this has already gotten very long and I can make more posts about this au later; I've thought about it, and I'm going to say that Danny does become a vigilante before Dick enters the scene. He goes by, as you probably guessed; Nightingale. "Gale" for short.

[aro-in-danyl]

Alastor as a "Gift from God" AU

Inspired by the TV Show Lucifer. I could not get this idea out of my head so into the tumblr void it goes.

Edit: PART 2 up now.

----------------------

Sera could count on one hand the number of times the Almighty personally called for her. And every single one before was the precursor to some disaster or threat.

She was confused when she was beckoned past the throne room, away from the meeting rooms, and into the Almighty's workshop. There was no dust or cobwebs for God would not allow it, but it was known among the higher-ups that The Almighty had not had the motivation for creation in eons.

"The screams of the damned awoke me today," God's many hands reached out from their ineffable form to grasp jars and potions of dubious origins.

Sera stiffened. "I thought you could not see into Lucifer's domain."

She had not dared to think she could hide the First Extermination from The Almighty's gaze but she'd hoped she have more time.

"Never before today have souls perished a second time." God collected more vials and instruments that Sera could not for the life of her understand the purpose of.

"Such fear," and they sounded sad, "over the birth of one child."

The Anti-Christ, Lucifer's daughter was more than just a simple baby. Her parents had hidden her for decades, but the change in their attitude was noticeable even before her existence was made known to heaven. Lucifer again grew bolder and more fanatical with his ideas and Lilith-

If they'd only known sooner.

Silence passed as God worked. Sera kept her head bowed so she could not see what was being created. But they did not demand she stop the exterminations, and that was enough for her to finally raise her head and peak at The Almighty's first creation in centuries.

A soul. Or what would become one soon enough.

Her curiosity finally broke through. "You have not crafted a soul by hand since-" She cut herself off. No need to push her luck.

"This soul is a gift." They said. And they began to spin the soul threads together, "They will be an equal. Unchanging. Dynamic. Static. Chaotic." With every word a new thread merged with the steadily-brightening soul.

"A defender. An assailant...An Avenger."

With the final word of God, the soul was finished. But, barring the confusion of all those conflicting traits, Sera was caught up on the first sentence of this new soul's purpose.

"A gift to who?"

God did not answer. But that left her with another more pressing question.

"The creation of a new soul is a breath-taking experience to witness," she began carefully, "But why have you called me here?"

In answer, God reached behind themselves to a corner that Sera had not paid attention to and pulled out the tip of a spear. One from Adam's exorcists.

She tensed as God held it up to the fragile new soul. Angelic steel was crafted solely to bring death to the damned. To souls. Was this her punishment? To bear witness to the creation of life, of potential goodness, only to watch it be snuffed out before it even had a chance?

God pressed the spear to the soul, "Your Exorcists should take heed," the spear stabbed into the soul and Sera couldn't help but cry out in despair. But the soul did not whither or fade. She watched as the spear tip was catapulted away at lightning speed, burying itself in the wall across from them.

"And avoid his attention."

[superbat-lmao]

Jason Todd gets blown up, resurrected, and after regaining his skills and control from Talia, goes back to Gotham and goes back to school. He leaves vigilantism entirely.

He’s taking literature and philosophy classes and just about anything to do with writing.

He makes friends, he’s on his way to normalcy.

And then he sees an opening for an opinion writer for the school newspaper.

Clark Kent gets sent the same newspaper article to read in both his civilian and superhero personas. If that’s not concerning, he doesn’t know what it.

It’s an opinion article on the state of vigilantism and hero work by a student in the next town over. And it’s a problem.

Because it’s good, too good. It feels like someone had sat in the watchtower during those first few months where everyone had been trying to work out how to function with so many different stances on morality and ethics. Should any of them really be doing this? What were the lines they couldn’t cross? If we’re working outside the law, what moral credibility do we have otherwise to justify our actions?

And sure, Clark’s written more than a few pieces criticizing Superman, but there’s a point to that. He has his own reasons. This kid, well, Clark isn’t sure of their reasons exactly. Because his gut reaction is thinking this kid is just making heroes and vigilantes look bad.

And there’s a reason that all of his and Bruce’s debates on ethics happen behind closed doors. Because to be self critical is to try and prevent hubris, but to allow public criticism at this level is to lose the faith of the public.

So Clark is torn. Because if he responds, he gives credibility to what could remain a largely unknown article. And if he doesn’t, he can’t control the reaction of other people start responding to it.

He’ll have to talk to Bruce.

[elvyn]

I randomly saw this design, so I decided to draw it because looks cool

[dailydoseoffanfics]

pressure spoilers btw quick heads up

is there like human sebastian solace x reader fics out there i already found some in this website and a03 but ngl i want more of it (but i understand why there's a lack of it 💀 there's barely any information of his human years other than he was accused of murdering 9 people lmao) (and yes i know he's canonically married to zerum but I DON'T GIVE A SHITE 🗣🗣🗣🗣🗣🔥🔥🔥🔥🔥 /silly)

[fischiee]

the best part abt rvb is how serious the creators were from the very start about literally everything EXCEPT the plot

they really just spent hours and hours recording and editing and producing and their plot was… people talk and then church dies and his gf shows up and then she dies

and it STILL launched a massive influential inspiring 21 year long show/company

[crimson-nail]

i have been cooking an over-complicated roleswap au for. a VERY long time

[angermango]

"Oh, I know very well. How the puzzles beckon so sweetly...

As expected of you, Layton.

Only an honest death will cure you now."

...

expanding on that Lady Maria vibe for Descole from the first Laytonborne post, and that famous boss intro.

Descole would make a hellish boss fight, i know it. i mean have you SEEN how he moved during Eternal Diva and with that big ass sword? now imagine that with Soulsborne-scale strength and possible other additional powers.

plus his theme could be pretty easily adapted into a Bloodborne boss style piece I think, just add more orchestra heavy brass and cellos and some ominous Latin chanting choir and presto. that organ goes so hard too.

[cancerian-woman]

i hate when hope's stans say that Bonnie Is weak when Bonnie whole bloodline Is even the reason why almost everything on tvdu exist, what do you think?

The Bennetts are the backbone of this franchise but will never get real credit for it.

Hope benefits like most of the white witches from desirability and privilege. TO added into this as well by removing Ayana's importance towards the Mikaelson history. Esther did all of this work by herself and has the grand sister who comes with all this power. When that is not what we were shown in TVD. Legacies won't properly credit Bonnie for her work or skillset but can make negative jokes about her. While fueling of Bennett blood for spells because not even Hope Mikaelson can do specific requirements of a Bennett witch. They even brought in some unnamed Bennett witch to utilize once.

The Bennetts are an example of something black women and people face every day. You can have all the credentials and work--the Bennett's are involved in the world building, and magic basics but aren't even development or screentime and people will still flock to someone white who did not have to do much in order to have respect from everyone else.

Bonnie and her relatives are victims of racist writing but given their history are far from weak. Bonnie alone was 17 years old, as a self-taught witch mastering the power to bring a 1000-year-old hybrid to his knees successfully. The same Bonnie a season later saved everyone's asses even Klaus which is how he lived another day to get someone pregnant ANYWAY...Bonnie wasn't weak and never has been just not written with a real desire for her or her family. The real tea is that many fans don't see Bonnie's power as something to respect.

I'll leave you with this whenever someone makes comparisons about magic or witch abilities it is always Bonnie and or her bloodline being compared. You don't see Freya vs Davina covered as much or Hope vs Davina. Those fans see their power especially NOLA witches as respectable.

Hope has a werewolf queen mother in Hayley and she isn't even brought up in these never ending power debates lmfao.

[faceeeeee]

Huh, I don't remember this thing being here.

[ninadove]

What a lovely day to love Felix 💜🦚

[silentsockfeet]

with the obvious addendum that act 3 isn’t out yet and we can’t form true opinions until the show’s officially done, i’m still really feeling like it could have maybe benefited from a third season. they’re hitting all the right plot points and those moments are full of really intense emotion, but everything in the middle feels so underwhelming in comparison and so much of it still feels rushed to me. idk