#i genuinely think she doesn't know how to genuinely connect with people and understand them

[worstdisastermaster]

The books and the shows aren't the same thing and?? That's okay?? It doesn't have to be??

Some of the artists haven't even seen the show yet, and maybe won't 🤷‍♀️ I know I've seen like. The 1st episode and that's it lol. And I really enjoyed it and I think it's really fun

But people tend to separate book fandoms from in screen fandoms, to an extent, at least, bc there ARE differences, and THATS OKAY

They are very connected but they are not the same and I don't understand why people find that so hard to accept?? Like. Genuinely I'm so confused lol

Like if someone was being disrespectful, or trying to whitewash Leah or something horrid then like. Defend her!!! (Do try to be polite tho bc people can and often do change, and they know what they have been taught until they learn more- like for example, a few years ago I had no idea ab anything lgtbq and I peob would have gotten myself canceled bc I had. No idea. Ab any of it. And despite having best intentions in heart i totally would have offended someone, and that would have crushed me, because *i didnt know*. I never would have hurt anyone on purpose, i just didnt realize what COULD hurt others on that specific topic, much less why. But now I identify with it and am learning new things ab jt every day and etc. And that's a super touchy topic for a lot of people and for good reason too! Just try to be kind first, then if they are jerks u can be a jerk back lol. Just give peopke a chnace to get better- and then PLEASE dont hold the past against them ubless they very clearly havent changed mk please please please let people grow and change and get better dont crush them before they can) anti Leah trash is. That. Trash

But why would you attack book Annabeth, just for existing? She was my childhood, and I identified a lot with her as I grew up. And guess what! I also identified with Hazel, and I do so even more now! No matter what race she will be casted as, I'm still going to imagine BOOK Hazel the way I always did. Doesn't mean I won't adore her actress, or appreciate art of the girl playing her role! But would you call me racist for drawing her as African American if her actress, was, say, Asian American? Or drawing Leo as Latino instead of Somoan? Because to me, u less I am being a jerk about it, all I'm doing is drawing the book instead of the show. Idk I'm too sleep deprived to put my thoughts into coherent words lol

I love the posts, where it's like, book Annabeth and show Annabeth holding hands. Those posts are my favorite, both because they are freaking adorable, but also. Because it's equal

They are different aspects of the same person

And

Thats

Okay

You know???

I quite literally grew up reading pjo. I read it at least once every year since I learned HOW to read, *partially on pjo*, until late middle school. I was raised on book Annabeth.

Show Annabeth is new and exciting and adorable and I'm so happy for it and I am very excited for all the people being introduced to it!!!!!!!! However, when I'm writing book pjo, I'm not swaping it out for show scenes, bc they are, in fact, different. Which, again, NOT A BAD THING. And you know what? When people from the show fandom write their scenes, they aren't going to be thinking ab the book scenes, and THATS OKAY TOO!!! And I could care less how my readers saw my characters when the read the story. I write them the way I imagine them, but it's their job as the reader to say 'no, actually :P' and swap out the appearance for one they liked better.

I did that plenty often as a kid, and i donf regeret it.

Which, ironically enough, was why my book Percy was blond until ab 6th grads XD I mixed up Luke and Percy's hair description ONCE and just. Never questioned it, though all the rereads, or looking at the covers of the books 💀 you can imagine my shock when I joined the fandom and found out Percy had black hair, instead of sandy hair like, you know, S A N D, like poseidon!!! And now show Percy is blond XD

That just proves people can imagine things how they want and jts okay- especially bc maybe, in an au, they're rifht!!! (Au being show Percy to me)

Anyways I lost my train of thought and it's almost 12 here lolll I hope I didn't say anything ill be embarrassed by come tomorrow~

Good night world :3

Hi guys, wanted to discuss something going on for a while now. What the hell is wrong with pjotwt? Like...whats wrong with this people? Do you see what they say? What they are even trying to do?

First of all, let me start by speaking about the cast. They are all wonderful children, Leah especially! She is doing an amazing job as Annabeth. But book Annabeth still exists yk? She is and she is literally white. It is not racist. But denying about a character being white in the books, even spreading hate like this...is racist. There are people out there related with Annabeth for years. People love her, every version, maybe book more maybe even the movie. How can you disrespect her like this? And most importantly, how can they attack an artist like this, with an art being so beautiful. What they are trying to do is not protecting Leah, it is spreading hate. It is awful. Making this fandom toxic, so so much.

Them trying to erase book Annabeth because she is white, trying to cover her by painting on her, shaming artists, calling people that loves her racist...What do we do about this in pjo fandom? This fandom used to be so beautiful, but now. This people are not part of the fandom in my eyes, because real fans, would respect every version of the characters, love them with their anything, even flaws. They would protect this characters because they love them, so much. And not to mention this characters are the ones Rick wrote 20 years ago, they were with us for so long.

What do tumblr think about this I wonder? Since pjo fandom is pretty active here :3

[neanderthyall]

Living with ur mom as an adult is like.... being extorted constantly. I have a zoom interview. "You should use my headphones." No thanks im good. "They'll block out the other sounds." its okay, it'll be fine. "They'll think your unprofessional if you get interrupted by a loud noise." I dont want to use your headphones. Why are you raising your voice at me. Why wont you stop trying to make me do what you want. We have already had this conversation twice, it is not that serious. Why are you being short with me now. We cant keep having this conversation.

"Dont leave your lights on." Ok sorry i just forgot. "You left the lights on again" yeah because i was coming back to that room. "You just have to make sure you turn them off" i know. "Dont get cheeky with me" i! Am! Just! Existing! But! Now! I! Am! Being! Surveilled! Constantly!

[nezz-cringe-crib]

growing up is realizing that dipcifica was actually a pretty damn good ship and holy shit i totally misjudged this pairing.

i never really liked dipcifica mainly because of how it got represented by the fandom, but looking back on it, it would've made a lot of sense and it would've been beneficial for both of them to date each other. and even in a completely platonic sense, their dynamic worked well enough that they could've done a lot more together.

dipper is a very nerdy awkward guy, clearly. he likes solving mysteries and sometimes he gets a little in over his head because of it. and his silly little awkward teenage love life reflects all of these things. that little shrimp was disney's #1 simp, it's actually insane. whenever he'd start to fall for a girl it'd end up going pretty terribly because he'd have no idea how to just act like himself and he'd also become a little bit of a jerk. (i'm not trying to like dog on dipper btw. he's just a kid and these are all understandable flaws, especially at his age and at the time period gravity falls took place in). however, with pacifica, a lot of these flaws are manageable solely because of how they're introduced to each other. dipper hates pacifica at first and wants nothing to do with her, but eventually they're forced to work together and realize "huh. we actually make a really good team." for dipper, this gradual building of a relationship is really beneficial to him. he wouldn't just go head-first into simping for some random girl and he'd also learn to respect her as a person and realize when he's being a little bit of a dick. being with pacifica, platonically or romantically (though personally i think romantically would strengthen their pros more but thats just my personal taste), would've helped dipper become a better person.

this goes for pacifica as well. pacifica's homelife is extremely controlling and it's what groomed her into becoming the mean girl that she's first presented as. as the show continues though, it's clear that she doesn't really want to be mean to anybody. she only acts spoiled because she doesn't know what else she can act like. she wants to connect to people but she's been so forced into this fake rich life that she has no idea how to be genuine with anybody. that's why her having a connection to dipper is so important. dipper is a little blunt, and he especially won't hide that from pacifica because he initially hates her and her family's lifestyle, so this'll eventually help pacifica realize "oh shit. i'm kind of a dick. my family are kind of huge dicks." and we do end up seeing this from her in "Northwest Mansion Mystery". she learns how to be herself, learns who "herself" even means, and learns to stand up for who she is when she figures that out. also pacifica's pretty damn smart???? especially socially???? she could absolutely help dipper do a lot of things when it comes to mystery solving, and with her status it'll most likely be things that dipper could never pull off and never even thought about because that's just what he's used to. they'd both end up learning a lot from each other because they'd be dragged into environments that they're not familiar with, but the other is. and their different perspectives/lifestyles would help the other view their environment in a new light.

not only is their relationship genuinely really beneficial to the both of them, but i also just know that their dialogue and scenes with each other would be so damn silly i can't not say yes to it anymore. i also just personally like headcanoning them both as bisexual so that's a plus for me.

anyways, tldr: i was wrong about dipcifica and its actually really good, i just think people should really analyze their relationship more since the way the fandom presents it (or how ive personally seen the fandom present it) is a little icky and shallow at least in my opinion. yay for dipcifica being silly little goobers :3

[gffa]

When Sol said that he felt a connection to Osha, when he felt that she was meant to be his Padawan, Indara's response was to make sure he wasn't confusing what he wanted with what the Force wanted, and that's it, that's exactly it! Sol's statement isn't criticized because that kind of destiny doesn't exist--it pretty clearly does, sometimes people are meant to be Master and Padawan, they're drawn together by the Force, that's a thing the Force does in Star Wars, that's part of the worldbuilding that exists. It's criticized because Indara isn't sure that he's not bringing his own baggage to this, as that's something that often happens. The Force is not separate from a Jedi, it's not a tarot card that you read, it's a mystical energy Force that works based on your emotions, that's why the Jedi strive to be as selfless and careful and calm as they can, so that they're not putting their own feelings into the Force and saying that's what the Force wants. Who knows if Sol was right that the Force was pulling him towards Osha, I tend to think he was feeling something very genuine there, but that tragedy struck and it all went horribly wrong, dealing Osha a wound that she could never quite recover from. But also he did desperately want it and was reckless in going about it, he was unbalanced in a deeply understandable way, a way that he could just spend some time looking inward and rebalance, it's not like he was in grave danger, just a misstep that happens to any Jedi, it's normal, it happens, you recover and you find your footing again, that's what Jedi do. And that's why Jedi have to be so careful, because it's so easy to confuse what you want with what the Force is guiding you towards. It's so easy to center on your own anxieties and think the Force is warning you of a danger, when it's just your own thoughts. It's so easy to think this person was meant for you, because you care about them, and you move too fast and people get hurt. Which got me thinking about how often Masters choose the Padawan in canon, because that makes sense, too, with how hard it is to really center yourself and to be able to perceive what is what you want versus what the Force is guiding you towards. How a younger Jedi may not have the same amount of experience at that Perceiving Yourself that a Master or even a Knight would have. That Indara doesn't say Sol can't be drawn to Osha, the Force doesn't work that way, says a lot about how the Jedi and the Force work, but also the show really nailed that you have to be careful with that, it's not a magic crystal ball that you can read with impartiality no matter what mood you're in or what you wish would happen. But you need to understand yourself and what you want is something that's at the root of Jedi philosophy and action.

[annabelle--cane]

this is a difficult thing to have conversations about because it provokes really strong reactions in people for completely valid and understandable reasons, so please feel free to hit da bricks on this post whenever you want, but I do want to try and analyse the jonmartin slaps. we get three across 160, 169, and 172, and a line addressing it in 173, and then it never happens or comes up again. none of them come out of nowhere, and they mostly fly under the radar until 173 because they all broadly fit the "slapping someone out of a trance in an emergency" trope, but each of them slowly decreases in urgency.

the first time, the apocalypse starts up and martin comes back to find a passed out jon, can't wake him by making noise, and strikes him in a panic. this makes sense, this is a man who has entered a supernatural coma before and martin had no idea what was going on, so of course he'd jump to something desperate.

the second time, they're in a burning building, jude arrives while jon is still mid-statement, and when making noise doesn't work martin slaps him out of it. this makes sense, they were there for jude and if jon didn't come back to himself then she likely would have hurt them, though martin knew that her powers against them were limited.

the third time, jon is getting pulled into into a repeating statement instead of coming out on his own like usual, so martin speaks once or twice to try and get his attention, and then slaps him out of it. this... again, it makes sense, jon was getting trapped, but there was no immediate peril like before, martin just got freaked out and wanted to leave quickly. he seems to get that it was harsh because he apologizes for it, but they don't linger at all, martin just starts in on them having to leave immediately.

the last time it's mentioned is when they're on night street, during what is one of their most intense arguments. jon tries to talk about the suffering of the children there for longer than he needs to in order to make a point, martin cuts him off, and he pointedly says, "thank you for not hitting me this time." it never happens or is brought up again.

to our knowledge, jon doesn't say anything about the slapping until 173. he's not a guy who's known for speaking up when things upset him, he was amiably working with daisy within about a week of her trying to kill him, so it makes sense that he would just sit with this comparatively more minor thing. however, I do think it's relevant to note that, at this point in their relationship, martin will sometimes voice his feelings and boundaries (not listening to statements, not consenting to mind reading, worrying when jon expresses discomfort with his body), while jon doesn't. from the couple of times he does talk about his feelings this season, I think that tendency comes a few places: he has a hard time being aware of his emotions at all, he doesn't know how to evaluate his emotions' importance in comparison to others', he assumes his emotions are obvious and thus people already act with full knowledge of them, and the topic is just hard to make himself talk about. from what he says in 173, I think the slaps bothered him the entire time, but he made himself be fine with it until he was upset with martin for unrelated reasons and finally let it out.

as for martin's side, I do not think the slaps came from any kind of suppressed desire to hurt or wield power over jon. we've seen him when he's angry at jon, this isn't how he acts, he gets shouty and indignant but never violent. I'd even go as far as to say he doesn't do it in 173 because he's genuinely upset at jon and the situation they're in, and it would never occur to him to deliberately inflict pain on someone he cares about to assert control over them. the connecting line between all of them is fear from something that he wants jon to help him handle. the apocalypse starts, he is stuck inside one of his worst nightmares, and he's paranoid that the web took control of him. he's someone who is "always following, never leading" (170), and he gets tunnel vision when something scares him and his "leader" isn't there.

jon did need to be pulled out of all three of those situations, and words proved insufficient, and maybe a quick jolt of pain was the only thing that could have worked, but martin doesn't seem to consider what that would feel like from jon's pov. in my experience of relationships, if there's ever an unavoidable emergency where you do actually need to cross a line that you never would otherwise, you talk about it afterwards. you do a debrief where you say "I'm really sorry about that, I didn't see another way, I'll try and be better prepared next time." they do this for problems they have later on (177, 198), but martin doesn't do that here. jon's point-of-view just doesn't seem to occur to him. when jon expresses discomfort, he drops the tactic without a word; later, when he needs to anchor jon in the panopticon, he talks him through it before it can get too far. so, it's not about a lack of care for jon's feelings.

I think it comes down to a few things: a) his occasional tendency to treat people as a means to an ends and not think about their perspective. he's so glued to putting others first most of the time that when he stops, he can't find a middle ground and forgets that other people can have feelings about his actions. b) his problems with conceiving of himself as a person of any importance who is capable of doing anything, especially of doing harm. as a concept, "hurting jon" is the thing he would least like to do in the whole world, it is his nightmare scenario and literally the culminating moment of his tragedy. he finds it almost unthinkable, so the idea that he does it casually when he's scared doesn't cross his mind. one of his central worries at this point is that jon is now so powerful that he no longer needs martin, how could he hurt someone like that? he's not anywhere near a comparable level of importance, it's not like he has his own domain that he's not aware of because jon told him about it and he immediately rejected the information. he's powerless and could never bring himself to hurt the man he loves.

I just. think it's an interesting microcosm of some of the lows of their relationship. once the problem is discovered martin instantly takes the note and doesn't put it on jon to explain himself further or assuage his guilt, they are willing and able to adapt, but it still comes from some of their bedrock flaws. martin doesn't understand that he can hurt people, and jon has such an inflated understanding of his capacity to hurt people that it sabotages his self-worth and his ability to respond to pain and displeasure.

[pirateshelly]

One thing that really fascinates me about interview with the vampire (the show) is this sort of tension between power and powerlessness in all of the characters. Because it doesn't present becoming a vampire as something that just gives you power and magically makes you completely detached from all human concerns and struggles.

And that seems to be something Lestat does very much want to believe, and he's in enough of a position of privilege that he's able to convince himself it's true, and it's a fundamental area where he just cannot understand Louis because Louis CAN'T pretend even if he wants to. (And of course Lestat cannot ACTUALLY separate himself from "human troubles" the way he likes to think he can, he just has an easier time pretending than most). Because as much as becoming a vampire grants these characters supernatural power it doesn't just magically take away the very tangible human ways that they were previously vulnerable or powerless.

Becoming a vampire doesn't negate Louis' struggles with racism; in some ways it amplifies them with how he is alienated from his own family and community; his closest connection becomes Lestat. He loses his economic independence and becomes socially dependent on Lestat in a way he wasn't to anyone as a human because in some ways becoming a vampire made him MORE vulnerable, despite granting him physical strength/speed/etc. The promise of freedom in vampirism Lestat presents to Louis (that I do think he does genuinely mean, but "freedom" means very different things to Louis than it does to Lestat) is never fulfilled.

Likewise Claudia learns the hard way with Bruce and later with the coven that she may be a vampire but the world still looks at her and sees a vulnerable young black girl and that will always put her in danger.

Claudia rescues Madeleine then turns her into a vampire, but rather than protect her from future harm the "crime" of turning her becomes the very thing that gets her killed by yet another angry mob.

And 514 years as a vampire will never be enough for Armand to truly trust or believe in his own power. Because the first 200 or so years of his life he was literally never once allowed any agency at all over his own identity or his own body (child slave sold to a brothel, sold to an abusive master, captured and violently indoctrinated into a vampire cult for centuries). No amount of material strength and power is going to undo the psychological effects of that. (And I know some people like to read his frequently passive demeanor as simply manipulation and a way of catching people off guard (because how could someone so old and powerful possibly feel a genuine sense of fear/vulnerability/etc 🙄) but to me that's an incredibly disingenuous reading of him. But that's a different rant for another time!). Being a vampire does not save him from being horrifically abused, nor does it save him from the lasting emotional effects of that abuse.

And I think there's something interesting to be said about the way that, in order to survive safely, they have to feed on the most vulnerable members of society (people undesirable and therefore least likely to arouse suspicion) in order to go unnoticed. If they want to live they have to prey on those vulnerable in possibly the same ways they themselves once were (and in many ways still are).

There's a frequent argument I dislike that we shouldn't be viewing any of these characters through too human of a lense because they're literal monsters (to be honest it's an argument I see most often made when people simply don't want to talk about the show's complex depiction of racism/misogyny/abuse/etc and used to dismiss those as issues "too human" to be relevant to a story about a bunch of monsters with a supposedly alien sense of morality), but I think the show itself makes a huge argument that for these characters there is no escaping or separating themselves from the very human struggles and vulnerabilities that marked them before they ever became vampires. It's like a sort deconstructed power fantasy.

[lurkingshan]

I absolutely loved the first two episodes of Love in the Big City, and I thought all of the adaptation choices were brilliant, but the part that hit me most as I was watching and that my mind keeps circling back to relates to this question from @bengiyo:

In the novel, we see everything through Young's rather biting and cynical internal monologue, while in the drama we see other characters through a broader lens. With this different perspective, how does Mi Ae's outing of Go Yeong and the fallout change compared to the novel?

I think for me, this shift that allowed us to see Mi Ae outside of Yeong's perspective enhanced my empathy for her and for the choices she made. Because it all comes back to this quote, originally from the novel and used verbatim in the show:

"Through me, she learned that being a gay man sucks, and through her, I learned that being a woman equally sucks."

Yeong and Mi Ae connected with each other because they were both living outside the accepted norms and were isolated and lonely as a result. The forms of oppression they experienced were not the same, but it was a point of connection and the foundation of their deep bond. They fell in love with each other because of their shared choice to be themselves loudly, and fuck the social consequences. They were each other's most important person, regardless of who they were dating. And so when Mi Ae, shaken up after her abortion and exhausted by trying to fight the social tide, made the choice to stop being true to herself and conform, of course Yeong felt abandoned. And then when she outed him to protect her conformity, betrayed.

In the novel, we learn about Mi Ae (Jaehee) outing Yeong (Young) from him, and it's presented to us as a callous betrayal, because that's how it felt to him. But in the show, we get to see Mi Ae make that decision. We see how cornered she felt when her boyfriend confronted her about the lies she'd been telling, we see his genuine (justified) upset at learning she'd been living with a man he doesn't know, we see her panicking and reaching for something to smooth it over, and we can see that in the moment, it feels reasonable to her to tell her partner the truth. We can see that it wasn't malicious, and she did not intend to hurt Yeong.

But it still hurts, because in making that decision, she implicitly acknowledged that Yeong is no longer her most important person. Someone else, or at least the idea of what he represents, became her top priority, and she protected her romantic relationship rather than protecting Yeong. She still loved Yeong, but she wouldn't put him first any longer, and when she made that choice their relationship as they knew it was over. Mi Ae was ultimately captivated by the allure of social acceptance, and she chose a path of conformity that was not open to Yeong--she is, after all, a cishet woman and able to revert to societal expectations much more easily than Yeong ever could as a gay man who would struggle to pass even if he wanted to. Her choice was confirmation that, in fact, their situations do not equally suck, and she retreated to her privileged identity, leaving him behind.

And so we come to the scene that punched me in the heart more than any other in this first section: the two of them singing together at her wedding, taking one last glorious moment to be themselves again in front of people who would never understand them. In that moment I felt so sad for Yeong, that this relationship that meant so much to him was irrevocably changed, and for Mi Ae, that she abandoned these aspects of herself out of fear and committed herself to a man who looked stunned to see a glimpse of the real her. And more than anything, I felt sad about how isolating and alienating it feels to simply exist in the margins of what is socially acceptable, that conforming is always the easier choice for those who can hide, and that Yeong was once again left to struggle alone.

[neverfilth]

"Bloberta made Clay drink so-"

OKAY, BUT DO YOU KNOW WHY?

Let me explain

'Help'.

A very important word when describing Bloberta.

First, it is integral to understand that Bloberta feels torturously alone and unwanted. Her friends are all getting married while she has no one.

She isn't clever enough to help Censordoll.

Her own family leaves her out of the family choir. 

And the only crumb of validation she is offered is from her mother.

“Why don't you help me out and… Clean your room?” Note even the slight pause her mother has, as if she doesn't even know what to do with Bloberta.

Next, we see her trudge to her room. And what does she hide under the covers of her bed?

A flask.

She turns to alcohol when she is confronted with how unwanted she is. But where did that draw to alcohol come from?

We know she comes from a home where she is ultimately ignored and seen as valueless by everyone except one person.

Her Father.

I have a lot of thoughts about Bloberta and Raymond's relationship (the one scene where they interact just UGH LIVES IN MY HEAD) but the main thing to get away from it is that she associates the act of drinking with her Father.

A man who, without alcohol, is unable to speak his mind at all. He drinks to better tolerate his situation and his wife, who clearly doesn't value his words or opinions.

But Bloberta is very receptive to her Father, she greatly values his company and his thoughts and she finds comfort in being around him. She feels like someone cares about her and values her even if she knows he can't change anything.

Notice that despite her desperation to speak with her father, to form that connection that would validate her, she can't even touch him because she knows doing so would break the frail connection they have currently. Her Father is so reserved that at this point, any unexpected emotional reach would immediately cause him to shut down and retreat. Demonstrated just by him closing up immediately after she told him she loved him.

So how does this affect Blobertas perception of alcohol?

Well she says it herself.

"I think it helps us to be better people".

This rationality was reinforced by the small acts of kindness her father would show her.

And we don't have any reason to believe she is lying about this because up until the night of the reception, she's experienced nothing that contradicts this belief.

Bloberta's reliance on alcohol can be seen as her reaching for a solution to her need to feel wanted. She knows she's left out, both by friends and family. But if she believes drinking can make you become a better person? Then of course she would drink, because maybe then someone will want her.

What does she say directly after that?

"My Father drinks.”

Further insinuating her belief that he is good and he is the main reason she sees alcohol as a positive force.

She thought it would genuinely help Clay.

There's that word again.

Importantly, notice her clear anxiety and tenseness in her beginning interactions with Clay. From her first question, their conversation began falling apart.

So what happened?

Just after the wedding, she was almost suave in the way she invited Clay to the reception.

Why was she so nervous now?

Well, in her eyes, this was her chance.

After an undisclosed time of having no luck she finally convinces a handsome single man to have some semblance of a date with her.

She NEEDS this to go well.

So she's obviously anxious and stressed, and that's showing, but she figures that some drinks will make it easier for both of them. She's full panicking because she feels it's just so normal to drink, especially socially, and she can't understand why he wouldn't drink. She has no frame of reference for that mindset.

Things are already awkward between them once they settle in, and its not getting better. So of course she is going to fall back on what makes things easier for her.

And initially things are looking up.

Suddenly Clay's more talkative, and more receptive to what she's saying.

He's complimenting her.

He says she helped him.

The one thing she wants more than anything is to feel useful, she wants to be able to fit into that role that everyone expects her to so that she can be of worth to someone.

She isn't worth it to her peers,

she isn't worth it to her family,

but she could be worth it to him.

This only reinforces her resolve. 

This is it.

She is going to finally find her place to fit in, and everyone will welcome her with open arms as she finally finds her place in the role society has chosen for her.

But it's not that simple.

Things go south quickly, Clay doesn't want these things that Bloberta has to have. 

But she needs them.

To Bloberta, those things are proof of your value. The value society, friends, and family place on you.

Who would she be if she couldn't attain that value?

We again recognize that Bloberta has a fixation on being helpful. Helpfulness is the clearest indication of one's value, after all.

After being turned away by Clay, she immediately returns to a default ‘helpful’ act, cleaning. Just like her mother would tell her to do. But this was still her only chance, and Clay had already told her she had helped him. If she could only help him again, then maybe she had a chance at the real value she craved.

Once her anger passes and Clay sobers up, she returns to him and paints herself as ‘helpful’ as possible. She's desperate for that validation again, and if he would agree to her help then everything would certainly be fine.

She is practically begging him, help becomes a plea for him to save her from the pain of her day to day.

She hopes more than anything he will accept her and make all her pain go away.

He does accept, but in exchange, her previous world view is shattered.

Drinks don't help you become a better person.

They just help your true nature come out.

[wilcze-kudly]

Aang is great because almost every ship you can put him in instantly becomes top-tier.

Like:

Kataang- they literally make me cry every single time I think of them. Their love story is wonderful and genuinely heartwarming. It symbolises healing and peace for both of them and the literal world. He showed her the world and he's her biggest supporter and she always defends him and they find solace in each other because they understand what it's like to be the last of their respective kind. And they're each other's hope and just... ahhh. They're so much more than the vanilla hero gets the girl ship people paint it as. Haters stay mad or smth.

Zukaang- the symbolism? They're the actual Ying and Yang of the show! The Rozin parallels? Them standing in a vortex of rainbow fire as two dragons (the blue one like Aang's tatoos facing zuko and the other one, red like Zuko's general colour scheme facing Aang) forming a heart shape around them? Zuko was literally searching for Aang and found his redemption in Aang and Aang made him a better person and Aang is literally the only person who genuinely experienced Fire Nation culture before the war and he clearly values it and he's helping Zuko bring peace to the world and the nation...

Taang- The og tomboy x soft boy dynamic. He's literally the person that helped her free herself from her parents and Air is the element of freedom? And she teaches him when to stand firm like the Earth? And I love when they do synchronised earthbending it's so satisfying and they work so well together. Toph having lost her face in one of Aang's nightmares is also a nice parallel to Ummi and Kuruk. (One caveat though: i hate taang being used as a "get Aang out of the way" side ship to Zutara)

Sokaang- they kinda come out of left field for me but the more I think about them the more obsessed I become. It's all about a teenage boy who has been forced into a role that demanded way too much of him finally learning to trust and rely on others. It's about Sokka finally living out the childhood that he was forced to grow out of. Sokka also has such a cute bond with Momo and more importantly, Appa, Aang's animal soulmate. The fics write themselves.

Sukaang- ok, I know Suki and Aang barely interacted in the show but like Hear me out.Suki is so connected to one of Aang's past lives. And she saved Appa, which would totally bond her and Aang (genuinely distressed that this was never discussed in canon). And they both value a sense of community so much, and Aang was one of the people who inspired Suki to leave Kyoshi to help others. Plus, there could be some amazing Rangshi parallels if Suki became Aang's bodyguard instead of Zuko's, which could be very plausible.

Azulaang- I adore this ship because I genuinely think Aang could really help Azula find her redemption. Hell, he was so nice to her in The Search and she literally killed him. Plus I've already laughed about how it would absolutely kill Ozai. The mental crisis Azula would go through due to fallingin love with Aang would be hilarious, and also the guilt over everything she's done, as Aang's kindness makes her realsie she was on the wrong side this whole time. He's one of the only people who can beat her at her prime and he doesn't seem to fear her at all, which is rare for her. Aang could give her the unconditional love she so desperately craves and needs.

Maiaang- genuinely adorable to me. Other than the obvious grumpy x sunshine trope, Maiaang has a lot of potential. Mai seems to genuinely like Aang in the comics, which is really cute. I also think Aang would be able to help Mai express her more positive emotions, other than just anger. Also something about the girl who was forced to remain silent and passive her whole life learning to finally let go and allow herself to just live with the help of probably one of the most active and expressive characters of the show has me by the throat. Plus, he got along great with her lil bro!

Tyaang- They're so similar and cute and bubbly! They'd have tons of fun together and I just know Ty Lee would teach Aang some gymnastics and he really enjoy it! I think he can also find Ty Lee's chiblocking very cool, since it is essentially a great way to deal with a conflict without causing permanent damage. Very airbendery. Speaking of which, Ty Lee is also very airbendry herself. I can genuinely see her finding herself in Air Nomad culture and be excited to help revive it.

Onjaang- i just find this ship so funny because imagine being a random schoolgirl in the fire nation and not only rizzing up a demigod but rizzing that demigod up successfully. This ship can also go so many ways depending on On Ji's reaction to that random cute guy who threw a cool dance party is actually the Avatar, so it's certainly interesting.

Yuaang- the ultimate cinnamon roll x cinnamon roll ship. But more than that, there's of course the Yue becoming the Moon Spirit and Aang getting lowkey possessed by the grieving Ocean Spirit. There's Yue appearing when Aang needed her most, while he's stranded in the middle of the ocean and helping him. They both understand sacrifice and responsibility, and maybe they could comfort each other through it. Also Aang being the bridge between the spirit worlds and Yue being a Spirit could lead to a very interesting romance, depending on how much the Avatar could interact with the Moon Spirit.

Jetaang- ok, Aang was just as infatuated with Jet as Katara was, right? And I think Aang was heavily affected by Jet's actions and behaviour. Also Aang really not wanting to hurt Jet while fighting him (twice!) was really cute. And Aang helping Jet snap out of the Dai Li brainwashing could be a really cool ship moment the more you think anout it.

Teoaang- Honestly their little one sided rivalry at the beginning of the episode was really cute. And I think there could be some interesting symbolism between them. Aang symbolising the old and Teo symbolising the new. They compliment each other like that. Teo comforting Aang by showing him that the critters of the temple are still alive and well is also sweet. And Aang admitting that Teo has the spirit of an airbender is so sweet.

Kuzaang- they're adorable. I loved the comic about them. Aang calling Kuzon "Hotman" is really funny. Aang helping Kuzon make a bigger flame with airbending is also really sweet. I especially like this ship in combination with Zukaang. It's such tasty symbolism.

Aang may just be the most shippable charater of this franchise, argue with the wall. He's so filled with love I have no choice but to multiship.

[susiephone]

one thing i really love about extraordinary attorney woo is how young-woo doesn't fall into the neat little binary of what we think of as "high-functioning" or "low-functioning" autism (i.e., "autism you don't notice" vs. "autism you do notice", as it's often portrayed), because irl it's rarely that simple. young-woo is highly intelligent, can hold down a job and take care of herself, and overall holds her own - but she also can't "pass" for neurotypical, nor does she want to! she openly stims and has little rituals to help her avoid overstimulation. sometimes she gets overwhelmed in public and has to deal with it. she needs accommodations to manage in day-to-day life, and sometimes has to contend with people who don't understand why she needs them. she needs a support network like anyone else, which she fortunately has in the form of her father and closest friends, and she and her dad occasionally butt heads because he genuinely wants to help, but sometimes oversteps - because her disability is something he still doesn't 100% understand. but he does 100% support her and she knows she can always rely on him. when she was growing up, they sometimes had trouble connecting, but once he learned how to meet her where she was at, they established a bond that made young-woo feel loved and supported, even when her teachers weren't helping her.

i also love how young-woo is very up-front about her autism, and the ways it impacts her life, both for the better and in ways it makes life harder. one of my favorite moments is when another character (who's also coded as autistic) notices one of her rituals (pausing to inwardly count to "three" before stepping into an unfamiliar room) and tells her that he thinks it's awesome that she's self-assured enough to do what she needs to do to accommodate herself, even if other people think it's weird.

like it's not 100% perfect representation - i'm not sure what that would even look like - but i love how, along with the "case of the week" format, so much of the story is about young-woo navigating the world as a young autistic woman, both with her career and her personal life, and what a layered character she is. the fact that she's autistic doesn't feel like a gimmick or like a token effort at diversity; it's a big part of the story and her character arc, but it's not her entire personality, either.

[idkanymoreokay]

I have so many thoughts on the friendship between Flynn and Cassandra, I could write a million essays on it. But something that has really jumped out to me during my current rewatch is the way these two just easily understand each other without even trying.

They talk without having to verbally communicate most of what they're saying. They don't even seem to be aware of the fact everyone else in the room is looking at them in confusion because they can't hear the unspoken parts of the conversation.

They bounce ideas off each other so easily, instantly pick up on each other's trains of thought, and practically finish the other's sentences or ideas.

These two neurodivergent geeks, who never had anyone in their life truly grasp what goes on inside their head, suddenly found someone who knows and it's like they instantly latched onto that connection.

Cassandra also has her very close friendship with the other LITs, and Flynn has his relationship with Eve, but it's their friendship with each other that lets them both explore and indulge the parts of themself that other people just don't understand.

Cassandra is definitely the one out of the LITs that is most like Flynn, both in her skills as a Librarian and also in her personality and how her lightning speed thoughts tend to get translated into her words and interactions with others. (Which is a whole other topic I'd love to dive into another day.) But, yeah, it makes so much sense why they have no trouble at all understanding each other.

(Edit: Nope, that was supposed to be the end of the post but I have too many thoughts that need to be shouted into the void. Their friendship is very important to me. So...)

Jumping back to the very beginning - During the first two episodes, Flynn is perpetually annoyed by Ezekiel and just kinda ignores Stone. But Cassandra… He's absolutely fascinated by her from the moment they first meet. He takes a minute out of their incredibly urgent life-and-death mission to discuss her being a synesthete and geek out a little over the fact she has an eidetic memory like him. And Cassandra's immediate reaction of "Yes, wow" is like she can't believe someone is capable of immediately understanding what's going on inside her head and is 100% okay with that and not at all bothered by her being "different".

And then they get to Stonehenge:

And I think this is the moment Flynn really starts to appreciate how brilliant Cassandra is, and how very much like him she is. Flynn is a fairly competitive person with a genius brain like no other, but he doesn't get upset or offended when she takes over the calculations, and even carries them out faster than he could have. If anything, he looks genuinely impressed. He instantly understands what information she needs and readily gives it to her so they can continue solving the puzzle. They immediately settle into this easy back and forth, this rapid exchange of information and clues as they work at putting together the pieces. He's able to talk to her in a way he can't talk to anyone else. It's probably been a long time (if ever) since he's interacted with someone who can keep up with him.

Even after Cassandra has betrayed Flynn -- causing him to lose his home, the only family he had left, his best friend, and potentially his life -- he instantly accepts her back on the team and even sticks up for her when the others object. At this point, she hasn't apologized, shown any indication of remorse, or had a chance to make amends. And it doesn't matter to him. "She had her reasons" - and that's enough for him. He lets her out of the cell and immediately wants to hear her plan for stopping the Brotherhood.

And I think this is the moment when Cassandra -- similar to Flynn's realization at Stonehenge -- suddenly realizes that someone else can grasp her thought process. That someone understands the way her brain works. That someone is capable of following her trains of thought and not getting lost in the ordered chaos of her mind.

Just look at her smile!! She is trying to get across what she wants to say, and she's so used to having to break things down for others and still not being understood, and here's someone who instantly picks up what she's trying to convey. Look how utterly happy and excited she is when he gets it.

I love how much they appreciate each other's genius. I love how they can communicate on a different level. I love how much they genuinely care about each other.

And I absolutely love that it's through Flynn that Cassandra manages to have her moment for redemption, because he's already clearly demonstrated that he's the one member of the group she doesn't have to prove herself to.

I just... 😭😭😭

I love that Flynn has zero people skills and a very weak grasp on the concept of friendship and yet he meets this brilliant, weird, amazing young person and pretty much instantly connects with her. Because, like her, he also spent most of his life invisible and now someone actually understands him and is already so important to him, even if it's a while yet before he'll really fully understand the concept of friendship.

I love that Cassandra has spent most of her life feeling unseen and never truly accepted by the people around her. And then she meets someone who immediately sees her and understands how her mind works and appreciates and trusts her, and who introduces her to this life of mystery and magic where she can use her talents to save the world… and she already knows that he's important to her even if she doesn't realize just how much her life is going to change because of him.

There's SO MUCH more I could say about their friendship, but I should probably channel some of it into an actual blog post at some point. For now, here's some cute moments I grabbed while getting the screenshots for this post:

[kittenface40]

I.M.P is irrelevant to Helluva Boss

When Helluva Boss Pilot came out,I was really excited, to know more about these characters, their personalities, their relationships to each other and how they would develop. Additionally, I was also wondering on why each of these characters joined I.M.P and why did Blitz start his own business.

However, as the series went on, the show went on to become the Stolitz show along with dedicating episodes to fan-favourite characters that have nothing to do with I.M.P (Ozzie, Fizz and Stolas).

This is one of the (many) reasons why I'm disappointed with the current state of Helluva Boss, I.M.P's irrelevance to the main story, while I do enjoy the new episodes. There are a lot of story issues that I have with it, the fact that IMP is basically irrelevant to the Helluva Boss.

NO IMPACT ON THE OVER ARCHING STORY:

So far we only had five out of fifteen episodes (excluding the times where it's offscreen), of IMP doing it's job is the main plot of the episode, while five episode may seem fine for some it becomes a problem when their actions are basically inconsequential to the main story.

The only times where they are important is for one-off adventures like in Murder Family, Spring Broken, CHERUBS & Unhappy Campers. The problem is that their existence doesn't impact Stolas' story in anyway (aside from Blitz), like why are we focusing so much screentime on Stolas (a secondary character) who isn't even employed at IMP. And instead focus on Blitz, the titular character, protagonist and him being the boss of IMP. Understanding his goals and reasoning as to why he wanted to start IMP.

HELLUVA BOSS? WHAT BOSS:

Another problem I have with IMP, is the fact that we don't know why Blitz wanted to start a business on killing people, was it because of his tragic past and to distance himself from it, is it that he discovered he's really skilled at killing people and decided to make it big , is it because he wants love and new connections from his employees, is it to prove the higher class or his father that he can make it big and break class traditions. What is it? We only now why he wants love and respect from his employees due to his tragic past. But we don't know why he started his business.

Also we never get to see him develop into a caring boss that genuinely cares about his employees, with the show only showing the ending of the development in the same episode but none of the development.

In addition, we also never get the chance to see him as a leader of IMP, you think Blitz would be the leader and he needs to grow into being one for his employees. But the show never has Blitz develop into becoming a Helluva Boss.

NON EXISTENT SURFACE-LEVEL RELATIONSHIPS:

Another thing I really hate is that the relationships between employees at IMP, are never explored beyond the surface level. The only one I can say this doesn't apply to is Moxxie and Blitz.

We don't get to see the M&Ms relationship grow outside of loving each other, and when they do explore it, it's written poorly (Unhappy Campers).

We don't get to see Millie and Luna, relationship grow, they don't even talk to each other that much in the show. What is Blitz & Millie relationship, why do they get along with each other, why is she fine with Blitz behaviour. Luna and Moxxie relationship, why is Luna so mean to him, how does Moxxie feel about Luna bullying him, has she ever went too far, would Millie get angry at Luna for bullying.

(Side tangent; but why is Millie not standing up for her husband when Blitz and Luna bully Moxxie, they do it right in front of her. Wouldn't she get angry at them, edit: I checked and she did get angry at Luna for calling Moxxie fat, but not at Blitz for joking about this. But she needs to say something, put her foot down, not just make an angry expression)

EMPLOYEES LACK OF REASONING:

We don't know what the employees motivation was to join IMP. Why did Moxxie and Millie join IMP, was it to prove their parents wrong, to make it big, or is it for similar reasonings to Blitzo.

Why did Luna join IMP? Was it out of gratitude for Blitz saving her, was it because she couldn't get a job as a hell hound, was it to be with her father more.

-----

Anyway, that's my thought for a day, on Helluva Boss, let me know what you think about IMP. Do you agree? Disagree? Why? Let me know!

[tiredandoptimistic]

No but listen. Abed sees Britta as "Britta Bot" while everyone else describes him as cold and robotic. People assume that his problem is being distant and lacking empathy, but that's Britta! We see it every time that Abed has a breakdown, she stops treating him as an individual and instead defaults to what she thinks is the appropriate response. It's all therapy talk with no understanding of who Abed is as a person or what would actually help him, because as soon as he starts displaying symptoms he stops being her friend and becomes a person she must help by picking the correct responses out of her psych textbook.

I am not saying this out of hate for Britta! I love Britta! I just think it's really interesting that one of the things she struggles with most throughout the series is her inability to be empathetic, and no one sees it but Abed. Her focus on political correctness and activism seems emotional, but it's more often about her wanting to do The Right Thing (which she sees as a monolith) than her actually feeling invested in helping individual people.

What's especially interesting is that Abed characterizes her weakness as "no faith in herself or friends," which implies that one reason she's so focused on doing the correct thing is that she doesn't trust her genuine responses to help anybody. She's afraid of making things worse, so she goes with what she's been told she should do in high stakes situations (like her friend hallucinating stop motion dolls or lava floors). In season one especially she always baby-talks to Abed, because her brother works with autistic kids so that's how she thinks you talk to autistic people. She's trying so hard to be accommodating, but it's from a perspective of "I know The Correct Way To Talk To Autistic People" rather than "let me learn how to best connect with this person." It could be called robotic, following her memorized paths for interactions even when they're clearly hurting people she cares about.

Then there's Abed, who does have some troubles with empathy which often show up when he manipulates people around him in order to achieve his goals, (ex: "Introduction to Film," "Contemporary American Poultry," "Anthropology 101"), and is always seen as cold and distant, safely removed from thr situation. He leans into that intentionally, acting as though he's "not in this scene" or giving logical trope-based reasons to avoid facing his fears (like when Troy wants to move in with him and Abed calls it "jumping the shark"), but deep down he's incredibly emotional. He's the one who willingly risks his life in "Epidemiology," he and Troy give up their bedroom for Annie, he lets his friends matchmake for him because he knows it's important to them.

Even when he is being all supposedly logical, it's often because he doesn't want to acknowledge his own feelings and feels safer acting as though sitcom tropes are the only thing making him act that way. In the argument about living together, Troy was right that they could just not put a line of tape down their floor, Abed knows that real life is different from TV and doesn't always escalate to the most dramatic possible conflict, but he doesn't want to say that he's afraid of Troy getting sick of him so it's easier to use shark jumping as an excuse.

They're such interesting foils; Britta who flaunts how much she cares to conceal how insecure she is about not caring, and Abed who puts up his lack of investment as a shield to protect him from how deep his emotions run. I don't think it's accurate to describe either of them as robots, but that metaphor really does ping off both of their insecurities about not performing humanity correctly. They both just want to do the right thing and help people, even if they get it wrong sometimes.

[jupiters-galaxy]

I've seen some people criticize how quickly Peter and Steph fell for each other (to the point of being the thing they treasure most), and while I do understand some of the criticism, I think there are a few key things that some people aren't picking up on.

-Treasuring each other IS NOT strictly romantic. While it's true that Peter is in love with Steph, and Steph with Peter, it goes deeper than their repressed love story. They ARE friends. They do genuinely like spending time together, although their connection is relatively new. They care about each other as people first; neither of them seem like they NEED to be in a relationship with the other. They seek each other out even when they're just friends.

-It's also important to remember that the lords in black only want treasured things in the metaphorical sense: they can't give up OBJECTS. It presumably has to be a person or a concept.

-It's important to remember that both of them have been through an unbelieveable ordeal. Peter's closest friends were murdered. Stephanie lost her DAD, and although they weren't close, that can't have been easy to stomach. I cannot stress this enough; Peter and Steph quite literally have no one else left. Peter has no other friends. It logically tracks for him to be attached to Stephanie, as she is someone who experienced the same traumas as him. From Stephanie's angle, she doesn't really like her friends, and since objects are out of the question, Peter is the only person who she feels truly knows her. He's really the only option for her, even if her feelings are confusing.

-I also want to point out that you can really kind of feel them falling for each other, although it is admittedly subtext. Peter is weak to Steph as early as the opening number. He does out of character things to make her happy; a compliment from her makes his day amazing; he faces his biggest fear in hopes of seeing her at Pasqualli's. Stephanie cares for him from the first day they meet, although her care is a lot more ambiguous. She teases him about how he's into her, but at the same time, she's protective of him, feeling horrible that he got beat up and wanting to stop it. Even beyond that, she's inclusive towards him, inviting him to hang out with her simply because she likes his company. Her attraction to him makes sense: we know that Steph has a thing for funny and smart guys, and Peter's geeky snarkiness ABSOLUTELY fits. Their relationship is one that just makes a lot of sense!

-Their relationship is actually portrayed really realistically near the end. They're not intense about their love, nor are they overtly sexual. In NPMD, they don't even kiss! The furthest they go is dancing close together and having conversations, cautiously stepping into a new relationship that they mutually want. Despite the heavy nature of their confessions in As Cool As I Think I Am (Reprise), the payoff is not drastic. The confessions were likely only so heavy because they both thought Peter was about to die. Of course he would go out detailing how he loves her, and of course she would say it back; their last memories together should be good ones. When faced with normalcy, they progress as most teens would.

-At the end of the day, they're two traumatized teenagers who already liked each other before the trauma. It makes sense that they feel like the other is the most important to them; after all, Grace is the only other survivor from their group, and they're thinking about her in a less than favorable way past Richie's death, if not sooner than that.

This is not to say they're perfect, but I think their portrayal was really sweet and a joy to watch. I think the implications are extremely interesting idk!! I love Peter and Steph, I think they're more nuanced than they're getting credit for. I love to see cringefail nerds getting badass and amazing girlfriends, let me have this!!!!!

Anyways yeah that's my hot take. One of many. NPMD is consuming me someone help

[lecsainz]

TATTOOED

request: could you write something with lewis or daniel where there reader is a tattoo artist and she gives him a tattoo and he starts flirting and asks her out? if not its totally okay! sending all my love

pairings: daniel ricciardo x tattoo artist!reader

authors note: I can't even, but like carolina by harry styles was totally stuck in my head while I was writing! it's like, seriously playing on loop in my brain and I can't even deal with it

✩. . . masterlist !

Daniel Ricciardo had always been a fan of tattoos, and it wasn't just for show – he had thousands of inked stories etched across his body. He had a genuine appreciation for art, relishing the meanings they held for him.

He hadn't really planned on getting another tattoo during his off-time from Formula 1 while in Miami. But there he was, stepping into a small, incredibly cool studio – at least in his perspective – though who was he to judge what was cool.

"Hey?" he leaned casually against the wooden counter. "Anyone here?"

"Hey! How can I help you?" A petite girl with a few doodles on her arms seemed to appear out of nowhere.

His lips curl into a charismatic smile, "I'm thinking about adding some more art to this masterpiece," he gestures to his arm covered in ink. "What do you think?"

She chuckles softly, "Well, I think you've got a pretty good canvas already."

He laughs, her quick wit catching him off-guard. "True that. But I've got a spot that's feeling a little empty."

"And what kind of art are you thinking?" she raises an eyebrow, her eyes curiously tracing over his existing tattoos.

He taps his chin playfully, "You know, something meaningful. Something that'll give my other tattoos a run for their money."

She nods in understanding, "Got any specific design in mind?"

Daniel leans in a little, his playful grin not wavering, "How about a cheeky smiley face? Right here," he points to an empty space on his arm.

She lets out a laugh, clearly not expecting that. "I can definitely do that," she says, amusement dancing in her eyes.

As she sets up her equipment, they fall into easy conversation. He learns that she's not just a tattoo artist; she's a storyteller who helps people etch their tales into their skin.

Throughout the tattoo process, their conversation flows effortlessly. She shares stories about the tattoos she's done and the emotions behind them, while he tells tales from his racing experiences. He realizes that she's genuinely interested in people's stories, and it's something he finds refreshing.

As she works on his arm, he finds himself studying her, noticing the way her brows furrow in concentration and the occasional smile that tugs at her lips. He's captivated by her passion for her craft.

"So, what's the story behind this one?" she asks, her fingers gently tracing a scar on his forearm.

He hesitates for a moment, then decides to share. "That's from a crash a while back. Nothing serious, but it reminds me of how far I've come."

Her eyes meet his, and he can see a mixture of understanding and admiration. "It's amazing how life's twists and turns can leave marks that become part of who we are."

He nods, his gaze lingering on hers. "You get it."

As she finishes up, he examines the smiley face tattoo with a grin. "It's perfect. Might just be my new lucky charm."

She smirks, "I'll take credit for your future wins then."

He chuckles, "Deal. But I'll need a lucky charm in return – your name."

She blinks, her eyes widening a bit. "You want my name as a tattoo?"

He laughs, realizing he might have caught her off-guard. "No, just your name. I'm Daniel."

She smiles, extending her hand, "Nice to officially meet you, Daniel. I'm Y/N."

He takes her hand, his touch lingering a moment longer than necessary. "The pleasure's all mine, Y/N."

He leaves the studio that day with a new tattoo and something more – a sense of connection and curiosity about Y/N. As he walks out into the Miami sunlight, he finds himself debating what to do next. But, as always, he doesn't back down from a challenge.

Y/N looks up from her work as the bell above the door chimes. Her eyes widen in surprise as she sees Daniel standing there, holding flowers. "Hey," he greets, his voice a bit more uncertain than usual.

"Forgot something?" she teases, her voice holding a light note.

He scratches the back of his neck, sheepishly. "Yeah, I know it might sound a bit forward, but how about we grab a drink tonight?"

She chuckles, her eyes dancing with amusement. "Wow, smooth move, Daniel."

He grins, his signature charm kicking in. "I mean, we did establish a connection over art and stories. I thought it'd be a shame not to continue that."

She raises an eyebrow, teasing. "You must really trust me if you're inviting me to a dark alley for drinks."

He laughs, the sound genuine and carefree. "Oh, I'd never take you to a dark alley. It's a rooftop bar with a view – much safer."

She feigns contemplation, tapping a finger to her lips. "Hmm, rooftop bar, huh? Well, I guess I can make an exception for a charming race car driver."

He pumps a fist in the air, playfully victorious. "Yes! You won't regret it, promise."

She grins, shaking her head. "Alright, Daniel, you've got yourself a date. But you better not show up in a racing suit."

He feigns a pout, "But I look so good in them."

"Save the suit for the track. Just be yourself," she replies with a warm smile.

He nods, his eyes locking onto hers. "I'll see you tonight, Y/N."

[ooctlt]

I think the etiquette of ask blogs is a forgotten art. what I'm saying is (imo) it's not that people don't want to play, it is they don't know HOW, and more importantly they don't understand that the game exists to begin with. obviously you do not have to teach people the rules because your time and energy is finite but idk. it feels like from some of your OOC responses that you assume people know the rules and are playing badly, but I genuinely think people (me) just don't know what you are wanting them (us) to do. and also they (i) don't know how to tell if they (i) are playing the game correctly.

An example I am genuinely confused about is, is inciting a "shut up" answer a signal that the game is being played correctly, because we are inciting a reaction from the character? or is a "shut up" answer a signal that we are playing wrong and need to do something different? I'm sorry. I really love your art and seeing the story unfold but I'm confused and I want to play and I don't understand how.

yeah ive had a couple people tell me this has been the first active askblog in a while and the concept of askblog etiquette has been forgotten- @thatneoncrisis and i made a diagram:

link to full-res image

a "shut up" reaction will hopefully show whether or not it's a closed path of exploration: if you have gideon sweating, going "pshhh its nothinggg" it means there is something worth exploring. if you have harrow slamming the door in your face, that is an advance that wont work on her

transcript under the readmore:

DEAD END QUESTION ANON: CAMILLA DO YOU THINK HARROW'S HOT?

"Please stop talking to me."

This question is BAD because it's BLUNT, INCREDIBLY PERSONAL and founded on INCOMPLETE KNOWLEDGE of their relationship.

NOTE that its not that shitty questions will NEVER be answered, its that 1) they have a LOWER chance of being answered and 2) they have a HIGHER chance of being made fun of in character

gideon: haha who thinks harrow is HOT

DECENT INCONSEQUENTIAL QUESTION ANON: CAMILLA DO YOU LIKE TO DO ANYTHING FUN WITH HARROW?

"Sure. We run a lot of errands together."

This kind of question may not advance the plot, as it is INCREDIBLY BROAD yet NONINVASIVE. They're good for quick 1-3 panel answers. May generally be met with a less EXCITING answer.

It might also be DIFFICULT TO ANSWER because a broad question could include MULTIPLE ANSWERS - asking "do you guys go out" could not be answered SUSTAINABLY, because i cannot draw all the places they visit

ANON: EVERYONE, WHAT IS YOUR FAVORITE CLOUD / WATER / MOLECULAR STRUCTURE / BONE / CAR / COFFEE BRAND/ BOOK CHARACTER?

me: "i have to do so much research"

NEAT QUESTION CAMILLA HAS HARROW EVER ASKED YOU TO DO SOMETHING WITH HER SHE WAS EXCITED ABOUT?

"Yes, actually. She once invited me to [REDACTED], I didn't know she liked that sort of thing."

This question is SICK AS FUCK because not only do you learn something SUBSTANTIAL about the characters, you have stumbled upon A NEW PLOT BRANCH, one that actively deepens character connections and their past within the world. It specifically remarks upon a MEMORY* rather than AN OPINION and will typically be LONGER.

Another good option is to PROMPT something following this:

ANON: CAMILLA, MAYBE YOU SHOULD TRY TAKING HARROW OUT TO DO [REDACTED] THAT SHE LIKES BEFORE XYZ?

and this can then spiral onward…

*DM, ONE TIME I ASKED ABOUT A MEMORY AND I GOT A RUDE ANSWER; WHAT DID I DO WRONG?

It's not that this topic can never be spoken about, it's about WHEN you asked it and HOW you said it, or even WHO you asked.

Some topics, like the nature of HARROW AND GIDEON'S UPBRINGING are too recent for them to talk about, it has only been TWO YEARS since they left and there are SPECIFICS about the situation that the AUDIENCE hasn't discovered yet. There are things like GIDEON'S PARENTS that she CANNOT answer because she DOESN'T KNOW and answering multiple asks with I DON'T KNOW becomes repetitive and dull for both the DM and PLAYER.

BUT! She can learn! Over time, when the time is appropriate and feels the most natural for STORY PROGESSION. Think of it like a BAD ENDING in a visual novel. You START OVER and ask a DIFFERENT QUESTION, or approach it from a DIFFERENT ANGLE. If Gideon reacts poorly to someone congratulating her leaving BAD CIRCUMSTANCES, consider talking to her about the FUTURE. Instead of trying to pry at Camilla to see if she had an INTIMATE RELATIONSHIP with Pyrrha, try to ask about other things in that period of her life, like how they met or what caused her to move out.

FINALLY, if you'd like an ask to be answered out of character, your best bet would be to goto @notedchampagne and send it there. If you'd like an ask to be answered SINCERELY or you don't want SNARK, you can specify this in the ask, but know this blog may not be your thing.