#i just used it as an example for something unrelated

[natequarter]

i have to say. the daleks are boring

[keeps-ache]

hm hm hm !!

[flovverworks]

fauaki send post

[iamthedukeofurl]

Scott Pilgrim is, I think, the best example I can think of for establishing a setting's Nonsense Limit. The setting's Nonsense Limit isn't quite "How high-fantasy is this". It's mostly a question of presentation, to what degree does the audience feel that they know the rules the world operates by, such that they are primed to accept a random new element being introduced. A setting with a Nonsense Limit of 0 is, like, an everyday story. Something larger than life, but theoretically taking place in our world, like your standard spy thriller action movie has a limit of 1. Some sort of hidden world urban fantasy with wizards and stuff operating in secret has a nonsense limit around 3 or 4. A Superhero setting, presenting an alternate version of our world, is a 5 or 6. High fantasy comes in around a 7 or so, "Oh yeah, Wizards exist and they can do crazy stuff" is pretty commonly accepted. Scott Pilgrim comes in at a 10. If you read the Scott Pilgrim book, it starts off looking like a purely mundane slice of life. The first hint at the fantastical is Ramona appearing repeatedly in Scott's Dreams, and then later showing up in real life. When we finally get an explanation, it's this:

Apparently Subspace Highways are a thing? And they go through people's heads? And Ramona treats this like it's obscure, but not secret knowledge. Ramona doesn't think she's doing anything weird here. At this point, it's not clear if Scott is accepting Ramona's explanation or not, things kind of move on as mundane as ever until their Date, when Ramona takes Scott through subspace, and he doesn't act like his world was just blown open or anything, although I guess that could have been a metaphor. there's a couple other moments, but everything with Ramona could be a metaphor, or Scott not recognizing what's going on. Maybe Ramona is uniquely fantastical in this otherwise normal world. And then, this happens

Suddenly, a fantastical element (A shitty local indie band finishing their set with a song that knocks out most of the audience) is introduced unrelated to Ramona, and undeniably literal. We see the crowd knocked out by Crash and The Boys. but the story doesn't linger on the implications of that, the whole point of that sequence is to raise the Nonsense Level, such that you accept it when This happens

Matthew Patel comes flying down onto the stage, Scott, who until this point is presented as a terrible person and a loser, but otherwise is extremely ordinary, proceeds to flawlessly block and counter him before doing a 64-hit air juggle combo. Scott's friends treat this like Scott is showing off a mildly interesting party trick, like being really good at darts. The establish that Scott is the "Best Fighter in the Province", not only are street-fighter battles a thing, Scott is Very Good at it, but they're so unimportant that being the best fighter in the province doesn't make Scott NOT a loser. So when Matthew Patel shows off his magic powers and then explodes into a pile of coins, we've established "Oh, this is how silly the setting gets". It's not about establishing the RULES of the setting so much as it is about establishing a lack of rules. Scott's skill at street-fighter battles doesn't translate to any sort of social prestige. Ramona can access Subspace Highways and she uses it to do a basic delivery job. It doesn't make sense and it's clear that it's not supposed to. So later on, when Todd Ingram starts throwing around telekinesis, and the explanation we're given is "He's a Vegan" , you're already so primed by the mixture of weirdness and mundanity that rather than trying to incorporate this new knowledge into any sort of coherent setting ruleset, you just go "Ah, yeah, Vegans".

[infiniteglitterfall]

know someone who enjoys horror stories? share this one! it's true!

hahahahahahahahahaha aarrggghhhhhhhhhh 3,000,000 deaths due to COVID-19 last year. Globally. Three million. Case rates higher than 90% of the rest of the pandemic. The reason people are still worried about COVID is because it has a way of quietly fucking up your body. And the risk is cumulative.

I'm going to say that again: the risk is cumulative.

It's not just that a lot of people get bad long-term effects from it. One in seven or so? Enough that it's kind of the Russian Roulette of diseases. It's also that the more times you get it, the higher that risk becomes. Like if each time you survived Russian Roulette, the empty chamber was removed from the gun entirely. The worst part is that, psychologically, we have the absolute opposite reaction. If we survive something with no ill effects, we assume it's pretty safe. It is really, really hard to override that sense of, "Ok, well, I got it and now I probably have a lot of immunity and also it wasn't that bad." It is not a respiratory disease. Airborne, yes. Respiratory disease, no: not a cold, not a flu, not RSV.

Like measles (or maybe chickenpox?), it starts with respiratory symptoms. And then it moves to other parts of your body. It seems to target the lungs, the digestive system, the heart, and the brain the most.

It also hits the immune system really hard - a lot of people are suddenly more susceptible to completely unrelated viruses. People get brain fog, migraines, forget things they used to know.

(I really, really hate that it can cross the blood-brain barrier. NOTHING SHOULD EVER CROSS THE BLOOD-BRAIN BARRIER IT IS THERE FOR A REASON.) Anecdotal examples of this shit are horrifying. I've seen people talk about coworkers who've had COVID five or more times, and now their work... just often doesn't make sense? They send emails that say things like, "Sorry, I didn't mean Los Angeles, I meant Los Angeles."

Or they insist they've never heard of some project that they were actually in charge of a year or two before.

Or their work is just kind of falling apart, and they don't seem to be aware of it.

People talk about how they don't want to get the person in trouble, so their team just works around it. Or they describe neighbors and relatives who had COVID repeatedly, were nearly hospitalized, talked about how incredibly sick they felt at the time... and now swear they've only had it once and it wasn't bad, they barely even noticed it.

(As someone who lived with severe dissociation for most of my life, this is a genuinely terrifying idea to me. I've already spent my whole life being like, "but what if I told them that already? but what if I did do that? what if that did happen to me and I just don't remember?") One of its known effects in the brain is to increase impulsivity and risk-taking, which is real fucking convenient honestly. What a fantastic fucking mutation. So happy for it on that one. Yes, please make it seem less important to wear a mask and get vaccinated. I'm not screaming internally at all now.

I saw a tweet from someone last year whose family hadn't had COVID yet, who were still masking in public, including school.

She said that her son was no kind of an athlete. Solidly bottom middle of the pack in gym.

And suddenly, this year, he was absolutely blowing past all the other kids who had to run the mile. He wasn't running any faster. His times weren't fantastic or anything. It's just that the rest of the kids were worse than him now. For some reason. I think about that a lot. (Like my incredibly active six-year-old getting a cold, and suddenly developing post-viral asthma that looked like pneumonia.

He went back to school the day before yesterday, after being home for a month and using preventative inhalers for almost week.

He told me that it was GREAT - except that he couldn't run as much at recess, because he immediately got really tired. Like how I went outside with him to do some yard work and felt like my body couldn't figure out how to increase breathing and heart rate.

I wasn't physically out of breath, but I felt like I was out of breath. That COVID feeling people describe, of "I'm not getting enough air." Except that I didn't have that problem when I had COVID.) Some people don't observe any long (or medium) term side effects after they have it.

But researchers have found viral reservoirs of COVID-19 in everyone they've studied who had it.

It just seems to hang out, dormant, for... well, longer than we've had an opportunity to observe it, so far.

(I definitely watched that literal horror movie. I think that's an entire genre. The alien dormant under ice in the Arctic.)

(oh hey I don't like that either!!!!!!!!!) All of which is to explain why we should still care about avoiding it, and how it manages to still cause excess deaths. Measuring excess deaths has been a standard tool in public health for a long time.

We know how many people usually die from all different causes, every year. So we can tell if, for example, deaths from heart disease have gone way up in the past three years, and look for reasons. Those are excess deaths: deaths that, four years ago, would not have happened. During the pandemic, excess death rates have been a really important tool. For all sorts of reasons. Like, sometimes people die from COVID without ever getting tested, and the official cause is listed as something else because nobody knows they had COVID. But also, people are dying from cardiovascular illness much younger now.

People are having strokes and heart attacks younger, and more often, than they did before the pandemic started. COVID causes a lot of problems. And some of those problems kill people. And some of them make it easier for other things to kill us. Lung damage from COVID leading to lungs collapsing, or to pneumonia, or to a pulmonary embolism, for example. The Economist built a machine-learning model with a 95% confidence interval that gauges excess death statistics around the world, to tell them what the true toll of the ongoing COVID pandemic has been so far.

Total excess deaths globally in 2023: Three million.

3,000,000.

Official COVID-19 deaths globally so far: Seven million. 7,000,000. Total excess deaths during COVID so far: Thirty-five point two million. 35,200,000.

Five times as many.

That's bad. I don't like that at all. I'm glad last year was less than a tenth of that. I'm not particularly confident about that continuing, though, because last year we started a period of really high COVID transmission. Case rates higher than 90% of the rest of the pandemic. Here's their data, and charts you can play with, and links to detailed information on how they did all of this:

Here's a non-paywalled link to it:

https://archive.vn/2024.01.26-012536/https://www.economist.com/graphic-detail/coronavirus-excess-deaths-estimates

Oh: here's a link to where you can buy comfy, effective N95 masks in all sizes:

Those ones are about a buck each after shipping - about $30 for a box of 30. They also have sample packs for a dollar, so you can try a couple of different sizes and styles.

You can wear an N95 mask for about 40 total hours before the effectiveness really drops, so that's like a dollar for a week of wear.

They're also family-owned and have cat-shaped masks and I really love them. These ones are cuter and in a much wider range of colors, prints, and styles, but they're also more expensive; they range from $1.80 to $3 for a mask. ($18-$30 for a box of ten.)

[unboundprompts]

hi! i wanted to ask how could i write a scene of a band performing and make it flow smoothly? Reactions to it and inner dialogue of the leader singer while performing?

I hope that makes sense!

Thank you :)

How to Write a Band Performance

Set the Atmosphere with Sound and Sensory Details

Use sensory language to capture the energy of the music, the movement on stage, and the audience’s reaction. Think about the sounds of instruments, the lights, the thrum of bass vibrating through the floor, or how the crowd looks.

Example: The drums kicked in, a thunderous heartbeat that pulsed through the packed venue. Strings followed, filling the air with an electric charge, and the lights dimmed just enough for the crowd to lean in, hungry for the next note.

Anchor the Lead Singer’s Focus

The lead singer might catch moments in the crowd, like a fan mouthing every lyric, someone laughing, or even seeing familiar faces in the sea of people. These little connections add a human touch and make the performance feel alive.

Example: He spotted a girl in the front row, eyes closed, every word leaving her lips like a prayer. She knew each lyric by heart, maybe better than he did. That look kept him grounded—kept him singing.

Use Inner Dialogue to Show Nerves, Confidence, or Distraction

Let the lead singer’s mind wander a bit, but keep it tethered to the music. They might think of something unrelated that they suppress to stay focused, or maybe they reflect on what this song means to them, especially if it’s deeply personal or symbolic.

Example: Here we go. Breathe. Just like rehearsal. But it was never just like rehearsal. Each word brought him back to the night he wrote it—a night he barely survived. He shook off the thought. No. Tonight, it’s just for them.

Describe Body Movements and How They Connect to Emotion

Physical sensations can be as telling as dialogue. The lead singer might feel the warmth of the spotlight, the stickiness of sweat on their skin, or the way their voice feels strong, raw, or strained.

Example: He gripped the mic stand, fingers tight, and leaned forward. His voice cracked on a high note, but he let it, gave it to the crowd raw. They wanted his truth, his realness. That was all he had to give.

Show the Crowd’s Reaction

Describe reactions like a wave, where energy ebbs and flows. The crowd might sway during slower parts, roar during the chorus, or go silent in the song’s more intimate moments. This back-and-forth dance adds rhythm to the scene.

Example: As the first chorus hit, the crowd became a sea of outstretched hands, fingers clawing for a piece of the music. A roar rose, then softened as they sang with him, their voices tangling with his own, something fragile and fierce all at once.

Balance Between Action and Inner Thoughts

To keep the scene flowing, alternate between what the singer does (interacting with the mic, moving on stage) and what they think. Too much inner dialogue could slow down the scene, so give action and reaction space to keep the reader engaged.

Example: He took a step back, holding the last note, letting it resonate through the space. He stole a glance at his bandmates. They were lost in the music too, faces set, eyes closed. It felt like the old days—a secret between them, shared with everyone.

End with a Climactic Moment or a Release of Tension

End the scene with a dramatic finish, like a powerful note, a burst of applause, or even silence if it’s an emotional song. The lead singer could feel relieved, drained, or exhilarated by the end.

Example: As the last chord faded, a brief silence hung over the crowd—a pause, a heartbeat—before it shattered with applause. He closed his eyes, letting it wash over him, knowing that for now, the song was enough.

[anemoiashifts]

why you should get off social media if you want to shift.

before you scroll away, i want to challenge all of you to read all of this. this is one of my longest blog posts ive ever made with over 1,000 words. if you can or can’t make it through the whole post, please let me know how far you’ve gotten in the comments below. you’ll get a surprise at the end 🥳 !

social media isn’t an inherently bad thing. however, outside & inside of the shifting community social media (specially tiktok) has been shown to effect our attention span. this shows in my comment sections on my longer tumblr posts that i also share on tiktok, such as this one, when people say things like “im not reading all of that” or “can someone summarize” also “what method should i use” and “why am i not shifting”.

let’s start with the basics of shifting. shifting attempts need some kind of focus; an affirmation, a visualization, some sort of task like counting. if you’re someone who struggles to focus, you will struggle to learn how to meditate or any hobby or task you’re tying to accomplish. all shifting methods are is a meditation. while no, you don’t need a method, I would make the argument learning how to meditate & focus your attention to what you are trying to manifest is an important part of shifting. if social media creates an instant dopamine reward without little effort, the appeal of shifting seems less. this is why i think a lot of people actually like thinking about shifting & creating content for it rather then doing it — because trying to shift requires some level of work without instant reward even if it’s as simple as laying down & setting intention.

if you try to shift & you wake up in your cr still, that isn’t as exciting when comparing it to the idea of shifting. rather, if you post an edit or a video about your dr you will receive a dopamine hit through video interaction (comments, likes, how social media platforms are set up in general). even maladaptive daydreaming can fall into this category to some. the interest in attempting to shift dies because we feel like we aren’t gaining anything from it when that’s not true. when laying down & attempting to shift, we are meditating & training the brain to focus on what we desire most: we’re correcting our attention span.

social media destroys the ability to focus & what we focus on & give our attention to allows room for that desire to grow, to become reality. if we’re always so overwhelmed with information & have so much to stress about, it’s important to recognize what we consume & how it effects our mood & mental health & how it can sometimes delay our manifestations. im not saying you have to be positive all the time, but we’re exposed to so much that it’s important to check in with yourself every once in a while. this can be where shifting content comes into play vs non shifting content. think demotivation, you don’t look for it, it just appears. & how many times have you opened tiktok to look something up to only be distracted by a completely unrelated video that automatically started playing ?

what i mean is people are telling you what shifting is, what works for them (which you could register subconsciously & believe that’s a step by step guide), rather then self discovery. people are telling you what shifting is, how to do it, what to think, what to script, what method you need to do, even if they say “this may not apply to everyone” because of how it’s being presented & spoken about. the said popularity of a method or definition may also come into play & feeling like something has to be right or work because other people align with it. its like math class, the teacher shows you one way to solve a problem then says “your allowed to use your own methods” & shows you one example of it then goes back to using the original method in class that you don’t understand.

another reason is opinions. when being shown so many people speaking on shifting & their thoughts it can be overwhelming. it’s a great thing so many people are willing to talk about their experiences in their desired reality or want to share their personal breakthroughs & opinions on what shifting is, it can be confusing. while everything i just listed is well intended, leaning about shifting through places like tiktok & not venturing out & doing your own research — or just searching methods online & trying it yourself while going in blind — it takes away self discovery.

so, how do we learn about shifting ?

when i say get off of social media, i don’t exactly mean all social media. yes, all of these things happen across the internet but the difference with tiktok is that the fyp isn’t so prominent. this of course also applies to other feeds that are generated, but a lot of the shifting community is ok tiktok so im using the most known example. it’s important to search & decide what information you consume & seek out rather then being told something without stopping to think for yourself. you want the chance to be able to create your own thoughts. your own unique thoughts you have about things make them personal & your own beliefs become stronger when you realize things on your own. it’s more satisfying that way.

places like reddit & searching for questions you specifically have so you don’t have ten more questions shoved in your that you didn’t have before that cause you added worry or unnecessary fear is helpful to keep in mind.

there is room for grey area. not everything needs to be black & white. there should be no consciousness vs multiverse theories because two things can both be true at once. Ike thing doesn’t have to be against something, you don’t have time pick a side. it’s all theory & hypothetical. it’s okay that we 100% don’t know (& will probably never know) what shifting truly is. not everything needs to be discovered to preform it “correctly”. you don’t need to be a master at painting to paint, you don’t need to know how paint brushes are crafted or how canvas is stretched to preform, anyone can sit & learn as they create their first & second & tenth piece. even people who have painted & sold their artwork for millions, don’t know the great’s techniques. they know pieces of them & take what works & discards what doesn’t serve them.

this post isnt to negate any of the good social media has done or sound like my mom & preaching about how social media destroys your brain…but i think we should be mindful of what we consume & how it makes us feel & if we’re speaking for ourselves or parroting others words. there are so many great people & advice out there & im not trying to take away from that. i just think taking a moment to stop & digest what we’re seeing is healthy. this blog post has been a long time coming but i know a lot of people wouldn’t want to hear it. i can promise you, you are more addicted then you think — myself included. i just don’t wake you guys to look back in 10 years & have spent more then half of that looking at a screen when there’s so much life to be lived. i don’t want social media to take away from what we are all here for which when we come down to it is living. shifting is literally wanting to experience life & i can’t help but find it ironic that this is the opposite of everything we wish to accomplish through this practice.

please take care of yourselves. much love.

surprise :) congrats you made it ! here’s your digital slice of cake ! 🍰

[literaryvein-reblogs]

Any advice for figuring out how to work on writing characters arguing?

I’m just curious and also I mistakenly derailed part of my writing over struggling to write a scene of characters starting an argument that was meant to escalate.

Writing Notes: Arguments

Arguing is full of tension.

Even benign conversations between friends so often belies subtextual personal agendas that are antagonistic or covertly full of anger or upset.

Honesty itself sometimes is the product of extreme tension and upset.

One’s resistance to telling the truth to another or admitting to oneself a truth can be excruciatingly tense and stressful, even between lovers.

SIDESTEPPING

You instantly create conflict in dialogue when you avoid “on the nose” responses.

On the nose means a direct response, sometimes even echoing the previous line.

You can avoid direct response:

With a statement that is unrelated to the prompting dialogue

By answering a question with a question

With a line of dialogue that is going to need some explanation

Also consider using silence:

“Are you ready to go, dear?” Bob asked. Sylvia said nothing.

Or use an action response:

“Are you ready to go, dear?” Bob asked. Sylvia picked up the mirror.

OPPOSING AGENDAS

Always know what each character wants in a given scene.

If a character in a scene is just taking up space, give him an agenda or get him out of there. Or cut the scene entirely.

Scenes require conflict or tension, even if it’s subtle.

Before you write the scene, note what each character wants.

Then spend a few moments playing with those motivations.

List 3 other possible motives for each of the characters, then mix and match to decide which ones will make for the best conflict.

It is also important to create tension among allies.

One of the danger points in fiction is when two friends, or people who are at least on the same side, have a talk about what’s going on. The trouble is there might not be any trouble between them. So much of the dialogue becomes a friendly chat.

This will violate Alfred Hitchcock’s axiom (Hitchcock once said that a good story is “life, with the dull parts taken out.”).

The fastest way to handle it is to make sure there is tension manifested from the start.

Create tension in at least one of the characters, preferably the viewpoint character.

Example: When you have Allison meeting Melissa, her college friend, for coffee, don’t have them sit down and start talking as if nothing’s wrong in the world. Put the trouble of the story into Allison’s mind and nervous system and make it an impediment to her conversation with Melissa. In Melissa, place something that might be in opposition to Allison’s needs. Allison needs to ask Melissa’s advice about a crumbling marriage. Maybe Melissa is full of news about her sister’s impending wedding to a wonderful man and gushes about the prospects.

Spend some time brainstorming about the ways two friends or allies can be at odds. Then weave those things into the dialogue.

DIALOGUE AS WEAPON

Look for places where you can use dialogue as a weapon, a means for your characters to charge ahead in order to get what they want.

Keep in mind that dialogue is action.

It’s a physical act used by characters to help them get what they want. If they don’t want anything in a scene, they shouldn’t be there.

Note that not all weapons are explosive. They can be small and sharp, too.

PARENT-ADULT-CHILD

A great tool for creating instant conflict in dialogue is the Parent-Adult-Child model, popularized in the book Games People Play by Eric Berne (1964). This school of psychology is called Transactional Analysis.

The theory holds that we tend to occupy roles in life and relationships.

The 3 primary roles are Parent, Adult, and Child (PAC):

The Parent - the seat of authority, the one who can “lay down the law.” S/he has the raw strength, from position or otherwise, to rule and then enforce his/her rulings.

The Adult - the objective one, the one who sees things rationally and is therefore the best one to analyze a situation. “Let’s be adult about this,” one might say in the midst of an argument.

The Child - not rational, and not with any real power. So what does s/he do? Reacts emotionally. Throws tantrums to try to get his/her way. Even an adult can do this. We’ve all seen clandestine videos that prove this point.

So it is a helpful thing to consider what role each character is assuming in a scene.

How do they see themselves? What is their actual role? (It may indeed be different than what they perceive it to be.)

Most important, how will they act in order to accomplish their goal in the scene?

Answering these questions can give you a way to shape your dialogue so there is constant tension and conflict throughout.

Also consider that the characters might change their roles (try something new) in order to get their way. Thus, this is a never-ending source of conflict possibilities and only takes a few moments to set up.

TIP ON DIALOGUE

Look at all of your dialogue exchanges, especially ones that run for a page or more.

Analyze what roles the characters think they’re inhabiting.

Rework the dialogue by getting each character to be more assertive in their claimed role. (Also note that a character can change roles as a matter of strategy. For example, if the Parent isn’t working, a character might switch to pouting like a Child in order to get his way.)

Sources: 1 2 ⚜ More: Writing Notes & References

Hope this helps with your writing!

[iomoru]

Hey!! Love your work!! Since your request is open, can you make a Reader that like to talk a lot x character who's relatively busy, the scene is like reader was talking but then stops cuz she thought that character was busy doing something (example: doing paper work) so they weren't listening, but they actually were listening and they answer reader?, I DON'T KNOW IF IT'S CONFUSING OR NOT!!! (any character you want btw)

Unexpected Attention

A/n: I'm so sorry for not being able to do your req sooner, I got so busy in school activities I didn't even notice I had something inside my inbox- (I couldn't chooses single character so yeah 🧍‍♀️)

Genre: Modern! Au, Fluff, Gn! Reader, Second Person, Proofread

Chars: Cyno, Alhaitham, Wriothesley, Neuvillette, Ayato

Summary: You have a habit of rambling about the most random things whenever you're around him, even if he’s preoccupied with work or other tasks. Thinking he’s too busy to listen, you cut yourself off mid-conversation. But to your surprise, he’s been listening the whole time and isn’t about to let you stop now.

Cyno:

Cyno was at the small table in front of you, buried in the pages of some ancient text. His brow furrowed in concentration as his fingers lightly traced the lines of his book. You knew he took his research seriously, so you kept your voice light and casual, not really expecting him to be following along with your rambles.

“—and then I saw this cat trying to chase a squirrel, but it just ended up—” You trailed off suddenly, catching yourself. He was probably deep in thought about something much more important.

“Why did you stop?” Cyno asked, eyes still on the text, but there was a faint smile tugging at his lips.

You blinked, caught off guard. “I, uh...I thought you weren’t listening.”

“I was,” he said simply, finally looking up, his gaze soft. “The cat didn't catch the squirrel, right?”

You laughed softly, realizing he had been paying attention all along. “Yeah, exactly. It just gave up and sat there, sulking.”

Cyno chuckled, marking his page and closing the book. “Sounds like it could use some tips. Keep talking, I’m still listening.”

Alhaitham:

Alhaitham’s fingers flew over the keys of his laptop, the soft clicking punctuating the silence between your words. He was working on some project probably something that required more brainpower than your ramblings about the latest TV show you’d been binge-watching. As you got to the part where the plot took an unexpected twist, you hesitated, realizing he might not even be tuned in.

“You know what, never mind,” you mumbled. “You’re busy, I don’t want to bother you—”

“Why are you stopping?” Alhaitham’s voice cut in smoothly, his eyes still on the screen, but there was a small quirk of his lips. “I want to know how it ends.”

“You do?” you asked, eyebrows raising in surprise.

He glanced at you briefly, his expression unreadable but somehow fond. “Yes. It’s more entertaining than this report I’m working on, so continue.”

You grinned, heart fluttering a little at the thought of him actually listening. “Alright, but don’t blame me if you get too distracted.”

Wriothesley:

Wriothesley was sitting at his desk, pen in hand, as he reviewed some documents. The steady scratching sound echoed in the room as you sat nearby, talking about something entirely unrelated. Maybe it was your plans for the weekend, or how you’d run into an old friend from high school. His eyes were trained on his paperwork, so you figured your words were just background noise to him.

Mid-sentence, you stopped, feeling like you were just talking to yourself. “I’m sorry, you’re working. I’ll shut up.”

Wriothesley’s pen paused, and he looked up at you, raising an eyebrow. “Why’d you stop?”

“I mean...you’re busy.”

He shook his head, leaning back in his chair. “I’m never too busy for you,” His lips curved into a soft smile. “Besides, I want to know what happened after you saw your friend.”

Your heart warmed at his words, and you couldn’t help but smile back. “Oh, well, they told me this funny story about—”

Neuvillette:

Neuvillette sat quietly across from you, flipping through legal briefs or something equally as complex. His serene expression made it hard to tell if he was absorbed in his work or if he was listening to your musings. You were deep into telling him about a random fact you’d learned earlier that day, but then you faltered.

You sighed, glancing at him. “Sorry, I didn’t mean to interrupt. You’re probably focused on something important.”

He glanced up at you, his soft gaze meeting yours. “What makes you think I wasn’t listening?”

You blinked in surprise. “You were?”

Neuvillette nodded, his voice gentle. “Of course. You were telling me about the history of that statue, right? It was quite fascinating.”

Your face lit up as you continued, and he leaned forward slightly, a faint smile playing on his lips. He never seemed to mind your random tangents, and that made you feel like the most important person in the room.

Ayato:

Ayato was typing away on his phone, likely dealing with something work-related even outside of the office. You were in the middle of a rant about a new recipe you wanted to try but stopped when you realized he hadn’t looked up in a while.

“Okay, I’ll stop bothering you now,” you mumbled, feeling a little silly.

Ayato looked up, confusion crossing his face. “Why stop? I was listening.” He set his phone down and leaned his chin on his hand, looking at you with that signature, mischievous smile. “I’m curious now. What was the secret ingredient you wanted to use?”

You bit your lip, realizing you had underestimated him. “Um...it’s actually saffron. You know, to give it that rich flavor.”

His smile widened, and he nodded. “Interesting choice, i’ll have to try it once you make it.”

You grinned, your heart light as you continued explaining the recipe, knowing that despite his busy schedule, Ayato always made time for you.

A/n: I BADLY wanna write more but I'm so buried in stupid school activities

© ²⁰²⁴ ɪᴏᴍᴏʀᴜ ✰ do not repost, translate, plagiarize, use to train ai, or share my work on other social media platforms.

[bebsi-cola]

the way people online have reacted to discussions about physical disability by loudly insisting on discussing the category of "mental disability" actually flattens people's understanding of disability and creates a binary, a mind-body dichotomy stronger than anyone who wanted to just talk about physical disability ever did. like firstly, mental disability historically referred to people with intellectual disabilities (ID/IDD). and two, if you say something like "physically disabled only" you're not actually saying what kind of disabilities everyone else has. only that it's not primarily physical. there's disability that don't really fit into the idea of there being only a physical or mental category. many disabilities straddle the line. like i have migraine. it's a common neurological condition, and it disables me. i personally don't care to put it entirely in either "physical" or "mental" because it affects me holistically. if there's a club saying "people with disabilities that physically affected them are welcome", on the basis on migraine alone i could choose to join, or decide not to. nobody is forcing a category onto me. but people insisting that the opposite to physical disability is "mental disability" is forcing us into categories. just... actually be specific. say mental illness or developmental disability or something. you won't get a word to encompass every disability that's not primarily physical without flattening a lot of frankly unrelated disabilities into one category. it is more accurate and useful to use the categories that exist instead of pretending there's only two categories of disability (physical vs mental) and that they're opposites. for context i have a physical disability, a neurodevelopmental disability (autism), mental illness, and my migraine/neurological issue. those last three are different. i would go to different groups to relate to others with those issues, like for example an autism peer support group or mental health support group. they don't need to be encompassed by "mental disabilities" and treated all the same

[quicktimeeventfull]

how to make your fic easily findable

okay hello everyone! here is my somewhat solicited guide on how to make your fics easier for interested readers to find. 

please note that this is a guide to help you make your fics discoverable, not to make them popular(tm.) it’s also not a guide as to the best way to post fic. you do not need to do these things. doing these things will not make people like your fic more or less than they would otherwise. i do not do all these things, either. my aim here is purely to provide suggestions that will make your fic easier to search for and share.

where to post your fic

post it on ao3 as an individual fic. authors are often hesitant to post short fic on ao3, but readers simply cannot find it if it’s not there. multi-chapter drabble collections are a matter of preference and are absolutely fine to use, but in terms of findability they’re really hard for readers to pass around or put on rec lists. 

you can also post your fic on tumblr. ime fic posted in full is way more likely to be reblogged than an outward link. long fic posted on tumblr should use a read more cut, but at least a paragraph should be above the cut.

should i make a promo post? 

yes. ao3 does not have any features that facilitate promoting fic -- if you don't make a promo post, people will only see your fic if they regularly browse through newest fics or actively search for one of its tags.

what should i put in a tumblr promo post? 

a tumblr promo post should generally contain: 

title 

pairing

name of the fandom

summary of fic

link to fic 

your tags should contain

pairing 

name of all major characters

name of fandom 

the word ‘fic’ (so people who hate fic in the tags can filter it out. be polite!)

other optional inclusions: 

rating (explicit, teen, etc) 

word count 

major tropes

graphics (don’t forget alt text!) 

a sample of your writing (it’s common to grab a ‘best-of’ passage from within your fic, but personally i’ve found you get a way better response if you paste the first couple paragraphs then add a ‘continue’ link at the end.)

tumblr does remove posts with certain keywords from the tags, but honestly these keywords are very minimal. if you’re worried your post might not be added, double-check ‘latest’ and find an alternative phrase if necessary. don’t censor the word. you do not need to repost — tumblr will pop it back in as soon as you’ve removed the word. (it won’t push it back to the top, though, so it’s best to correct this asap.) 

a further note on tags

use the most commonly used tag. look at other people’s posts to find the fandom norms. it is fine to add multiple variations of the same tag. 

this is especially important if the tag is ambiguous. for example: ‘near’ is the most commonly used name for the death note character, but the full name ‘nate river’ should be included as well. take into account that a lot of people use plain searches rather than tag searches. an ambiguous name might be usable as a tag but not as a plain search. top vs latest searches will also give dramatically different results — ‘top’ searches tend to retrieve appropriate results with ambiguous names, but ‘latest’ results won’t.

what should i not put in my tumblr promo post? 

self-deprecating statements. this isn’t a moral statement. people just don’t like to read things if the author is telling them it’s bad

criticism of other people’s work, even if it’s really general. ‘i usually hate hurt/comfort but i wrote this anyway’ is obviously going to alienate the vast majority of your readerbase

anything unrelated to the fic. if people can’t tell whether or not something is a personal post, they’ll be hesitant to reblog. if you want to add commentary, put it in a second reblog. 

what should i include in my ao3 summary? 

this is a bit of a moving target. some readers like fairly detailed summaries. other readers look to tags for content information and prefer abstract vibes-based summaries. my suggestion would be to include the main selling points of your work — the characters, the tropes, and whatever factors make it unique.

at the end of the day, though, basically anything other than ‘i suck at summaries’ is fine.

what ao3 tags should i include?

any major pairings, any major characters, any major tropes. imagine your fic from a reader’s perspective — what tags would they look under if they were searching for something like it? 

also pay attention to whether or not an ao3 tag is canonical. only canonical tags can be filtered on. if it autocompletes, it’s canonical.

for more information on a specific tag, click into the tag to reach the ‘x works in TAG’ screen, then click it again. tags are often made synonyms of specific canonical tags, in which case filters will treat them as if they’re that tag. you can get pretty granular with all of this but basically if you use tags that autocomplete you’re good to go.

you can also use tags to clarify content. (ex. ‘this trope is only a minor aspect of the story.) ao3 used to ask people not to do this, but it’s now explicitly permitted. 

does posting time matter? 

yes. sorry. it does. quite a bit, frankly.  people often overthink this — there are so many variables trying to find the exact perfect time is a losing game — but it is absolutely worth taking into account. 

when should i post?

on ao3: do NOT post between 12AM and 5AM UTC. ao3 has a longstanding posting glitch that will backdate your work if it’s posted between these times. in general: broadly speaking fic tends to do best on sundays and worst on friday. posting on a holiday dramatically drives down traffic. fic should be posted on ao3 when most people would likely have time to read (ex. after the standard workday) and promo posts should be posted when people would likely be looking for fic (ex. commuting hours aka slightly before 9AM and at 5PM.) the majority of tumblr users operate in EST. 

the university semester also makes a massive difference to how much engagement a fic gets — views always shoot up during breaks and plummet during exams. honestly working around this would require delaying your fic so frequently that i can’t see it being worth it, but it’s good to be aware of in terms of the response you’re expecting. 

also the ‘best’ posting time does vary a lot genre by genre so you’ll have to experiment a bit. (personally i’ve found h/c tends to do better midweek, for example.) imagine your fic from a reader’s perspective: when would you likely be looking for this sort of thing? 

anyway don’t drive yourself crazy with this but also don’t shoot yourself in the foot by posting at 2AM EST on christmas morning. do you have a random piece of advice about posting on ao3? please be aware that if you write your fic as a draft, ao3 will backdate the fic to the day you saved the draft and index it accordingly -- it won't show up in the newest fics. multichapters initially posted as drafts will sometimes glitch and backdate every single new chapter. you can correct this by checking the 'set a different publication date' box and manually inputting it.

should i reblog my own promo posts? yes. do this. do it multiple times. make sure you do at least one reblog in the morning, one in the night, and one on the weekend.

i feel like authors are often embarrassed to reblog their own work because it feels self-important but the fact is most people are not reading your blog start to finish. no one will see all your reblogs. tbh you may lose followers for this but this is is a guide on fic visibility, not tumblr popularity. 

please conclude your post now

anyway!! i hope some of this is helpful. again, you don't need to do any or all of this, but i hope it can provide a bit of a framework and some suggestions.

[phoenixyfriend]

Somewhere out there is an essay about superhero movies where villains co-opt, misuse, or even just misunderstand the language of the left to push methods and goals that are incompatible with the actual theory of the left, but that sound Right And Good to viewers who aren't thinking it through entirely. And the essay is not just about how they compare to each other, but how they are a litmus test for viewers to know how susceptible they are to propaganda.

Co-opt: Most obvious example and the inspiration for this post is the Riddler in Batman (2020, the one with RPatt). The Riddler recites leftist rhetoric about corruption, wealth hoarding, and redistribution, but his actual actions and goals are unrelated. He's an accelerationist who's more interested in tearing down a system that didn't benefit HIM than in actually rectifying the problems, and who cares if a few kids get traumatized or even killed along the way?

Misuse: Easy mode, this one's Thanos. He talks about ensuring there's enough for everyone to eat, but like. Bro.

Misunderstand: Erik Killmonger, who has the benefit of both some incredibly legitimate grievances and a pretty face, but also kind of fails at the idea of intersectionality, proportionality, or Start With Words Before You Escalate. He's the easiest to sympathize with, because he has some really good points and ultimately does appear to be legitimately pursuing those goals... but he's also a misogynist, jumped to international terrorism before "call up my cousin who doesn't know I exist," and there's something in there about the role played by his time in the US military, which gave him emotional trauma, head trauma, and a sincere belief in the validity of US-style insurgency operations based on hostile takeovers of inconvenient countries. He's charming and pretty and sincere... he's just also, in many ways, wrong. And the parts where he's right makes it easy to try to ignore the bits where he's wrong if you're predisposed to like him and prefer some absolutism.

Anyway, yeah, there are definitely other examples, but the ones that were suggested to me didn't quite vibe with the base idea (Mysterio and Vulture both had disgruntled union moments in the MCU, but they left those roots so quickly that I don't think the concept of using leftist rhetoric as cover/justification for the crimes really applies since, they very quickly shift gears into revenge and greed respectively).

Someone's probably done this better orz.

[fruitsofhell]

My other fun addition to the Hbomberguy video stuff is not just that you need to start checking everyone's sources just to make sure you aren't being duped, but to not use them as a stand in for media consumption/experiences either. Like I'm not gonna lecture you on reading sources cause I am the first one to not and that's my laziness, but like sometimes more important than checking the original analysis of something is just to... see tge thing being analyzed yourself. That's not even about misinformation or lying, sometimes people's opinions just SUCK ASS.

Like there are youtube video essayists I overall kinda respect but they have dogshit opinions on things. I used to love Jack Saint's bad faith overly critical analyses of throwaway kids films, until I realized he also saw films that in my opinion had a lot of merit, and it turned me off from him. Big Joel is cool as hell, but anytime he gives his opinion on animation save like a few points, I completely glaze over and find him annoying. The other day I watched a video essay about the "Magical Negro" trope, and the first movie sourced interested me, so I watched it and I hardly understand why they put that in, it framed the movie as something it wasn't.

Just in general, it's good practice to make sure your opinions on media are your own and experience it yourself. MY biggest takeaway from the Hbomn video wasn't to throw rocks at Somerton or start obsessively fact-checking every essayist I watch, but to make sure I have a baseline of what they talking about myself and not letting anyone throw around media examples without reckless abandon. The Celluloid Closet and Tinkerbelles and Evil Queens is on my watxh/read list now, but the first thing I did from the words he stole from Celluoid Closet was watch Rebels Without A Cause out of curiosity of this gay subtext in a 50s blockbuster. And it was a super interesting experience that has given me my own unrelated opinions. Not to discount whatever important queer reading and historical importance the film has, but I'm happy I also have more than just that cause I Watched It Myself, not someone's specific and unavoidably biased reading of it.

The video isn't about cultivating suspicion but cultivating appreciation for the skills of analytical/informative/opinion writing. So even when people aren't being lying grifters, it's just good to be your own critic and media analyst. Maybe you'll even contribute to that world yourself, or maybe you'll keep all your cool opinions in your heart and die, who cares. The point is that unlike some people, your opinions and words are your own. It's a beautiful thing to have your own creative voice.

[sugar-grigri]

Denji no longer has access to his heart

The golden rule in Chainsaw Man is to focus on the title, since it's the key to reading the story.

Rain, Brothel, Removal seem to be three absurdly unrelated elements, and Fujimoto likes to put it that way, because the challenge for the reader is to find a way of reading that links them together.

This chapter is funny as well as disturbing, deeply sad, and in itself this collection of sensations just makes you uncomfortable, since the tone is always reversed, and the protagonist himself refuses to allow his situation to be a comic spring.

Fujimoto confirms an interpretation that is fundamental to understanding Denji: his character thinks only in terms of short-term objectives, incapable of projecting himself, just as he responds only to the satisfaction of needs without being able to verbalize and think about his unhappiness in a more abstract way.

Denji, for example, isn't thinking about whether sex is actually a solution to his problems, no, it's more concrete than that: he's thinking about whether he's masturbated recently.

Another piece of evidence is the rain. I've always thought that when it rains in Fujimoto's works, it's proof that no lies are being told.

Whether in Look Back with a silent victory, the school moment with Reze and Denji.

But that's not what we're interested in here, because there's no doubt that Denji is sincere, or at least the rain only shows us that he's sincerely desperate.

There's a subtlety....

Denji complains that he only thinks with his dick, but there's another, more philosophical and certainly less funny idea behind this: Denji only thinks through his body.

The rain, the amputation, the brothel - they're all proof that Denji only thinks with his senses.

Denji thought the brothel was the solution to his distress, it's when it started raining that he collapsed, as if the change in weather had evoked his own emotional change. Yoru's solution is amputation, another physical sensation and solution.

Amputation is a solution all the more symbolic because it's antithetical to what Denji is: a demon man capable of regeneration.

To amputate is in itself not to regenerate, and not to regenerate is in itself to be more human.

What distinguishes us from animals (although science relativizes this) is the way we think about our own emotions, something Denji is incapable of doing, or at least has great difficulty in doing.

This doesn't mean he can't verbalize it at all, but when he evokes, he evokes a sensation, a dish (a shitty hamburger, a steak, a ton of sex).

Even when he wants to be loved, Denji formulates it in the form of wanting his heart, almost organically.

No one wants Denji's heart because it's gone

And it makes sense, because Pochita has reassembled his entire body, except for Denji's heart, which has literally been left in that garbage can.

That's why, when Pochita lets Denji access his feelings, the place is symbolized by a garbage can.

When Denji asks Pochita to wake up to find Nayuta, Pochita asks him where his legs are, because Denji's only function is to be a body.

And now everything makes sense again

When Denji spoke his dream to Pochita, being Chainsaw Man, I think there was a certain feeling in every reader: what exactly does it change?

What if it changes nothing? It's normal for Denji not to be able to project himself in the long term, as he should symbolically listen to his heart.

Denji's inability to have a dream, a goal for the future, is symbolized by him and Pochita as children.

It doesn't mean that Pochita is an antagonist (although that could be cool), but that Denji and Pochita are prisoners of their own situations.

Denji doesn't have access to his heart, but Pochita is contractually bound to what Denji wants.

This is also why, when Denji reproaches himself, it's his child self who's addressing him, because the only way to reproach himself, to feel guilty, is symbolized by his old self, the Denji that Pochita may have known. Just as Denji doesn't have access to his heart, Pochita has difficulty gaining access to the person Denji has become, all of which only leads to stagnation.

Denji as a child is also the symbol of a scumbag, the remnant of a lost heart, always dressed in poor, dirty clothes, a past that Denji seeks to escape, but a past that is the only time Pochita has been able to get to know Denji.

I know it's a pretty crazy line, but it's precisely because Denji is Chainsaw Man - a being both fused and disconnected - that he thinks with his dick lol

Saving Chainsaw Man by killing Chainsaw Man has never been a truer statement

Chainsaw Man is Denji's prison but also his only hope

A cage

[ph1l5eyelash]

i think there was something weird about Gangle’s mask in episode 4 and people are not talking about it enough.

im just kinda throwing out ideas here, I have no concrete theory, just things I noticed and thought were interesting.

AND IF YOU HAVE OTHER THEORIES REGARDING ANY OF THIS, TELL ME PLEASE IM SO CURIOUS

OKAY SO, first of all, I think we can all agree Gangle was acting weird in this episode— like, uncharacteristically weird. that could’ve easily (and obviously at least partially) been the fact that she was literally at her breaking point, on the verge of abstraction, but between the creepy vision Ragatha saw and the weird analog horror training video, I feel like it has to be more than that.

Talking about the vision Ragatha saw… what the fuck was that guys and why is nobody talking about it????? gooseworx did say “i just thought it would be funni.” when asked about it, but she has also said she often misleads us with her answers to the point that its “borderline gaslighting”. this is clearly an example of that, something so incredibly ominous and seemingly unrelated to the rest of the episode would not just be thrown in for no reason… it has to mean something. not to mention the creepy face when she turned around looks weirdly— intentionally— similar to Pomni’s face while she was possessed in episode 3.

I have a theory that whatever was possessing Pomni had something to do with Gangle’s mask in episode 4.

Speaking of this part of episode 3, I don’t think Pomni’s possession was apart of the adventure, or at least, not how it was intended to go. Whatever was possessing Pomni was hurting her in a way we have not seen in other adventures— this was not unintentional trauma like her and Gummigoo glitching beneath the map in episode 2, that was obviously not supposed to happen. This was intentional. As Jax said, Caine would not do something malicious to the humans, it’s not in his nature (which he said in a “i know that for a fact” sorta way, which is a whole other conversation). Not to mention, he said this DIRECTLY after Ragatha’s vision of Gangle looking eerily similar to whatever was possessing Pomni. So what was that?

And not only did it hurt Pomni— “how’s your wife, Kinger”??? are you kidding??? and this was not said nicely, it was clearly mocking him. how could mocking someone’s dead (or abstracted i guess) wife be any LESS intentionally malicious????

also, Caine is forgetful. This is shown by him forgetting they have a suggestion box, and more interestingly, through Zooble’s therapy session showing that Caine forgets their trauma. With such a large emphasis on Caine forgetting Zooble’s trauma, it would not be completely unreasonable to assume that he forgets the others’ trauma as well. Kinger’s wife abstracting, for example.

So with this moment being outright malicious towards both Kinger and Pomni, and with Caine’s forgetfulness being focused on in the same episode, I feel strongly that this was not Caine’s doing. Or at the very least, “how’s your wife, Kinger” was NOT Caine’s doing.

That raises the question, if Caine didnt do this, what did? And how does it know about Kinger’s wife abstracting— how would an NPC in an adventure know anything about the characters outside of the adventure?

I don’t have an answer to that question, but I have a looser theory that could possibly be related??? this one might be a little far fetched, but hear me out:

During Gangle’s weird (WEIRD) analog horror training video, Jax asks “when did you make this?” Sure, this could be meant to be a funny line that doesn’t mean anything… but he has a good point. When DID she make that? And why does it get so meta and scary? Malicious… one could say— I mean, Jax was terrified.

In the video, she was clearly projecting her failed dream of being a manga inspired comic artist, but if whatever was possessing Pomni knew about Kinger’s trauma, and with the theory that it has something to do with Gangle’s mask, I don’t think its impossible that it could know about Gangle’s trauma as well.

Assuming that whatever was possessing Pomni is actually intentionally connected to Gangle or her new mask, maybe that’s what made the video, not actually Gangle.

That would answer Jax’s question of when she made it— she didn’t.

That would explain Ragatha’s weird vision.

While the video doesn’t have any direct ties to the possession or the face, it definitely has pretty significant indication that she’s not herself— whether thats literally or figuratively. and idk man it was creepy and weird. as I said, im not set on this theory at all, i dont have any concrete idea what was going on here, but i know it has to be something.

this scene and Pomni’s possession were the only moments in the show that felt like the characters were being intentionally harmed— the only instances where they were intentionally made to feel real fear. The characters know that they will not actually be hurt during the adventures, they know that Caine wouldn’t put them in that situation. Sure, Pomni got jumpscared and her eyes popped out, they were panicked when trying to escape the angel head, they were panicked during the whole truck-chase scene in episode 2, but they knew it was all just apart of the adventure and they were gonna be fine in the end.

This fear was different. This was real fear— and they were intentionally made to feel that way. These instances were the only time the characters were genuinely afraid that they were in real danger (aside from the abstraction and backrooms-void situations in episode 1, but obviously those were not intentional).

I think whatever this is is trying to intentionally harm the members of the circus.

side note:

Zooble just found a mask that specifically looks like its for Gangle in their box of parts? why??? obviously it was for Gangle, so why was it in Zooble’s box of extra parts? did Caine put it in there? I guess that would make sense cuz Caine gave them the parts, but again, why give them a mask obviously for Gangle?

Which could mean nothing…? But it is weird that Zooble just randomly happened to stumble across a comedy mask… or maybe i’m just looking too deep into that.

Im gonna definitely post more about whats going on with jax in this episode (“nobody is seeing this, right”, “caine wouldnt do anything malicious its not in his nature”) because that feels important, but thats a theory for another day. this episode had so so much good information and my theory brain is absolutely spinning.

anyways yeah, i dont know. I feel pretty strongly that Ragatha’s vision and Pomni’s possesion are connected and that whatever that face is is important, but again, these are just ideas and the second theory is kinda just spitballing. i dont know if any of this makes sense. either way, all the theories make my brain happy and gooseworx’s storytelling is so amazing to me, whether any of this is right or if im completely missing the mark, its so interesting and i cannot wait to find out what the fuck is actually going on in this show. gooseworx, you talented storytelling genuis you, mwah!

if you have any theories on any of this, please share!! i would love to hear your ideas.

[starlight-bread-blog]

Why Stolas is a Terrible Person/Character

Oh this will be long. In this post I will cover why Stolas is a character that fundamentally fails at everything it tries to accomplish. I probably have to say that you can love Stolas. That's just why I hate him.

Trigger warnings for: Racism, casteism, power dynamics, sexual assault, sa apologism, abuse, and neglectful parenting. A lot, I know, but that's Stolas.

His Actions in S1

Despite the title, there will be two examples from season 2.

Racism/Casteist

Stolas is from the upper caste, a royal. He seem to often fetishize imps, or the fact that he's sleeping with someone who's less than him. I even saw fans pointing this out. He has empathized Blitzø being an imp in a sexual context.

(Notice the use of words: "little", "plaything", to me this is blatant racism and fetishism).

He also showed a certain lack of empathy for his imp butler.

Stolas isn't particularly violent, he doesn't choke people left and right. He's just angry, at Stella, so he decides to.. choke the imp.

Stolas has been dehumanizimg imps. Fetishizing an imp for being an imp, calling him an "impish little plaything", and he has been willing to choke an imp just because he was angry at something unrelated. He's racist and casteist.

Treatment of Blitzø

"Treatment" is putting it lightly. In the first episode, Stolas does something inexcusable that will taint their dynamic for all of season 1. First, he sees Blitzø in a vulnerable position, where he cannot think or negotiate. Thus, stripping him of what little choice he has on what he's about to offer.

What Stolas is saying is, "Fuck me or I'll shut down your business". This deal he makes is just a threat with extra steps. Which is a real life abuse tactic called Quid Pro Quo:

"Quid pro quo harassment occurs when someone in a position of authority over another directly or indirectly demands sexual favors in exchange for some benefit, or to avoid some detriment in the workplace".

One element I haven't brought up yet, is the political power imbalance. Stolas is royalty, one with a lot of power, influence, credibility, etc. Blitzø has non of that. Other characters have commented on that the fact that Blitzø even has a business is a miracle.

There are so many layers of imbalance and how Blitzø has no choice or agency. A royal is """offering""" the powerless a Quid Pro Quo while he's in a life threatening situation.

And their dynamic looks exactly like you'd imagine. Stolas consistently sexualizes him against his consent. (As it's been established, Stolas's racism feeds into this). And refuses to do the surface level courtesy, not even calling him his real name (x).

Stolas treats Blitzø as a lesser being, violates his boundries, forces himself on him, and strips him of all autonomy.

Faliure as a Father

Stolas's role as a father is directly tackled in Loo Loo Land and Seeing Stars. At the beginning, both episodes show Stolas being a good father to Octavia, but does this still hold true in the currect day? Well, no.

In Loo Loo Land, Stolas wants to take Octavia to a theme park. Octavia is 17, and Stolas ignores her when she says she doesn't want to go. (In retrospect, Stolas could be oblivious because he's projecting his experience meeting Blitzø onto Via).

But that's just the start. Stolas then invites Blitzø to the trip and harasses with him all throughout. Essentially, Stolas is forcing his daughter to watch as he harasses "the homewrecker", all the while he's supposed to be with her, on a trip she didn't even want to go to.

After a whole day of this, as expected, Octavia runs away. Stolas chases her. (And of course, he's still thinking of Blitzø on his way to find Via). There's an apology scene that looks deep, but when you dissect it, it's rather empty.

Stolas never actually provided an explanation as to why he just did what he did, nor of the "drama" with Stella. There is nothing here. Octavia only makes up with him because he said he isn't gonna leave her. Which is bare minimum.

After he realizes that his affair hurts his daughter to the point where she feared he's gonna leave her, what does he do? What practical actions does he take to improve? Divorce Stella? Cut off his deal with Blitzø? Explaine the situation?

Nothing. And now we see he's willing to stand up on a stage and let people know.

In Seeing Stars, Stolas bashes Via's mother to her. Which, does she know about their situation? Does she not? She isn't shown to hate or.. anything Stella. Is he hiding the situation (which I'll cover), while also trashing her mother? That's impulsive and negligent.

But that's nothing. She later runs away, Stolas is stressed as he should be, but the second they arravie on earth he's all calm and everything's normal.

When his daughter is missing. When he is shown to be stressed, it's for the sake of plot. But he's willing to just chill, watching Blitzø's show.

Stolas is, dare I say it, neglectful. He might care about his daughter, but he's proven that she's not enough of a priority to focus on her when it matters.

Cheating

Yes, I know what ended up being revealed, I'll cover that. In season 1, the relationship is presented to not be perfect before Stolas cheated.

But there were instances that showed that what Stolas did changed their relationship for the worse. (Some additional rebuttals).

It could have been a loveless marrige, they could have fallen out of love, they could have been arranged. But their relationship was manageable. Love or no love, it's a committed relationship. and Stella didn't deserve to get cheated on.

Who was Stolas?

Stolas's behavior is common among royals. Stella has no problem throwing said butler at Stolas (S1 E2), and the Goetias are shown to be casteist. They're untouchable privileged assholes.

Stolas was born that wealth, never having to suffer the consequences of his actions. Always putting himself first, hurting others. He doesn't mean to, he wants for everyone to be happy, he does care.

However, when it actually matters, he acts on his worst tendecises with no self control. He never had to learn self control. That is, until Ozzie's.

Before Ozzie, Blitzø and Stolas are at obligation. Stolas's actions had tainted them. There was one redeemable moment: He saved Blitzø's life. Stolas did something for him. But this one act of goodness doesn't magically fix everything.

Stolas's family life have been escalating. Stella hated Stolas for cheating and his daughter just had to take it. In Loo Loo Land, he learns the full weight of the damage he caused. And in the next episode we see him, he proceeds to take no steps to improve the situation. In the end of that same episode, we learn that Stella hired an assasin after him. Because he did nothing.

The season 1 finale, Ozzie's, is aware of all of this and absolutely delivers.

The episode starts with seeing Stolas alone, in his big house, miserable. It appears that Stella finally left the house. (Also he later says "Octavia is with her mother this weekend"). He's eating a bowl of cereal, pitying himself, wallowing in his despair. You feel bad for him, he looks so torn down.

And then Blitzø calls. The one he loves, asks him on a serious date. It's hope, it's honest, and it's exactly what he wanted. It's almost as if the universe handed him is fairytale scenario.

Almost. Reality smacks him right in the face on that date. Asmodeus calls him out on losing everything he had. He had a family, a happy daughter, but gave it all up for an affair.

Blitzø calls him out on treating him like a pet, not earning any of that emotional connection he wants or even communicating it, just violating him, they have nothing.

The show held him accountable and called him out. While it's not perfect, Stolas is a morally grey character. Now, a character arc was set up where he learns to treat people better. Stolas is exactly the character I want to see from a show like Helluva Boss. He's a horrible person, but nuanced, who does care.

Season 2

Yeah... all of that is thrown out the window. Because apparently, Stolas is just imperfect. He simply made a lot of mistakes. He misread a lot of situations, really it's all just an accident. He's an oblivious victim. So, let's get into the woobification of Stolas.

Surrounded by Evil

In The Circus we're given Stolas's ✨️backstory✨️. And we find out he had such a terrible life.

Stella is, and always was, an abusive evil bitch. From the day she was born. Pure evil.

So you see, Stolas did nothing wrong. Let me be clear, you are not obligated to stay loyal to your abuser. We can erase "cheater" off the list. But that's the only reason why it's done. So we can erase that off the list, and that we could feel oh-so-sad for him.

Because Stella isn't written to be an abuser. She's a cartoonishly evil. We see a picture of her as a kid where she's the same person. Spongebob villians have more depth than her, you know, the abuser in the adult show.

Helluva Boss reversed an established dynamic where Stella is the victim and Stolas is at fault, except without any of the depth or nuance.

But that's not all. Stolas's dad (Paimon) is also neglectful. By "neglectful" I mean, of course, a Saturday-morning cartoon villain.

He doesn't remember his name. This is such bullshit. I can buy Stolas having a horrible father. It's also not bad to show Stolas's trauma. What is bad is that the subject matter is handled with less seriousness as the fish fight in Spring Broken. And Helluva Boss did write Crimson as a serious abuser, while the episode still had comedy, but not Paimon.

The reason why all of this is happening, is so we could feel bad for Stolas. They do zero of the work to earn a good story about abuse, but still go "Do you see how sad he is? Look at how they're treating this poor baby!!"

"Recontextualization"

In said ✨️backstory✨️, we also learn that Stolas and Blitzø are childhood friends. But also not really, they just hung out for one day. Where did this come from? How does this enrich the characters? I would tell you, but I don't know. However, what I'm sure of, is that it's done to make Stolas look less problematic.

DO YOU SEE HOW CUT THIS IS? He isn't just horny for that imp, he is special, it's absoultly pure! Don't worry, totally safe.

Later in the flashback, we see how Blitzø and Stolas reconnected after over 20 years. Apparently... Blitzø was the one who sexually manipulated Stolas, selling him that he wants him.

All Stolas did was just buying into Blitzø's narrative he was imposed on. It's a role he leaned into, because he thought Blitzø liked it. I.. WHAT???

If this horseshit is true, why did he make this weird r*pe deal with Blitzø? If Blitzø was the one who acted like he's interested at first, and he was sexually exploiting him, why did he lash out at Stolas in Ozzie's? Did it just hold no weight for Stolas? It went from "Don't pretend to have something when you've been harassing me this whole time" to "You misunderstood".

The Stolitz backstory makes no sense, it's cheap, and fixes nothing. No matter what the story is trying to sell, in season 1 Stolas knew what's happening enough to try to force it. And maybe Stolas wanted Blitzø because of a connection, but he still harassed, dehumanized and violated him.

Note: Stolas realizing "he imagined the relationship" is completely ignored one episode later in Seeing Stars. This is a huge deal, didn't he learn? Just further evidence that he's willing to violate the guy. (x)

Before this backstory, we had a story of a selfish man hurting the person he loves while explointing the broken system and the power that he has over him for his own selfish desires that he's forcing on him. Now, we have the same thing, but with fanfic tropes – and the story refuses to confront that.

Casteism is Brushed Off

Helluva Boss pretends that Stolas isn't racist, because he didn't want Blitzø for being an imp, but for being his fanfic trope childhood friend. Which fails to address the disgusting fetishism of Blitzø for being an imp, and he also continued to dehumanize his imp butler in Seeing Stars. He's still racist.

Imperfect Father

In The Circus, Stolas devivers this line: "The only reason I have endured your constant insults and cruelty, was for that girl to have a normal life".

Sounds impressive, he stayed all these years just for his daughter. But that's the thing – it sounds impressive. Every time their relationship is the focus, Stolas is being the scum of the earth. What I see here, is a person. A person who despite being willing to stay passive, acts on his his selfish wants, forgetting to look around him. Mind you, this fact is also being revealed one episode after Ozzie's.

But no, one episode later, in Seeing Stars – that was covered as a prime example of everything I just descriped – Loona says this:

Yeah. He's just a good father "trying" his "best" and makes some... "mistakes". The Circus did present Stolas as this, but Seeing Stars really solidified how his parenting will be handled moving forward. And I think it's comlete and utter dogshit.

Damsel in Distress

The title is a bit misleading. This section is mainly about Stolas's power being toned down. Both magical and in presentation.

In season 1, he was energetic and enthusiastic, while being able to set his foot down and intimidate when needed. He's still all of those things, but in some instances his characterization made my raise an eyebrow.

In Seeing Stars, he's being weirdly gentle with people kidnapping Blitzø and are later beatting him.

In Oops, he's excited to start negotiating with literal kidnappers. I have no idea why he's so nice.

(He did harass Blitzø again in Seeing Stars and bashed Striker, all of which isn't soft, but it's also the two moments where he should have shut up).

Further more, both of these conflict rely on Stolas not using his powers for some reason or another. Why didn't he just do whatever he did in Truth Seekers to track Fizz/Via?

About Via, I'm gonna have to call bullshit on the "My powers are limited on earth" nonsense because, for starters, kid Stolas is shown to remember the contents of his books and now he's been studying them for years. And two,

There is no excuse for Stolas to not use his powers and whenever the show says otherwise it's bullshitting its way out of it.

Even in Western Energy, before Stolas gets captured he was just aimlessly going in and out of his demon form. Why didn't he turn him into stone like he did in Loo Loo Land?

Stolas has been presented as weaker than he is. He's made to look more vulnerable, less "above it all". He was untouchable, and when he wasn't, it had a harder impact and made sense. Now, I almost forgot he's a powerful demon.

And his characterization is at the core of this issue. At times he's just so kind and gentle with people who should get smacked in their heads.

What about Ozzie's

The big clash, the one that called Stolas out on everything, the one that set him on a genuine path to grow, what about it? How is it addressed while the show tries to pretend he's a good person?

No, not the message Stolas is looking at, the ones in the background he just scrolled through.

I'm not breaking this down. I refuse. The only reason I put it here is to show how fast it goes. I'm not touching that.

Who is Stolas

Stolas is a moral scapegoat – "a character that is bad, but the book/movie/show portrays them as good". It's characterized by the story twisting itself to make one character look good.

Stolas didn't start out as one, but became one over one season premire and it just kept escalating from there.

Helluva Boss takes place in Hell. A horrible place filled with horrible people, the root of all evil. Stolas fits right in there. He was already problematic, awful, and fed into Helll's broken system. Why trying to cover up his faults? It's Hell, and it was great. But now, we're supposed to pretend he's just flawed.

With the show actively ignoring everything he did, what's left for him? What does he have to learn? How will he grow as a person? How will he improve? What's his character arc? It's nothing. Because everything that happens to him isn't his fault, and at times could just be solved with one conversation.