#i don't usually get super emotional about the crimes

[bisexualmadney]

the school episode is really getting to me man

[teaboot]

I'm surprised/impressed? by how blase you are about people threatening you at work. A neighbor threatened me last week and it was so scary and I wish I could have had the same kinda response you seem to.

First off, I hope you're safe and okay, that's an awful experience to be familiar with and especially bad that they live so close to you D:

Second, I'm certainly no maverick out here- I've only been doing this a few years now- but I've found that about 99% of threats I receive have very little intent to follow through.

The type of threats I usually receive are typically from:

Someone who's had bad experiences with security or police, in the past. People with hand and face tattoos, homeless folks, people with mannerisms that get them labeled as "sketchy", POC, and people who've been incarcerated all have valid reason to believe I'm out to get them, and may get treated badly elsewhere often enough that they're expecting that. Every time I approach someone, I have to take this into account and do everything I can to signal that they haven't been profiled based on preexisting stereotypes.

Someone experiencing the symptoms of a mental health condition. People with mental illnesses are statistically victims of crime more often than they are perpetrators. That said, I have run into people before whose mental illness can present as aggression- if someone behaving erratically or is known for that sort of thing tells me they're gonna blow my brains out, but I can clearly see they're unarmed, not coming towards me, haven't hurt anyone, and show no intent of escalating, I'm probably not in danger. A few people I've met will see me again in a day or two and will have no problems with me at all.

Someone who is scared, frustrated, anxious, or grieving. Not to excuse violence in any context, but in my experience 99% of people who blow up at me aren't actually thinking about me. Anger isn't so much an emotion in a lot of ways as it is the reaction to another emotion- if someone tells me they're gonna kick my ass, I have to question if there's anything they may be frightened, frustrated, or sad about something else entirely. If I can address and resolve what's causing the anxiety, the anger usually goes away next. If I can't deescalate, my next job is to disengage and make sure myself and others aren't at risk of harm.

People who want something from me. This does not happen often. Maybe they want me to back off, or leave them alone, or let them take something, whatever- maybe they think I'm someone with clearance to use physical force, or they think my flashlight is pepper spray. Whatever it is, once they've made it clear they're willing to act, I back off. Unless they're hurting another person, nothing they want is worth getting stabbed or shot over. And physical conflict is insanely stressful, even for the attacker, so even then whoever threatening me will likely take any "out" I can give- I keep paths of escape clear, stay out of range, keep calm and respectful. Every time this has happened to me, the person has run away when given the chance.

People who genuinely want to hurt me and intend to follow through. Again, this is super uncommon- I think it's only really happened to me once or twice on the job. Yes, it's scary, but I find it helps to remember that they arent after me, they're after the uniform. If someone is coming after me in costume, so to speak, it's not who I am as a person, it's what I represent. And a lot of people seem to think I'm a cop, or see me as a faceless goon, or a past abuser, or an intruder in their life specifically sent to make them miserable. If that's what they believe, there's not much I can do to change their mind except, again, stay calm and respectful and disengage.

I do know how to defend myself to an extent, but again, I don't have weapons or restraints or a vest or anything and I'm kinda small on top of that so really I'm cool with hauling ass if I gotta. If me getting the fuck out of dodge resolves the issue then I'm not above radio'ing HQ from the top of a tree somewhere, that shit is above my pay grade.

TL/DR in my personal limited experience, someone who has told me that they're going to hurt me wouldn't have given me the warning unless there was something I could do to avoid it. Stay calm, don't yell, be respectful, give them an escape route and run if you need to

Stay safe out there, yeah?

[woso-dreamzzz]

Breakfast III

Ellie Carpenter x Daniëlle van de Donk x Child!Reader

Summary: The match against Arsenal

You don't know how you feel now that Beth is back.

You don't hate her. You don't think you can ever hate Beth. She used to do your bubble baths and read you stories with funny voices.

But...You don't want to see her. You don't want to have to play nice with her and be friendly.

You walk out with Ellie for the match and make sure not to wriggle away even when she teasingly flicks your ear. Usually, you walk out with Mamma but she's playing super sub today and Ellie scooped you up before you could scamper away.

Beth waves at you in the tunnel and you shrink away.

"You can just tell her to fuck off, pipsqueak," Ellie says as you walk out with her.

"Mamma says you swear like a sailor and not to listen to you," You reply and Ellie looks a bit hurt by that.

"She said that? Clearly, she's never heard herself. Talk about a potty mouth."

"Don't be mean to my Mamma!" You say back, glaring though there's very little anger in your tone.

"Right," Ellie says," Well I think little pipsqueaks who turn on their partners in crime should run back to their Mammas."

You huff. "Play good, Ellie," You say begrudgingly because Ellie's ruffling your hair.

"Of course I will," Ellie boasts," I'm amazing."

You dig your fingers into her side. "Humble, too." You run off to Mamma a moment before Ellie can retaliate.

You're all smiles as you approach before you make eye contact with Beth and it immediately drops when she gives you a special little wave she always used to.

You get the icky feeling in your stomach and rush to hide your face in Mamma's shirt.

She presses the back of your head into her, rubbing over your hair softly. "What's wrong?" She asks. Mamma isn't usually this serious with you. She's always more joking and soft. She's not a serious person.

"You've been out of it all day," She says," What's wrong? Huh?"

You glance out across the pitch as the match goes on. You pick out Ellie and Beth easily - Ellie dispossessing Beth and kicking the ball all the way up and away. You bite at your lip.

"Mamma," You say," If Beth is here...Do you still like her?"

Mamma looks a bit confused at you and she adjusts you on her lap. "Where's this coming from, huh? You can still be friends with Beth if-"

You shake your head, your bottom lip wobbling. "I don't want to be friends with Beth!" You cry out," I don't! I don't! I don't!"

Mamma looks alarmed at your sudden influx of emotions and she immediately reaches out for a blanket to cover you with. She cups your face.

"Okay," She says to you softly," You don't want to be friends with Beth. That's okay. Can you explain why though?"

You can't though and you huff out a big sigh and rest against Mamma's collarbone. You clamp your fist around her top. "No," You say," I just...It's different. We've got Ellie now." You stop for a moment just to suck in a ragged breath. "I don't need Beth like I used to. I'm sorry."

"Okay." Mamma's fingers run up and down the length of your spine. A kiss is pressed to your temple. "Thank you for telling me. You don't have to be friends with Beth, alright? You don't have to pretend that everything's okay with her when you feel differently. You never need to apologise for your feelings."

You sniffle. "Thank you, Mamma."

You're more settled after that, happy to turn in Mamma's arms and watch the match.

Arsenal puts up a good fight but no one is beating Lyon today. You happily clap your hands and stand on Mamma's lap to get the best view.

It's a few minutes before Mamma's meant to come on that everything goes to hell. She's already started warming up so you're sat between Ada and Lindsey, who are meant to be resting for the match.

You're leaning away from Lindsey's tickling hands when Beth comes streaking down your side of the pitch, right in front of the bench and tackles Ellie to the ground.

It's not exactly the cleanest of tackles and their legs get tangled with each other and you're on your feet as soon as you catch a glimpse of Ellie's pained face.

Mamma catches you quickly, intercepting you as she jogs back to the bench while you peel away from your babysitters. "Hey," She says softly," Hey, no. You can't interfere. You know the rules."

"Ellie!" You cry out, reaching for her as the medics swarm around her prone body," Ellie!"

Beth gets up with no injuries of her own and it makes your blood boil. It's completely unfair that she gets to just walk away while you and Mamma's Ellie are left hobbling off.

"Ellie!" You try to squirm out of Mamma's grip but it's like iron and she walks you over slowly.

"You're not worried about little old me, are you pipsqueak?" Ellie teases even as she winces.

Mamma leaves to get subbed on and you pad to Ellie's side.

"You're hurt," You say," Is it bad?"

"A week or so of rest," She says," But that's it. A nasty tumble, that's all."

You sniffle a lot and bite the inside of your cheek so you don't cry. "Are you sure? Promise?"

"Promise, pipsqueak," She says," I wouldn't lie to you."

You believe her and you harshly wipe away your tears to curl into her side.

You do it so naturally that Ellie's a little shocked. She knows, of course, that you tolerate her in your house, in your space, in your company. She knows that you're at least semi-happy about her relationship with Daan but this is a whole new ballpark.

She hadn't even considered that you would be so emotional about her getting injured. It's barely a scrape really and the week off is more so making sure it doesn't turn into something serious but you're treating it like she's broken her leg or something.

She holds you tight against her side as you sag into her grip, matching your breathing so both of your chests are rising and falling in sync.

You stay next to her for the rest of the match and you make sure to hold Ellie's hand nice and tight when you head onto the pitch to shake everyone's hands.

You shove your way in front of Ellie and cross your arms over your chest.

"Go away," You say to Beth as she approaches," Go away!" Your whole little body shakes with an unexplained emotion deep in your gut. "I won't let you hurt her!"

"I'm not going to hurt her," Beth tries to assure you and you can't settle," Why do you think I'm going to hurt her?"

You won't settle not with you and Mamma's Ellie standing behind you. You clench your hands into fists. You don't know why you want to cry. You shouldn't want to cry but you do.

"You shouldn't hurt people!" You say through the choked-up feeling in your throat," I won't let you!"

You're full-on crying now as you try to stay strong to protect Ellie.

Mamma notices though and breaks off her conversation with Viv to kneel in front of you. "What's wrong?" She asks," What happened?" She looks wildly between all of the adults then back to you.

"I won't let Beth hurt Ellie!" You say through heartbroken sobs," Not like me!"

"Not like you?" Mamma echoes," Oh, y/n, it's okay."

"What do you mean I hurt you?" Beth is wary in approaching you, just out of arms reach. "I'm sorry if I hurt you. Can you tell me when?"

You wipe your nose on Mamma's jersey and soak in the warmth of Ellie at your back.

"When-When me and Mamma left and I never saw you again..." You sniffle again and lay your head, exhausted, on Mamma's shoulder. "You can't come back and be friends with me. I'm not little anymore!"

A fresh wave of tears drop from your eyes as Beth inches a little closer.

"I'm sorry," She says softly," I'm very sorry I hurt your feelings. And I'm sorry I tried to pick up where we left off without thinking about how much bigger you've gotten. I'm very, very sorry."

"Go on," Ellie says softly in your ear, rubbing your back.

You look up at Beth over Mamma's shoulder. "I'm sorry for not using my grown-up words but not for my feelings because I should never have to apologise for my feelings."

Ellie snickers a little bit behind you but Beth offers her fist for you to bump your own against.

You do it cautiously and Beth smiles at you.

"I'll see you around, yeah?"

"Yeah."

[cybertron-after-dark]

I was gonna ask a question but i honestly forgot it 😅 so just tell me something you want to rant about

If you do happen to remember what you were gonna ask feel free to do so, do not worry about spamming my inbox bc I live for that shit.

As for the rant

Transformers Rescue Bots had some of the best, kindest, and most respectful representation of neurodivergence I have ever seen in media and I'm tired of pretending it didn't.

While there are obvious complaints to be made about neurodivergent traits (especially autistic traits) usually being portrayed in media by inhuman characters like aliens or robots, this being a case of both, I feel like thats a pretty negligible sin given just how human the show makes the robots feel. (Also it was like 2011 and we were STRUGGLING for any scraps of rep anyway)

But like. The behaviors all these robots exhibit are all shit that I do that was always deemed unacceptable when I was a kid and seeing it portrayed with the level of kindness and gentleness they do in that show has me fuckin crying a little man. I wish I had actually watched it when I was younger and it was first airing because maybe if I did I would've had an easier time explaining what the hell was going on with my brain a LOT sooner.

Blades being anxious, overly sensitive, and WHOLEHEARTEDLY queer (which they had the absolute unparalleled balls to just casually confirm by having him swoon over "hunky vampires" in one episode and NOBODY commented on it. Fucking iconic) and getting so so deeply invested in the shows and movies he loves that he acts out the roles with enough passion to steel his nerves and completely flourish.

Boulder getting really confused at concepts that are basic and intuitive for most people, but still being so fucking intelligent, and never being made to feel stupid for the mix-ups, as well as just being so wholely, unabashedly in love with the planet he's found himself on, even if he doesn't understand all of it (Also apologizing to inanimate objects when he knocks them over 😭)

Chase being obsessed with rules and law because he NEEDS the structure to not fall apart at the seams, even feeling the need to fabricate a minor crime to justify using the emergency line to get a hold of the firehouse when he can't find the other bots. As well as just fully not understanding comedy (BUT TRYING HIS DAMNEDEST), taking things super literally, and having a lot of trouble with tone and expressions (even though you know just how deeply he feels All The Time).

Heatwave being desperate for attention and recognition, but completely allergic to asking for it. And honestly allergic to showing any genuine emotional responses other than aggression. The constant sarcasm and sass and defensiveness that he POORLY maintains because everyone knows that underneath that tough guy front is the loneliest robot on earth that wants to be loved SO bad but would rather jump into unicron's mouth than voice it because if he lets his guard down who knows what will happen to him or the people he cares about.

Just. All of it man. Seeing them exhibiting all these behaviors and quirks that all too often get met with poor reactions from people who don't want to deal with what they don't really get, but here they're met with patience and understanding?? It's got me fucked up. They get to be functional adults that struggle with what they have going on but still push through. They get to have unconditionally loving relationships with people that treat them with respect. And that's the kind of shit that gives me a lot of hope for folks like me because maybe some neurotypical kids that watched it picked up on what's helpful when their friend who acts like one of the bots is going through it. And maybe some neurodivergent kids watched it too and for the first time they just felt SEEN.

Okay rant over, I'm gonna go cry over some plastic robots 👍

[average-hyperfixator]

I've been having a goddamn conniption over this post (user cropped out bc I do not like starting discourse or inadvertently getting people harassed. if you find the og post do NOT harass them. This post is just my response to this take on this fictional character. I'm likely going to get heated because this game is a hyperfixation of mine, so I feel some stronger emotions about it. Any anger I have is pointed at the opinion and not the person. okay moving on.)

This take somehow manages to miss almost every major story beat of Curly's character and SOMEHOW takes his depression and turns it into a belief system. Like. I don't even know how this conclusion was reached???

Curly is not fatalist he's literally depressed and feels trapped in his life. yk. like. like how depressed people often feel. He's reached the top rung of the ladder in the corporation he's in and realizes he may have picked the wrong career altogether, and feels trapped because of it; that's not believing in fate. Nowhere in the game does it even IMPLY that Curly is fatalist.

here I have compiled screenshots that in fact prove the opposite

you see, if he thought the future was predetermined; why on earth would he talk about changing it? About doing something different, taking a leap? Why would he ponder trying to make a better life for himself if he thought there was no other way things could be?

like I hope we're looking at the same fatalism definition

Honestly, the only argument I even need to refute the point "Curly uses fatalism to avoid responsibility" is the fact he went into the cockpit before the crash. If he truly was resigned to fate, he would've continued to stand frozen outside, and wouldn't have done ANYthing. But he tries to change the outcome. He runs in there, and tries to save his crew. He (at least tries to) takes RESPONSIBILITY for JIMMY'S actions and his OWN INACTION in that moment.

Also. "Curly knows he's doing wrong" What? His worst crime is being too nice. His fatal error is trusting in Jimmy too much, NOT thinking he does no wrong. I don't even know how to disprove that because it's so fucking off character that there is nothing I could even show. yk I'm abt 90% this rant would make more sense if you just. Talked about Jimmy being a fatalist. Because he's literally the guy who thinks he does no wrong, and thinks he fixed everything, and that all the harm that happened was "out of his control, and had to happen, there was no other way!!" I still feel like it's a stretch even for his character but it makes more sense than using CURLY?? Curly is fucking depressed, not fatalist, and certainly not the main antagonist??? That's something I'm not even gonna touch on in-depth because that opinion is beyond the realm of saving. The antagonists of the game are explicitly the company Pony Express and Jimmy. The morally grey characters who could have acted more but didn't (mostly) are Curly and Swansea.

Curly still does shit wrong, yeah, but not because he believes his actions don't matter. Most of his inaction comes from his complex friendship with Jimmy and the looming threat of the company, not a belief system.

I don't even know how to TLDR this. Just. Curly is not the bad guy for being depressed and feeling trapped.

if anyone wants to reblog/comment to add onto this with stuff I might've missed go ahead I definitely left out stuff. This was made in a kind of angry headspace, I am so sorry for the swearing I'm not usually an angry person. Again my anger is towards the opinions not the creator of them. Again again, if you find op (doubtful) do NOTTTTT harass them for the love of everything. Debate and discussion are always open ofc, and if I get into a debate with someone I will not be as upset as I am here because that will not be productive at all lmao. Sorry if I seem super angry or bitchy here augh I just really like Mouthwashing and Curly and felt like this did him SUCH a disservice. Okay rant officially over.

[scoobydoodean]

the thing about emma vs amy is they’re literally not comparable at all really!! one HAS KILLED PEOPLE WITHOUT REMORSE (arguably, it’s been a while since i’ve seen the episode) and the other… HAS NOT! a comparison i have never seen people make that is actually so much better, so much more interesting? emma and that dude in metamorphosis, the rugaru. both are supposedly “monsters” who will inevitably kill somebody and thus deserve to be killed as a preemptive measure (even though they haven’t actually hurt anybody yet), as argued by sam about emma and dean/the other hunter about the rugaru. the difference? DEAN DECIDES TO TRUST SAM AND TRY TO HELP THE DUDE. sam on the other hand disregards dean’s wishes and any possibility of emma making the right choice.

i’m convinced that the only reason people compare emma and amy is because “dean admits he was wrong to kill her” (which isn’t actually what he says but people don’t really care about the exacts). if they were to look at any other episode where the definition of monster is argued, they’d see that sam is usually on the side of “give them a chance” (and ftr dean is too almost all of the time) UNLESS it’s a “monster” associated with dean… why are sam’s morals different for these people? for emma?

sorry i know that’s a long rant, but every time i see the emma vs amy debates it boggles me that metamorphosis dude is never brought up too! also i hope this all makes sense haha

Emma and Amy aren't even remotely comparable. In any way. Emma and Amy's son who Dean didn't kill? Yep. They are directly comparable. But Amy and Emma? Get outta here! Jack Montgomery (Metamorphosis) and Jack Kline (two Jack's!) can both be interesting Emma parallels. Especially when comparing how desperate fans are to coddle Jack Kline from so much as experiencing a negative emotion when he's brainwashing people from the womb, bursting out of his mom's body like something out of Alien, and actively strangling innocent black store clerks to death.

Contrary to the belief of people who don't watch the show but are always making wide-sweeping claims about what happens in it, Sam and Dean have a long history of trying to protect "good" monsters (including from other hunters!) from 2.03 "Bloodlust" and onwards (2.03, 2.17, 4.04, 5.06, 6.02, 8.04, 12.04, 12.16). There's a weird disk horse that's opened up in the last several years that Sam and Dean are always indiscriminately killing monsters who don't deserve it all of the time because "supernatural power bad" and that just isn't true. Like. Actually look at the cases they go on? Sam and Dean kill murderers whose crimes are committed supernaturally which is going to allow them to get away with it and/or continue doing it. They don't kill people just because they're "different"—in fact, the entirety of season 2 is about not killing people just because they're different, or because of some alleged inescapable dark destiny.

I've spoken before about how "Bloodlust" is treated by fandom as an episode where Sam stands on some sort of moral high ground from the beginning about the existence of good monsters, but that isn't what actually happens in the episode. Sam ends the episode with zero remorse about any previous hunts John ever took them on while Dean thinks back and wonders if they hurt people who didn't deserve it at some point (no questionable hunts in season 1 FYI—and the majority of them are ghost-related).

The way that Sam can compartmentalize/let go of his past actions and move on is useful in their field of work, but in contrast with Dean's tendency to feel eaten alive by guilt, it often results in fandom disk horse where fans follow Sam's lead by compartmentalizing and burying and excusing his actions as if they never happened, while putting everything Dean does under a microscope because his visible guilt implicates him in the eyes of fans. Because Dean spends several episodes feeling bad after 7.03, he must have done something super duper bad and horrible and is the worst person alive, and Amy didn't deserve to die. But because Sam doesn't ever show a single shred of remorse after 7.13 and Dean doesn't ever talk about it again, Sam must have been in the right. It's actually bizarre when you think about it—Sam's lack of guilt ought to be chilling to fans, but instead, it's often used to absolve him of wrongdoing... and for all their flaws that everyone is always harping on, I do think Bucklemming intended Sam's actions and his attitude after to be chilling. They don't intend him to be seen as "in the right".

Dean buries what happens with Emma down deep, and it's obvious why. He can't take another hit like this in season 7. Not after Cas and Bobby. He buries it deep down like he buried Lisa and Ben deep down. In addition... if Dean wanted to bring Emma up, who the actual fuck would or could he have talked to about her? Bobby's dead. Cas is dead. The only person left in Dean's life is the person who killed his daughter, and Sam made it very clear that he didn't give a shit how Dean felt about her being dead. In fact, he lectured Dean for hesitating to kill his own biological child, and said she "wasn't really his". Then when Dean disputed that claim, Sam immediately called him crazy and acted like Dean's actions (trying to push a monster kid who hasn't hurt anyone off a terrible path) are out of character when they ARE NOT (2.03, ALL OF SEASON 2, 4.04, 5.06). Even 7.03 itself supports Dean's actions with Emma as in character, because the ACTUAL Emma analogue, Amy's son, is not killed by Dean. So yeah. Who the FUCK was Dean going to talk with this about? Given Sam's long and storied history of behaving as the thought police, if Dean had so much as looked too sad in his presence, Sam would have lit into him all over again, and what fucking good was that going to do?

And yeah teehee Sam doesn't want Dean to have too many friends. More than one often-dead close friend is too many.

[mae-i-scribble]

Seeing that one reblog of yours about the manhwa I Became The Male Lead's Adopted Daughter really intrigued me! Is it a good one? 👀

Funny story about that, after your reblog brought the post to my attention again and after talking with a friend on discord about stories that subvert tropes I just went back and reread that entire manhwa up to the end of season 2 so this is great timing XD. Im summary: It's absolutely worth your time if you're a fan of father/isekaied daughter fantasy, if you're an isekai manhwa fan in general, or if you just want a well made fantasy father daughter story. Its fantastical concepts are handled with a grounded maturity that most stories in the same genre just don't manage to pull off because it takes the time to truly flesh out its characters as human being first and any tropes last.

The long story is below the cut, I'll be discussing vague spoilers throughout seasons 1 and 2. (side note, im using the official TL names for this bc i like em better)

I Became the Male Lead's daughter has a lot going for it, first of which being Pelliot, the cold duke of the north who adopts Lionia from the orphanage. Most manhwa of this nature have the isekaied person be our main pov with brief glimpses into the parent's perspective, usually done more for plots sake or to comment on how strange the isekaied child is acting. Pelliot shares the protagonist spotlight with Lionia because this story is about both of them concurrently- in fact, we don't even get a look int Lionia's head to find out she's been isekaied until chapter 8(i think, either way its after chapter 5). Before that we get to know her from how Pelliot and the people at the estate see her. Which is such a refreshing take for me, especially when you consider that Pelliot while a stereotypical "violent and competent northern duke who becomes a parent" in theory, is actually played out in a grounded way. The reason he even wanted a child is because he's feeling lonely and he sees how his best friend (yes!! our cold duke has friendships!! and they're super sweet!!) is so happy with 2 children, that he goes about getting a child in the most pragmatic way possible. He is violent and regularly commits war crimes, but he isn't cruel to his staff or his knights as is standard fair for these archetypes. (Can't say the manhwa avoids classist tropes, but such is the way when you have noble protagonists and don't want to make them look complicit in a degrading class system but overall things are handled well enough in that regard). Pelliot, in his fatherhood, also avoids falling into trope traps yet again by being a very believable first time parent. He struggles to adjust to Lionia's emotional needs but is learning, he goes to his knights for advice, he's studying Lionia and trying to make sure she gets a proper childhood and does his best to protect her from further exposure to violence beyond what happens with the abusive orphanage staff. They have a believable banter and play off each other to a scary degree, and while he loves her and worries for her he isn't an overbearing protective trope either. I feel like this is already too long but like. He's such a cool protag to have in a genre that tends to have very narrow and singular dynamics of parent/child relationships. And this isn't even talking about the other relationships we see him have with his peers which are just as good.

Moving onto our other protagonist, Lionia, the post made by @living-as-the-enemy-prince HERE (which clearly you have read but in case other curious souls want to look at it) sums a large part of what makes her work. This is a story that fully realizes its concept to the most effective degree. And I love in turn the story addresses the trauma that comes with being reincarnated- not only from a "i miss my home and family and friends" but from the inherent trauma of being an adult only to one day become a child. Lionia didn't get a chance to rest, she was thrown into a life of abuse, all her agency stolen from her, forced to look after the other orphans because she was the only one who could thus she felt responsible. That sort of disruptive event isn't something that can be brushed off, and it shows in the way Lionia is deeply insecure about her relationship to Pelliot. In this way their dynamic is made equivalent from both sides- in many stories its almost one sided, with the parent figuring out this relationship naturally and the isekaied child playing things 'for the story' and only recognizing the relationship theyve built later (thank you wmmap for helping solidify that -_-). It's truly so well thought out and every aspect of the central relationship feels so natural.

As for the story at large, I'm very excited to see what the plot has in store. As of season 2 of the manhwa, we're only just starting to kick things off plot wise, up until now its been far more concerned with relationship building and giving us a foundation on these characters. But things are definitely cooking now that we've heard mention Baria- the protagonist of the novel Lionia read in her past life (I could probably write another blurb about how well that is being handled but this post is so long already so). On that note though, don't be worried about that "oh but i have to follow the original plot against all common sense and reason" trope bc that doesn't matter at all here. Lionia has her concerns when it comes to the story, some of her insecurities stem from the fact that Pelliot never had a daughter in it, mentioned or otherwise, but at the end of the day she doesn't give a shit, she just wants her dad to have a happy and peaceful life.

Tbh anyone who hasn't read this should absolutely give it a chance bc I haven't even mentioned half the things I find cool about it like all the side characters that I love or the empress storyline that I am eyeing with extreme interest, etc etc

[flowerandblood]

Writing the Long Series

How I manage to do this for @troublesomesnitch

I often get questions about how I write and how I structure my work. If you are a perfectionist and like to have everything organized and tidy, this guide is not for you, because most of my work is chaos. However, I know that there are people like me who are tired of having to make lists, think about beta-readers, etc., so for all those who don't like to plan, here's how I write long series.

1. Never assume that your series will be long

When I write a oneshot or the first chapter of my story, I never assume how many chapters it will have − I do this very rarely when I have a specific plot in mind for a mini-series, but I often change my mind anyway, adding or shortening the series as I see fit. It's usually only when I've written the first two chapters that I have a sense of whether or not the story itself for me is asking to be longer.

With The Impossible Choice I thought I would close it in 20 chapters, and ended up with 55 chapters and 3 Alternate Universes. I had no idea when I wrote the first chapter that this would happen. Putting the pressure on yourself "okay, this is my moment, it's time for a long series, I want to make it 30 chapters" will make you shy away from writing at the thought of how much work lies ahead. Don't think about it, just write.

2. You don't have to have an ending

In none of my long series I knew what the ending would be. I usually know what's going to happen a maximum of 2/3 chapters in advance. I believe, but this is just my personal opinion, that writers pay too much attention to the ending, and if we are not writing a crime story, or the ending itself is not supposed to be a big breakthrough, it doesn't really matter. Even whether everything ends well or badly. Sometimes what's more important is the journey and what's in between.

I come up with the ending at the very end, when I have all the chapters. Then I know exactly what happened and what ending to the story will make sense in the context of what has happened so far. What's the point of coming up with a super-thought-out ending if it doesn't seem to fit the whole? This is starting from the wrong side. We are supposed to feel emotions throughout the story, not just at the end.

3. Don't predetermine how each chapter will end

This is suicide. Because what if you have a couple of scenes at the beginning, an end scene and a blank of what to write in between? It makes no sense!

When I write a chapter, I just go scene by scene and look at the number of words. Once it's over 2'500, I'm already thinking about slowly closing the chapter and I usually end it with some kind of breakthrough sentence or a character's thought. That's enough.

You don't always have to come up with a cliffhanger at the end. It's more important that the story reads smoothly and with breath, not to have someone gasp in surprise at the end but feel that what they were reading was just a bunch of scenes that weren't necessary.

4. Accept the fact that you won't use all the scenes you've imagined

I know we often think we have fantastic ideas, that this and that could happen, but sometimes we find that when we write, they just don't fit anywhere. There's no need to get upset then. If it's not a key scene for the whole story, it should be omitted or modified completely. Having said that, I'm against planning scenes ahead, except for the ones that matter most and push everything forward. It then makes such a pattern with holes that aren't there when you write everything in sequence.

Some people say − don't know how to do it? Leave it, move on to the next scene! I say no here! Don't keep writing until you know which way you want to go! And even if you do know, if you can't make it happen with a scene or dialogue, ask yourself if that way is good. Maybe just because you came up with it doesn't mean it makes sense in the context of the whole story you've created so far?

Maybe it's worth taking a different course, surprising yourself, choosing a different solution? Don't be a prisoner of your own decisions, let the creation of the story be fluid and changeable according to what you feel will be most viable for the development of your character!

5. Write other stories between chapters

Write oneshots or other mini-series in between chapters of your big project. Allow yourself to take a breather and not think about it all the time. I always intersperse my long series with my other work and it has helped me a lot. Sometimes, you just lose the verve for that concritical story and feel like writing something else − you should do exactly that. Don't think 'oh no, I'm starting a new story and I haven't finished that one'.

Even if you don't finish that one, nothing will happen. By controlling yourself in this way you are killing the fun you should be having with it. When you feel like it, read your long series again, or at least the last chapters to get the mood and then try to sit down to write a new chapter. I've found that when I take breaks and come back to stories like this after a few days, good new ideas come to me which keep me engaged in creating this story.

6. Play with characters, not scenes

Sometimes we come up with a scene that doesn't resonate at all as well in the story as it did in our mind when we wrote it. The reason I knock such scenes out is usually because they don't fit the character I'm writing about.

In my series The Fall from The Heavens originally when Lady Strong and Aemond are sitting in the library years later and Aemond tells her about having his first intimate experience with a whore, I wanted him to have tears in his eyes, get up from the table and walk over to the bookcase, Lady Strong was going to approach him and try to draw out of him what had happened.

However, as I wrote this, I felt somewhere in the back of my mind that something was wrong. I realised that while the scene itself was interesting and poignant, it didn't fit completely with my Aemond in this series. He would never allow himself to show weakness in this aspect, he would never have tears in his eyes at the thought, at most he would feel disgust, discomfort and anger.

I thought I would change this to a scene where her question reminds him of what happened and he tries to put it out of his mind and pretend he was content, drawing sastifaction from her jealousy. This, in my opinion, was definitely better suited to his spiteful, sullen character.

7. Do not ignore the thoughts of the protagonists

Some authors forget that only they know what is in the characters' heads − readers do not. Putting everything in dialogues makes no sense, because ordinary people don't say everything they think about.

Each of us thinks about something constantly, even when we just look at someone, when we sit alone or when we don't say anything. The characters' thoughts, so often overlooked, are a gateway to entering various scenes and events without the need for dialogue or additional events.

In The Knight & The Judge, readers would hate my Aemond if it weren't for the fact that they know his thoughts, how he regrets his actions, what he goes through, why he does certain things. Events do not happen by themselves, but are the result of what is happening in his head, even if he does not say much to other characters.

8. Don't be afraid to use side characters to show your couple's perspective

I often swap perspectives, once showing the perspective of a female character and once of a male character, but I also often use the eyes of side characters like Aegon, Daemon or Alys to show what their relationship looks like from the side.

Although some people dread this (like being afraid to write a chapter without smut because no one will read it because there won't be spicy scenes − that's nonsense) such a pov often gives a much wider view of how our characters are perceived from the side, what others think of their behaviour, what their decisions lead to, how they affect other characters.

If these side characters are an important part of our story, we can use such an extra chapter to build up what they will do in the future, engaging with our couple's story.

9. Confrontation does not always mean violence

I notice that often when there is a conversation between the main characters, many authors do their best to make both characters as sassy as possible, throwing fanciful insults at each other, threatening each other, considering it a good prelude to sexual tension. Of course, in one or two scenes this will work, even more so when, in fact, the two parties are very much at odds and practically hate each other.

However, it can't be that even though the characters are getting closer, they act as if they haven't gone through any development, haven't had any thoughts. It amazes me when someone writes an elaboration on the appearance of a gown or a room, on how someone raises a hand or performs an action, but does not lean into the fact that their character's behaviour is unnatural.

People say unpleasant things to each other in anger, but usually, forced to be in each other's company, they also have calmer discussions. Sometimes one word or sentence can make someone's perspective change, make them understand something that was unclear to them and new feelings emerge that can push the plot further − compassion, grief, longing or even understanding.

Creating templates out of our characters who have specific characteristics and always behave identically makes the whole story unbelievable.

10. Be kind to yourself

At the moment, there are no series from my first months of writing here written by me that I would consider good and I edit most of them, or I just left them as is and will never come back to them. I just know they are bad. But that's the way it is, in order to develop we have to make mistakes and not always be satisfied with ourselves (although at that moment I thought I had created my life's work).

Be understanding and kind to yourself. I managed to create so much work, not always good, mainly because I did it with passion and joy. I am very proud of many of my stories now and I like them even when I come back to them after a long time, I feel my progress and I know that it was worth it. Give yourself a chance and don't block yourself.

[iamvegorott]

Magicians Don't Need Superheros Pt37

First: Link Prev: Link Next: Link

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Marvin woke up and saw that he was alone in his bed. Why was he disappointed about that fact? It was so weird that he had expected to see Jackie next to him. He must have just gotten so used to that habit of sharing a bed after seeing each other late in the night, so the shift was throwing him off. Marvin had mocked Dark for not being able to change the routine, but maybe he was the same. 

“Ugh.” Marvin groaned at that thought, hating that he could have anything in common with Dark. He sat up and looked at the empty spot again. Jackie had been acting really strange the last time he saw him. He should ask him about it to see if he needed anything. If they wanted to take care of Night today, they all had to be at their best.

“Morning, Marvin.” Chase greeted as Marvin went into the kitchen after getting dressed for the day. 

“Morning. I was told you and Henrik had an interesting night.” Marvin shot a grin to Henrik, who was sitting at the small table and now choking on his coffee. 

“It-It was-It was a nice dinner.” Chase sputtered out. 

“Yeah, the hickey confirms that.” Marvin pointed to Chase’s neck and chuckled. Chase could only let out some gibberish while Henrik hid his face with his hand. 

“Found the fucker.” Anti said as he walked in, tapping away on his phone. “Looks like he’s heading back to where he first popped up. Probably doing that whole ‘returning to the scene of the crime’ bullshit.” He tucked his phone into his pocket and then clapped his hands. “When Jackie gets here, we can head out and ruin that shit's day.” 

“We? You mean myself and Jackie?” Marvin corrected.

“I’m coming with you two, didn’t Chase tell you?” Anti shrugged.

“No. No, he didn’t.” Marvin turned to look at Chase. “Anti is coming with us?” 

“As a backup,” Chase explained. “Just in case something goes wrong, he can step in and help.”

“We don’t need his help.” Marvin huffed. 

“What’s going on?” Jackie was finishing putting on his hoodie as he stepped into the room. 

“Take an apple. We’re going to the forest.” Marvin grabbed said apple, plopping it into Jackie’s hand, and then grabbed the collar of the hoodie to pull Jackie out of the house. 

x~x~x

“Mad says that Host never explained what was changing in the vision, so there’s nothing for us to work off of that,” Jackie said as he read his text. “Do we have a plan?” 

“Knock Night out and drag his body to the Manor.” Marvin rolled up his sleeves. 

“How?”

“Distract him, and I’ll take over from there.” 

“Are you sure?” Jackie noticed how Marvin’s usual confident energy was different. There was an anger behind it. He wasn’t able to read emotions like Mad was, but Jackie could tell when someone was pissed at the world. 

“I got this. I know what I’m doing.” Marvin fixed his hair so it was in a tight ponytail. Jackie had a really bad feeling about this, but he trusted Marvin…he also didn’t want Marvin to get hurt. “Are you okay?” Marvin noticed how Jackie seemed hesitant. That wasn’t how he was. Something was wrong. 

“Yeah, yeah. I’m just ready to be done with this.” Jackie weakly laughed, rubbing the back of his neck. 

“So am I. We can splurge at that cafe when this is finished.” Marvin suggested, waving his hand over his face and his mask appearing. “I think they got a new cherry pie we can try.” 

“That sounds good.” Jackie wished they could just skip to that. 

“There he is.” Marvin pointed before disappearing in the next blink. Jackie followed where Marvin’s hand had been and saw Night looking around, annoyance clear on his face. 

“I got this,” Jackie said to himself and then took a deep breath, letting it out as he jogged over to Night. “Hey!”

“Oh great, it’s you.” Night scoffed. “No friend?” 

“Are you doing alright?” Jackie avoided having to lie by asking a question instead and letting himself ramble. “Like, have you been eating? You look super tired. Did you get kicked out of the hotel? Probably couldn’t use that card for too long. We could, like, make you a sandwich or something. Can never go wrong with a good sandwich.” He saw Marvin making his way around, getting closer to Night’s back. 

“Did you really track me down again to offer food?” Night rolled his eyes. 

“I’ve done it before. Marvin, my friend, was the previous person to show up and I wanted to make sure he was okay so I left these like little care boxes with some food and water and tea.” Jackie outlined a box with his hands, a smile on his face as he recalled the memory of watching Marvin eat the food he made. 

“This friend, you care about him, don’t you?” Night raised a brow.

“Well, yeah, he’s my friend.”

“That is not what I mean. You care about him.” 

“I-uh-he’s just-he’s my friend.” Jackie cleared his throat. 

“Allow me to give you some advice. Drop those ‘feelings’ of yours. Nothing good will come from it.” Jackie noticed that now Night was the one rambling instead. Maybe he could keep him going to keep him even more distracted. “Love won’t get you anywhere. It’s just a nuisance in your way of getting what you want and need. If marriage is ever involved, it’s for power, to trade, to ensure the balance of things. The fact that my own ‘loving wife’ has yet to show is a sign of that.” 

“You’re married?” 

“I am Night. She is Day. It’s how it is meant to be.” 

“So you don’t love her?”

“There is no need. It's not like I have to worry about ‘my heart’ or anything like that. I don’t know her own stance but we know our purpose, so there’s no point in fighting against it. Not like anyone would ever get me to do a double-take, as one might say.” Night chuckled. “If you’re done disturbing my work, I am going to see if I can find-” He stopped, going stiff as Marvin’s glowing hands got close to him. Night quickly turned and swung his leg, just missing hitting Marvin. 

“Wait!” Jackie ran over and got between Night and Marvin, holding his arms out. “Just come-” He didn’t get to finish before Night slapped his arms away, rammed the heel of his palm against his nose, and then caught one of his arms with both hands. 

“No more warnings.” Night’s eyes darkened and, without hesitation, jerked his hands toward each other. A loud sickening snap echoed through the trees and the sound that followed was Jackie’s scream.  

“Jackie!” Marvin watched Jackie fall over, clinging to his arm that bent at an unnatural angle. “You fucker!” The glowing on his hands got brighter, the green color’s shade going darker and darker as he lunged himself at Night. 

Marvin threw his punches wildly, not thinking, just lashing out. He wanted to cause as much damage as he could. Anger built up with each miss, and it continued to get stronger even when he managed a blow across Night’s face. He needed to do more. He needed to keep going. The green of his magic was nearly black, losing full control over the chaos magic he had dug into. 

Night was beginning to struggle, unable to keep up with the rapid movements, and all of the air left his lungs when a solid punch to his stomach slammed him into a nearby tree. He gasped his breath as he watched Marvin charging for him once more. 

But a new scream made him stop. 

Jackie. 

Marvin turned and saw Jackie still on the ground, but he wasn’t moving, and his arm was somewhat straight again. 

He looked back, and Night was gone. He ran off. Marvin had seen the fear in his eyes. 

He had won…but it wasn’t worth it. 

“Jackie.” Marvin had the glowing fade, but the very tips of his fingers were still black. “Jackie? Jackie? Hey, you with me?” He went down to his knees, seeing the blood on Jackie’s face. “Shit, shit.” Marvin tore off the bottom of his shirt to try to clean off some of the blood, wanting to see if his nose was broken or not. “It’s okay. It’ll be okay. Just-Just wake up…Jackie? Jackie, I need you to wake up.” He thickly swallowed and let the fabric fall to the grass as he began to cough. Marvin looked at his hand, seeing something black on his palm but ignored it as he took his mask off. “Jackie? Jackie, please.” Marvin placed his clean hand on Jackie’s cheek, turning his head in hopes that facing him would work. “Wake up…look at me…wake up right now and we’ll-we’ll watch those Deadpool movies or-or we can go get you new comic books.” He blinked away tears beginning to form. “We’re going to go get those sweets, right? That pie and we can also get some cookies and brownies and anything that sounds good to you.” Marvin felt dizzy, vision blurring for a second and he tried to shake it off. “Jackie, please. Jackie, please wake up. Please. Jackie, darling, wake up.” He didn’t even realize the pet name came out. “Jackie…” Marvin had to let Jackie go to catch himself, pressing his hand to the grass. “Shit…”

He did too much, he did the magic wrong, and his body was giving up on him.

Marvin sniffed and fumbled around until he got his phone out, hand shaking as he dialed the first number he could get to.

“Anti…help…please.”

He managed to get the words out before everything went dark.

[podcast-official]

Old Partner In Crime, Chapter 1: Running Away Just Made Sense

Author's Note: This fic was inspired by Arms Unfolding by dodie so y'all should go listen to that first. Also this is my first fic that I've written since my middle school LoTR phase so please be nice, haha. It's not super heavily edited, so some things might not be worded quite how I want them to be, but all my grammar and punctuation should be good because personally that pisses me off lmao.

Relationship: Juno Steel/Peter Nureyev

Tags: Cuddling/Snuggling, Emotional Hurt/Comfort, Fluff, Angst, Juno Steel is a Good Significant Other, Peter Nureyev is a Good Significant Other, Healing, Recovery, Communication

CWs: Mention of SH (cutting), mention of alcoholism, (everything turns out okay, I pinky promise), arguments, miscommunication, very non-explicit sex, references to past trauma, unhealthy coping mechanisms

It started all fell apart one night when Juno was out late and didn't call. The last few months had been... tense. More arguments. Less communication. When Juno was an hour later than he said he'd be, Peter started to spiral. He's left before, his mind told him. And he was right to. Peter went to the mirror in the bathroom, clutching the edges of the sink, letting the cold porcelain dig into his skin. He felt sick as he looked at himself.

Not so pretty anymore, are you? the voice in his head taunted. He deserves better. He swallowed. "I'm being ridiculous," he said aloud. "Juno's coming home. He's going to come through that door and wrap me up in his arms and kiss me like he has every single day for the last year and a half. He's just running late."

He shut his eyes tight. "He's just running late," he whispered, trying to quell his fear. He twisted the ring on his hand, the one that promised that Juno would never, ever leave. It felt too tight all of a sudden. A chain instead of a tether. He turned from the mirror and grabbed his coat from where it lay on the couch. He had to get out. He had to leave. He had to run. Every single nerve buzzed with the message that he was in danger.

He walked for two hours before he made it back to the apartment, spiraling deeper and deeper. He'd already made up his mind to go back and get the emergency bag he kept packed in the back of his closet. It was better than sleeping in an empty apartment. When he got back, however, he saw Juno on the couch, head in his hands, a glass and a half empty bottle of whiskey sitting in front of him on the coffee table. Peter would've sworn that bottle was full this morning. Juno had been drinking more than usual, now that he thought about it.

Juno looked up at him. "Nureyev, where the hell have you been?" Juno snapped and Peter flinched.

Then something hard and angry and bitter lodged in his heart. "I could ask you the same question, Juno. I went for a walk, that's all. You were late and I was worried and-"

Juno gave a little disbelieving laugh. "You were running away, weren't you? Or planning on it, at least. God, Nureyev, it's been, what, three years now, and you still can't fucking trust me? I come home an hour late and you completely lose it?"

"Why are you angry at me?"

"Because you can't seem to believe for a moment that I'm not going to leave. And now I can't trust that you weren't. I bet you were just about to grab that bag you think I don't know about from the closet and run off to who knows where if I wasn't here."

"Juno, I'm sorry, but you didn't call or message or anything and I had no idea where-"

"Oh, grow up, Nureyev."

"Juno, I don't want to fight-"

"Fine! Then we won't! I'm going to Rita's."

Peter's face hardened a little. "Fine."

Peter thought in that moment that if this was one of those romantic dramas Rita watched he'd realize that if he let Juno walk out that door right now, their marriage would be over, that he should run after him and grab his arm and tell him he loved him.

But he didn't. He watched Juno leave and then silently poured himself a glass of whiskey from the bottle on the table, downed it, and poured another. He stared into space for a long while, feeling the urge to do something he hadn't done since he and Juno had reunited. He wanted to feel cold, sharp metal against his skin, to-

No. He couldn't do that, because Juno would notice next time they-

Wait.

It's not like he loves you anymore. You've known it for months now. It's not like he'll see you with your clothes off anytime soon.

An hour later, Peter was glad that Juno had bought bandages recently.

He curled up in bed and wept until he fell asleep.

[nomsfaultau]

i want to hug everyone in TLWW all at once. big group hug. (secret secret shh i burn evilness)

I'm completely enthralled with the moral implication of someone who 1. Implies there's an objective moral reality and consistent definition of evil.

2. Said evil is a substance that can be immolated instead of...I don't know, actions, crimes, behaviors. Does this include thoughts? Is evil then inherent and something that can be destroyed once for perfect behavior thereafter? Does that count as some sort of mind control. Can a person force themselves to commit evil in the future, or do they not have full agency anymore?

3. The ramifications of how that would impact someone's personality, motivations, view of the world, entire being?? At what point is someone's flaws inseparable from the person. Are they even the same guy any more?

4. Since so much of their 'evil' actions are rooted in their particular traumas, is it like. Erasing those? Taking the emotional weight/disassociating from them? Therapy? What does this imply about the relationship between abuse victims and their maladaptive coping mechanisms. I'm. Bro I'm losing my mind the magic hugs have so many Implications tm.

Anyway. Uh.

Philza is super nice and physically affectionate and yeah that man is just using love as a tool to survive again. Unless manipulating child monsters to survive is evil? Probably?? Again, what level of justification makes an action 'good'.

"Tommy" loves hugs and I guess doesn't bite you to bully you into giving more of them. Tommy squirms and loudly proclaims he hates that mushy stuff. Too small to escape. Equal chance of getting bitten and having a fluffy baby in your arms.

"Wilbur" hopefully has a normal relationship to his own identity now...? Maybe??? Potentially understands that he can be loved for himself? Wilbur doesn't know you. Why are is a stranger hugging him that's weird, he's going to tell his dad.

The "Technoblade" severe trust issues would normally make that end badly. But they can't react in a harmful manner based on their trauma now? Are no longer impacted by it??? Technoblade dips. He's usually uncomfortable with things like genuine praise (unless its spun as a joke) or large displays of physical affection.

[theink-stainedfolk]

Writerblr Interview

Thank you for the tag @drchenquill ♡♡♡

Short stories, novels or poems?

I like reading and writing both Short stories and Novels. Poems are hard for me to write and even harder to understand 😭😭😭😭 all my friends that i made in school/college are great poetess and i always try my best to support them though their poetry is often confusing my braincells.

What genre do you prefer reading?

I prefer reading Crime Thriller, Psychological Thriller, Suspense, Political Intrigue,YA Fantasy, Dark Fantasy, Enemies to Lovers and Magical Realism. Lately I've been scooting towards Adult fantasy or what most people would call "Dark Academia ". Also, i don't really mind if the characters are queer or not. To me, sexuality doesn't define a good story or characters, though it adds a bit of more charm to them.

What genre do you prefer writing?

Same as the above, but with romance.

Are you a planner or a write-as-i-go kind of person?

When i plan things for my wips, they don't go as i plan. So i am the 2nd type. Because i came to believe that in order to write the story, the story must also progress itself.

What music do you listen to while writing the story?

I usually don't but i have this playlist of my favourite songs that i can listen in any situation. Sometimes i try to listen the songs based of the situation happening in my wip but the songs sometimes are super boring.

Fav books/movies

There are so many I'd rather not write it here. I'll just say some of my favourite books are Sorcery of Thorns, The Caraval Series, A Good Girl's Guide To Murder series, Babel, Piranesi and The Will of The Many. Etc..

Any Current WIPs?

Yes... so many... too many...😭😭😭😭 Thorn-Kissed ,

Legacy of Creation , Shades of Erudition, The Masque of Murder, Whispers of Shadow and love, The Veil of Allegiance etc..

If someone were to make a cartoon out of you, what would your standard outfit be?

Very nice question. It would be abaya obviously but beneath it, I imagine my standard outfit would be a stylish yet practical ensemble. I'd likely wear a well-fitted jacket or blazer with a subtle pattern, paired with a comfortable, versatile top underneath. My pants would be sleek, maybe dark jeans or tailored trousers, allowing me to move freely. I'd have a pair of sturdy but fashionable shoes, perhaps ankle boots but i also love me some knee-length boots because it's hot. Accessories would include a distinctive watch and maybe a scarf or a book bag, reflecting my love for stories and creativity. Overall, my outfit would balance sophistication with comfort.😁

Create a character description of yourself

Meet me, a confident writer with a secret: I'm actually a self-conscious mess when it comes to my looks (don't mind my frazzled hair and questionable fashion choices). My brain is a storytelling factory, bursting with ideas and characters begging to be set free. But honestly, I just want to escape my stressful home life and find a peaceful cave where I can write in peace. As an ambivert, I can charm you (or not, depends on my mood) and engage in witty banter, but don't be fooled – I need my alone time to recharge. My sharp tongue and sarcasm might come across as rude, but deep down, I'm a squishy emotional marshmallow. When I'm not writing, you can find me binge-reading, K-pop/J-pop dancing, or obsessing over K/C/J/T dramas (don't judge me). Just be warned: I can talk for hours about my passions, but also respect my need for solo time – it's like refueling my creative tank! Friendships are my jam, but apparently, my friends don't prioritize them as much (ouch, harsh reality check!). Despite that, I remain a loyal and caring friend, always ready to lend a listening ear or a sarcastic quip. In conclusion, I'm a lovable, quirky writer with a heart of gold (i hope so), a dash of sass, and a whole lot of creativity. Just don't mind my insecurities, and we'll get along fabulously!

Do you like incorporating people you actually know into your writing?

No, not really. But i think i did it once or twice.

Are you kill-happy with the characters?

Sometimes i do it for the story and atmosphere (bye Hiram,sorry but Gentian didn't deserve you) i kill antagonists but i don't know honestly. But i do kill if necessary.

Coffee or Tea while writing?

Neither. Just my tears 🥲👍🏻

Slow or Fast writer?

I'm in the middle. Sometimes when the idea strikes, i write in a hour or so. But sometimes I'm just staring at the ceiling.

Where/who/what do you find inspiration from?

Anything anywhere anyone.

If you were put into a fantasy world, what would you be?

A very lethargic peraon with no motivations or anything. I hope it remains that way, but since this is a fantasy world, my peaceful life will come to an end due to some traguc events and someone will provoke me and my sole motivation will ignite.

Most fave book cliche?

👀 [redacted] just kidding. Enemies to lovers, fist/daggers talk instead of pillow talk. Enemies, one sided enemies, rivals. And they were roomates, one bed, fake dating to escape the situation, hidden heir, fake stranger, mysterious stranger,etc.

Least fave book cliche?

Brother's friend.... teacher student romance... insta love, mary sue protagonist, rich guy poor woman, love interest with no personal goals, stereotypical villains, stereotypical diverse characters, unrealistic relationships, cliched character archetypes, rushed endings, etc.

Fave scenes to write?

Anything with heavy feels. Like angst, romantic scene, character death, plot twist reveals, distressing situations etc.

Most productive time of day for writing?

When the inspiration is there, any time is fine but mostly at night.

Reason for writing?

Because i love writing stories and love sharing it to others in hope that they'll also enjoy as much as i do. My reason is simple.

I'll tag @finickyfelix @willtheweaver @leahnardo-da-veggie @illarian-rambling @winglesswriter @paeliae-occasionally @the-golden-comet @graveyardshift111 @thecomfywriter @roarintheheavens

[treepan0]

some random hcs for the characters I like writing for because why not? not all of them are here, this is just four characters I had some thoughts on.

note: I'm using a fully romanized version of the spelling of Baby's name (tone indicator removed to clarify) so it's less weird, also there's a lot of rare pairs and I am unapologetic about that.

Cooler:

let's be real here there is a reason why he and Bebi hardly show romantic affection in Chaos Magic, and it's not a discomfort actually. In reality it's because this man gives me the vibes it would be slow work for him to get to that point, he grew up with a family that was actively trying to kill each other, and is written as a stoic character, he's going to take longer than Vegeta to get comfortable with that.

I don't know why, but this man gives me demisexual energy and I cannot unsee it. (don't ask where this came from, I have no clue.)

please for the love of kami someone take this man away from his desk, he desperately needs a break thank you.

completely unaware people find him attractive most of the time, too distracted by work.

learned to control the movements of his tail, so Frieza and Cold couldn't read him like an open book.

Bebi:

I have mentioned this twice, but I like combining his sub & dub portrayals, errors and all.

speaking of errors from the sub he says "Big Bang Attack" while using final flash, on purpose because he knows it annoys and confuses people.

is he bi? is he pan? is he Omni? I don't see him caring much actually. I feel like he doesn't care as much due to his ability to reproduce asexually, while he still feels the needs and urges of the body he possesses (thus the way he is, pretty much I hc it's from vegeta who I see as bi, unless it's an au, I just leave that fact intentionally vague), he's more reliant on romantic attraction if he wants anything outside of that. I see him as panromantic to clarify

if I have an excuse to give him a tail I will, GT robbed me of it so I will do it myself. it's also fun to make him emote with it in a more subtle manner, like I do for some other characters. (Cooler, Janemba and Broly to name a few, I would say Bebi & Janemba are the most open of the four though, since Broly's is hidden)

I think he should have Janemba, android 13 and Hatchiyack as a friend group, as a treat, I think they could all get along with their own individual dynamics and everything.

Bebi & 13 can roast the ever loving crap out of people, Janemba & Bebi can be relaxation buddies who talk about general stuff, and Bebi & Hatchiyack I see as almost like a sibling relationship.

Janemba:

I usually go with the buu's fury background; where he was an organised crime kingpin, before he got caught up in the soul scrubber, outside of that I take from various places. I like to hc he ended up in there, because Beerus sealed him inside, just like elder kai and the z sword.

out of boredom one day I did give him an adoptive mother, since he had no pre-existing canon family. Her name is Koall, she's a succubus who's tired out of her mind and still grieving her loss, despite the passage of time being massive for humans.

just like Bebi I also hc this man gets around at times, and most of it is because of his design. (dear goodness super Janemba's design.....)

it's a common hc that he likes jelly beans, since the spirit shields resemble jelly beans. I actually enjoy this common non serious head canon, I think it's actually cute for him to do that.

kind of claustrophobic, especially with dark environments. however he can subdue it with some sort of activity, so it's not terribly intensive. he keeps a portable console where ever he stays, mostly so he can build blanket forts for Broly.

I straight up said "I don't see why he and kid Buu can't learn sign language, especially since dragon ball has a universal language." so they either use their native tongue, or use sign language. most of the time however they're guilty of saying stuff behind peoples backs in said native language, Cell & Koall are the only ones able to catch them.

has definitely tried to teach some poor unsuspecting soul, to swear in his native language because he thinks it's funny. think of someone teaching a baby swears, it's pretty much the same effect for him considering his age.

complete opposite of how I see Cooler with affection, he's just a tease. this man will smooch Broly in public an the only one who can stop him, is Broly himself and no one else.

DBZ Broly:

doesn't like his neck being touched in general, Janemba completely respects this and has adjusted to such.

when he's in base for an extended period of time by choice for the first time since he was a kid, he ended up being gifted a green rabbit plush from a friend, her name is Mint and she gives him comfort.

I chose a rabbit because I felt like he could empathise with them in general, he grew up in an environment where he had to ensure his own survival, just like rabbits have to since they're at the bottom of the food chain. (nothing to do with the symbolism connected with them)

he won't openly admit it, but he likes head scratches and pats. like almost anyone could touch his head for whatever reason, and he will expect either scratches or pats.

that red fabric around his waist is the only thing keeping people from seeing everything he feels, since he never learned to clasp it like most, nor did he learn to control the movements like I hc Cooler did.

finds small spaces comforting, since the pod trips would be what little time he had away from his father, outside of being dismissed or after Paragus' death.

I feel like after a long extended period of remaining in base, he develops likes and dislikes after time here's just a few I thought of: he likes rock and metal music, he dislikes the taste of coffee, he likes relaxing scents (i.e lavender and chamomile), he dislikes white chocolate. I have my reasonings for both of those likes.

most of the time he'll ask Janemba if he wants certain affections, he's too shy and ashamed to ask anything nsfw though. not that it hasn't stopped Janemba from coaxing him into the baby steps past that, so poor man doesn't make himself suffer in silence.

it's actually been a team effort to help him get to this point, with all sorts of people teaching him proper life skills, not that he's learned to calm.

[dross-the-fish]

what do you think of the 1994 Frankenstein movie?

I'll be honest, I hate on that one more for its wasted potential than anything else. I feel like it tried to adapt the book but then it kept adding stupid shit and missing the mark.

Let's start with it's biggest crime. Kenneth Branagh, our director.

Oh Kenny Branagh my beloathed. We meet again. I've had it out for you ever since I had to stomach your ridiculous Shakespeare movies in high school drama class. I've watched as you brought your overwrought hammy sensibilities to Agatha Christie's Poirot and now here you are, injecting all of your overblown histrionics into Frankenstein.

I didn't think it was possible to be too dramatic for Frankenstein. But by god you've done it. There is so much scenery chewing, screeching, writhing and sweating in this that I actually started to feel fatigued and clocked out mentally about half way through the film.

Kenneth cast himself as the lead and I hate this version of Victor so much.

Wtf is this? Why does he have abs? Why is he in his mid 30's? Where is my sickly waif who gets feverish at the drop of a hat? Why have you done this?

Also I know they're canonically engaged but I really dislike for Victor and Elizabeth to be horny for each other especially in this movie because they keep bringing up their relationship as siblings and it's just eugh, please don't talk about her like that and then remind us that she's your sister you fucking weirdo. Their relationship in the book comes off as super uncomfortable to me and I swear Victor is way more into Robert and Henry than he is Elizabeth. Naturally this movie decided it should have next to no homoeroticism.

"How do brothers and sisters say good bye?" - start aggressively making out. No I'm not joking this movie goes out of its way to remind you that they are siblings.

.... And then it goes there with it.

Victor actually proposes to her and then asks her to come to Ingolstadt with him or offers to stay in Geneva with her and it's at that point where I'm like: did you read this book? Victor dodged their semi-arranged engagement like the woman had cooties and didn't write to her for two years because he's an obsessive, neurotic wreck.

Oh yeah and Henry Clerval is in it.

Oh were you hoping for more of him? That's a shame because so was I.

I've mentioned that this movie is over dramatic. But that really can't be understated. It's like a mac truck crashing through an English garden. No subtlety at all. If a character has to feel something they're usually screaming at the top of their lungs. Victor screaming at the creature to live, the creature literally ripping Elizabeth's still beating heart from her chest and showing it to Victor. They decided the bride should be Elizabeth and that there should be weird tension between her and the creature. Then after she's brought back to life she sets herself on fire and starts running down the halls of the manor.

I should probably have found that more tragic than I did but I just found the whole thing silly.

Justine's death in particular should have been more heavy and somber. She gets dragged off by a mob and hung. The scene is violent and cruel but it lacks the tragedy of the book. We have none of Justine quietly giving up and Elizabeth vehemently refusing to believe she's guilty. It's one of the few character building moments Elizabeth gets and this movie takes what should be a touching, somber and heartbreaking scene and turns it into a spectacle.

Everyone's reaction to everything is to do the most extreme thing possible but they never actually earn it because moments were the film SHOULD have emotional weight are kind of glanced over. The book has a lot of themes of grief and isolation but the film doesn't really explore those aspects effectively. It never stops to have a quiet or thoughtful moment. Almost like it's afraid the audience will get bored if someone isn't shrieking at the top of their lungs and some action heavy drama is going down.

The pacing in this film is jarring. Kenneth Branagh has a love for lavish sets, beautiful scenery and his films, if nothing else, are opulent spectacles, there are moments in this film where the cinematography is actually quite beautiful but I always feel that it's wasted by clumsy execution.

There are also scenes that come so painfully close to working, like early on in the movie Elizabeth and Justine drag Victor away from his work to go on a picnic and he only goes because he's hoping for a storm. He puts down a lightning rod and has everyone get down so they can observe the strike. I thought that could have been really neat and a good way to set up Victor's obsession but the execution was so clunky and the moment the lightning strikes and the four of them feel the static isn't allowed to sit and breathe. It jolts to the very next scene with no transition.

There are things I like about Robert De Nero's creature.

I like his design, even if it's not book accurate. I don't inherently like the idea of him being a resurrected cadaver of a specific criminal but I do, at times, almost like what they do with it, like having him wonder who all of his various parts came from. De Niro is a strong actor and I feel like there were the makings of a good performance here and it was stifled under bad writing and directing. I actually like most of the scenes where the creature speaks to Victor and the line "What of my soul? Do I have one? Or was that a part you left out? Who were these people of which I am comprised? Good people? Bad people?" is spoken with such poignant suffering that you really see how lost the creature is and it drives home the tragedy of the creature's condition. The creature is begging Victor to see him as human and Victor cannot or will not.

But these rare moments of something good peeking out are few and far between and the movie devolves again into it's predilection for overblown bombast. Even the final scene where the creature finds Victor dead on Robert Walton's ship isn't allowed to have the gravitas it deserves because Victor's funeral ends with the ice breaking in yet another tedious action sequence and the creature floats out to sea on a chunk of the broken ice setting himself and Victor's corpse on fire.

This was a moment in the movie that should have been handled with dignity and regret and I got this:

There's really not much else to say about this film. I went into it hoping for a good Frankenstein adaptation and I tried to find salvageable scraps but there just wasn't enough good to make the movie worthwhile for me.

Anyway, sorry this turned into a whole review but I was bitterly disappointed in this film and ended up having a lot to say.

[northwest-cryptid]

i am going to tell you the hopkins lore i pulled out of my ass. this isnt canon

i think hopkins isnt. really all that awful to be honest. objectively hes just. average for the city. hes seen as awful because hes an obstacle to the player, but like. his crime is stealing enkephalin and fucking off, while fucking over his coworker he didnt really like

i see ppl who say he doesnt care about aya which is probably intended by projmoon but i see it less as that and more he doesnt really...want to express emotions in front of the limbus crew? he openly mocks yuri and the sinners dying and does not hesitate to stab them in the back right after aya dies

and he doesnt mock aya when she dies. actually he barely says anything at all that isnt about dante not being able to speak. hes completely silent otherwise. which could be because of yuri freaking out but he usually pokes at yuri?

so to me i think he did care, he just didnt want to show weakness. is he an ass? yeah, but hes not uniquely an ass. hes just normal for the city, and honestly he makes a good point about the sinners going in entirely unprepared for anything lol

I cannot tell you how much I appreciate the opening sentence to this all because telling me straight up "this is a product of my own thoughts" helps a ton!

Also yea go off fam, I don't mind this sort of thing when I know what I'm dealing with. It's the mix of fandomization with actual facts of the canon narrative sprinkled in just enough to be confusing that bugs me.

Also I don't recognize the name, but I love the point of like "sure this person is an asshole but there's nothing about him that is actually worse than anyone else in the city."

I think that's something a lot of people forget about the Proj Moon universe. We sorta view it like it's our world but just different, if we lived in the city we'd all do what we needed to in order to survive.

I'm not a violent person, I have no reason to kill or hurt anyone and considering the world we live in I likely, hopefully; never will. However if I lived in the city I'd absolutely carry weapons regularly and I'd live by the core rules of "kill them before they can kill you" and "never leave yourself vulnerable" like hell Roland was arguably a saint compared to most since a lot of what he did, he did for the reasons of living a better life with his wife and child where they'd be safe and we all know how that turned out for him so like...

The city is not "Earth with our current society but a little different and quirky" it's a society where people do shitty things on the regular just to get by, to survive at the bare minimum.

If we judge individuals of that universe using their in world circumstances it's actually interesting how people who in our world would be shitty horrible awful no good people are basically your run of the mill asshole no different from that Karen at starbucks who yells at the barista, is that a horrible asshole thing to do? Absolutely, but it doesn't mean I think said Karen deserves like, death or something; she's just a dick but that's not like uniquely dickish.

By Proj Moon standards this dude sounds like a petty thief and a dick at worst, not like some super villain who's experimenting on children or murdering people for the sake of their own enjoyment and empowerment. Sure it sounds like he's a manipulative asshole but he's not AYIN or like, any of the Ensemble who arguably were bigger dicks for their actions (outside of victims like Philip who turned to the Ensemble for arguably sad reasons and yes should still be held accountable for their shitty behavior but weren't as bad as say the lady who wanted to kill people because only the strong deserve to live or some shit.)

[eyesontheskyline]

💛and🧡

💛 Yellow: Do you ever alter, highlight, or de-emphasize certain canonical traits in a character? If so, why and describe how. This is such an interesting question and one I feel kind of unqualified to answer for my own writing... You need to, right? Like, to write fic in general, and I think to write anything other than a straight up casefic for CM, you need to tweak the characters and lean into some traits and away from others, because the characters were created to tell procedural crime stories and we're trying to tell romance stories.

I mean for one, I think neither Hotch nor Emily would start any kind of romantic thing with a coworker, but that's the disbelief we suspend when we click into any fanfiction I think - like, we're all just agreeing to go with that when we get into shipping.

In canon, we see that Hotch is soft with his romantic partners. I try and hit a middle ground with this, because he's so soft with them in canon that he feels like a completely different character around them, and that makes it (for me) really difficult to get from platonic to romantic without it just feeling like you've flipped a switch at some point. So that's something I'm aware of. He's tactile with them though, which I use. And Emily is tactile in general - so I write them both as physical touch people, who get a lot of comfort and reassurance and communicate a lot by touching.

I lean into Emily being someone with a strong fight-or-flight reflex, I guess. And I lean into Hotch being kind of a moderate crier - there's a lot of 'Hotch is super stoic' fanon, but we see him tear up actually quite a lot compared to other characters, and not always about the most personally devastating things. The man has perfectly functional tear ducts and a complex emotional life.

I'm not sure what else. . . I know I do it, I just don't know that I can explain how. I just hope I keep enough that they still feel like them.

🧡 Orange: When in the day do you typically write? If I was more in control of the shape of my days / weeks, I'd write between 11pm and 4am - that's when I always used to hit my rhythm, when I had some flexibility. But my life doesn't look like that right now because of Responsibilities (that's not what I call her to her face), so usually I get home from work at about 6.45pm on a Friday and I try and get a run at it then but often end up asleep by like 8pm... then I just write all day Saturday, forget to eat and drink, pee only when it becomes an emergency... repeat on Sunday for as long as possible, and at some point on Sunday my Responsibilities are back and I need to stop.

I also try and get little bits done during the week when kiddo is in bed, but routine is tricky and I'm often wiped out and end up just... also sleeping.

Absolutely nothing about this is healthy or recommended. Don't be me.