#i know what i want || desires

[liverpepper]

(on the subject of heart hands 🫶 happy belated strifehart sunday!) Roxas: Who is that?? Cloud: Squall. Roxas: No, but, like, who is that??? Cloud: That's Squall. sora: technically this is your fault for teaching him to use photoshop Cloud: That isn't photoshop that's just Squall. Roxas: Doubt................ Leon: (???)

[luvbug724]

here’s the thing about thea calling it jeans “old tricks.” we’re given more than ample clues to fill in the blanks. jean refused to let anyone else in the nest know he was raped. he and kevin painstakingly covered up after riko because they were too proud to let anyone in on the abuse they faced. thea has no reason to suspect assault— ive said it before, but there’s no crime unless jean speaks up.

i see the claim that jeremy knew it was statutory rape so thea should have, but jeremy is in california, from california, born & raised. the age of consent is 18, as opposed to 16 in west virginia. jeremy is operating under a different legal framework. but look at the scene as a whole: it’s not important that jeremy believes it was statutory rape, because that accusation leads to jeans revelation that he never consented. it may not have been statutory under west virginia law, but it was rape. thea and jean have never had that conversation, and if jean has it his way they never will.

thea looks at jean and she has no reason to see a victim, but every reason to see a teenager she cares about making bad decisions that hurt him. jean himself tells her they were just mistakes. that’s how her “old tricks” sentence comes across. she’s tired. it sets her apart from the rest of the ravens— that’s far more compassion than any of the current line up gave him.

[captain-astors]

The Crown Prince

[willpowers]

claps my hands

chilchuck is an ADULT

he should not be compared to those series that make a 1000 year old character look like they're 8

because chilchuck does have signs of aging, is shown to, in the perspective of others of his race, be maturing

it is OK to ship him with another character!

for christs sake his kids are also considered grown adults

it sucks cause like, real life people with developmental disabilities get told they're never going to be able to express themselves sexually or their partners are considered evil, but they deserve to have just as much of a chance at love as others!

chilchuck acts and looks more mature than my 15 year old tall grown up looking cousin, and thats the difference! appearance shouldnt matter, chronologic age should be the only factor. not only is chilchuck older the adult age of his race, but hes also considered way over adult age in human years too!

please please just be normal about chilchuck i beg

[aldisobey]

Professor Emmrich Volkarin is a little shit. I love him for it. But he’s a downright dastard (first and second meaning see charm merchant). I need you all to know that being creeped out by necromancy and entering a relationship can be one of the best “scared horny” tropes I’ve seen and it’s goddamn hilarious.

The very first time Rook finds out about liches they can express fear “Well, I didn’t need to sleep tonight.”

And HOW does the eminent Professor respond?!

“They’re unlikely to visit your slumber.”

UNLIKELY?!?! Rooks brain is screaming THATS FUCKING POSSIBLE??! And picturing their future where they can never rest peacefully again because APPARENTLY lich lords can visit slumber and it’s only unlikely they won’t come to theirs and they did NOT need that information. Meanwhile this ‘educated’ man keeps yapping about what these liches are and subscribe here for more lich facts I’m going to be one soon.

Imagine you’ve got arachnophobia and your crush is full special interest mode about their favorite spider. You try to pump the brakes with a light haha ‘won’t be able to sleep tonight’ and the response you get is MORE SPIDER FACTS and “did you know spiders love beds, not yours ok, but I’ll be a spider one day.”

Volkarin is a goddamn menace.

[andorerso]

rebelcaptain + the hunger games au

When Jyn Erso was eight years old, her mother died and her father left to become a gamemaker for the Hunger Games. Adopted by Saw Gerrera, her mother's friend, she became Jyn Gerrera and was forbidden from ever revealing her true identity to anyone. Ten years later, it's Jyn's last reaping. Saw, the forgotten victor of the 32nd Hunger Games, had rejected every reward the Empire offered him, preferring to live as a recluse at the edge of the forest in District 12, as opposed to the luxury in the Victors' Village. It's been decades since anyone in the district even recalled that Saw was once a victor himself, but he had made sure to teach Jyn all he knew of self-defense and combat training. It's the only thing she has of him left since his passing two years ago. Now, Jyn just wants to get through her last reaping and survive. But when she hears the name of the young girl she trades with sometimes, Jyn doesn't hesitate to volunteer in her place. She has nothing to lose, except her life, and every reason to believe that with Saw's training, she has a chance at winning the games. A chance that 12-year-old Kerri Andor wouldn't have. Things get a little more complicated when Kerri's brother is picked as the other tribute. Jyn is good at surviving, but Cassian, with his quiet cunning and surprising talent with a bow and arrow, could be a threat. Not to mention that Jyn knows he's the sole provider for his young sister and aging mother; a family who needs him. Who may die without him. Nobody is waiting for Jyn back home. When their mentor's plan to make them seem like star-crossed lovers triples the attention and sponsors they receive, Jyn is forced to play along with the scheme and pretend she has feelings for Cassian. Worst of all? She's not sure where pretending ends and where genuine feelings begin. The gamemakers say they can both go home if they're the last two tributes standing, but Jyn knows better than to believe the pretty promises of the Empire. Soon, she'll have to make a choice. Will she do anything to survive? Or will she let Cassian Andor go home to his family - even at the cost of her own life?

[bonefall]

Hey, what makes a character a 'plot device but not a character'? And how do you not do that? I'm trying to do it on purpose but also I need to still make them interesting because it's on purpose, yknow?

A good skill to pick up is to learn to criticise criticism itself. A "plot device" is simply a thing that moves the plot along, it's a neutral literary analysis term! Usually, when people are angry that "a character has been used as a plot device," it doesn't mean they hate plot devices. It means they're gesturing at something deeper.

Runningwind and Bumble are equally plot devices in their deaths. They are both killed by the antagonist to escalate political tension. Runningwind is rarely "accused" of just being a plot device, and yet, we're talking about Bumble for the same thing.

So, why?

Well, Runningwind is just a background character, but in life, he was a part of the community. He was characterized as impatient but responsible. Yet, he wasn't SO important that he died with a bunch of unresolved plot threads.

He is mostly an extension of the entity of ThunderClan. His killing by Tigerstar, and the fear and paranoia that settles on the group after this, feel like a progression of the story insteas of something forced.

Bumble, on the other hand...

Is hated immediately by Gray Wing, when she's established as Turtle Tail's friend. Bumble's abuse at Tom the Wifebeater's hands invites even MORE investment. The rejection is shocking and upsetting. There's a story there about our main characters being imperfect; jealous, bigoted, and judgemental.

But, she is simply killed off. Everything they set up for this character is gone with little personalized fanfare. It's not a tragedy with a lesson about cruelty, or something anyone regrets.

It's just... plot. Gray Wing whinging that no one will like his shitty brother now that his body count is 2.

More than that, in the discussion of women in particular, "Fridging" was coined to give a name to the way women characters often don't get their stories told at all. There is a CULTURAL trend of female characters facing disproportionate violence, for the sake of advancing male plots.

Bumble has a lot going for her. Petal had a lot going for her. Turtle Tail had a lot going for her. Bright Stream had a lot going for her. When they died, they took their potential with them.

It's not always wrong to kill off a character of high potential, mind you. In Gurren Lagann, Kamina's death is sudden and shocking, leaving a massive hole in the hearts of the cast that never heals. Grappling with that loss, but also letting his memory fuel them, is a major theme of that story.

All that to say... there's no formula for avoiding it. You've gotta identify what the deeper issue is, in your specific narrative.

I can't say for certain what that will look like for your story, but here's some things I keep in mind;

When you make characters who exist to die, make sure they're people before you axe them.

Ask yourself; what about them does the cast miss?

If they just miss them because they were (pre-existing relationship), go back to the drawing board.

Fluttering Bird as an example. Who was she? Dead sister. Why do they miss her? Dead sister. No traits until after her death.

Runningwind was short-tempered and helpful. Kamina was a valuable leader who made people believe in a brighter future. Swiftpaw was fiesty and desperate to prove himself. The better characterized, the more profound the loss usually is.

If this is a female character who is dying just to serve the plot, be aware of cultural bias and tropes. How is the gender ratio looking in your cast? Is this happening disproportionately with your girls?

Note how Quiet Rain's litter had both a boy and a girl, but the girl was chosen to be "weaker" and wither away.

And how most of the time in DOTC, whenever a man had to be upset, a girl would get killed for it.

If you ever feel like the character on the chopping block is NOT a full character, ask yourself why it needs to be a character at all. You don't need to spend narrative time building out someone when a literal object of high value might suffice.

"My sister died when I swore to protect her and I can't face my family" = Old. Tired. Ive seen this.

"I lost my heirloom sword when I swore to protect it and I can't face my family." = Fascinating. Why was the sword so valuable? Will they really not take you back? How did you lose it?

When you do kill off "high value" characters, try to make sure you're not leaving too many plot threads hanging. Or at least make a point of how they will never get closure.

[freyashiftz]

Finally found my male face claim for any realities I'm a man in 🤭

thanks random man named Micheal that I do not know. Can't wait for the boner experience 😼

[honeyblockm]

What are you doing to me! Why are you making me feel like this! How am I supposed to go on!

[dunmeshistash]

Also important to note that lion can just eat someone's desire to resist him, or desire to avoid hurting someone or any other desire that is against smth that he wants to do and you can't really do anything about it

Yep! The Lion always says he's just "power to be used" and tries to play it off saying he has no way to use his own power for himself. And in a way it might be true (he needs someone to wish for something that will free him) but in another way he's HIGHLY manipulative and uses the dungeon lords however he wants.

That's why I don't really enjoy when people describe Laios' confrontation with him as "The Lion confronts him with his deepest/true desires". I don't believe those are Laios' true wishes at all, those are past traumas the Lion uses against him to manipulate him into wishing to let go of humanity.

I guess it's in a sense the thing about "what you want vs what you need". Sometimes we wish for things we don't really want and desires get muddled when we can't face what we truly want/need.

Laios wish to become a monster comes from a frustration of not being able to fit in, is his wish abandoning humanity or is it being understood? Did Mithrun really wish to steal his brother's lover and never have joined the canaries or did just wanted to feel wanted? To feel like he had worth?

The Lion isn't power to be wielded, he isn't a neutral force, he's a being that hungers and he'll do all in his power to be able to eat and that includes lying and manipulating <3

I think even at the end the Lion misunderstand what a true wish/desire is. He curses Laios so his "Your greatest desire will never be granted". The Lion thinks that's monsters. I believe it's because that's what Laios has dedicated his life to, that's what he knows the most about, that's his biggest comfort, that's his everything.

But he doesn't consider he would let go of that desire for the people he loves, because all he knows is hunger, and love isn't hunger 😔

[poorly-drawn-mdzs]

Wardrobe Woes

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[tsuchinokoroyale]

Happy new years… let’s stay hydrated together ✨

[critter-wizard]

ep 43 had me tearing up in a fucking shopping centre ‼️‼️

b+w alt version that I truly couldn't decide if I liked it more . Also I included a lot of thoughts in the tags but they're somewhat incoherent<3

[kacievvbbbb]

I’m not someone that particularly cares about a ship being canon or not, in fact I would rather the media I consume have no romance at all (giving my blog confusing yes I know)

But there is something about the canon ties between Shanks and Mihawk that drives me feral with need to see what their whole deal is.

Because like there are so many little inconsequential details that when taking separately seem pathetic and weak. But then put together it feels like it paints the picture of a larger undeniable connection and understanding between two wildly different men.

The fact that their main color is both red (Mihawk’s is a more wine dark red than Shanks’ bright red and a little more “subtle” given that Shanks is literally called red hair) but even then their main symbols, their identifying features, are red! Mihawk’s eyes and Shanks hair (yes while I love the gold and think that’s better I cannot ignore the fact that Oda consistently colors in Mihawk’s eyes red even though the gold is infinitely more popular)

They have the same birthday, are practically the same height, both with the promises to our two main protagonists to meet them at the top with a parting “gift”, both serve as a mentor to the protagonist (mihawk literally thought zoro how to kill him 😭), both with the bird(ish) iconography.

The fact that Mihawk, Mihawk! A man whose introduction was that he didn’t care much about anything and caused destruction on a whim, cares enough about what Shanks thinks to mentally apologize before trying to kill luffy (what the fuck).

The fact that whitebeard felt the need to reference his duel with Mihawk in his conversation with Shanks, despite not really being very relevant to the conversation and the fact that this is the first we’ve seen shanks in years and it is brought up in the same context as his relationship with Buggy (an already established relationship) reveals his relationship to Roger seems to point to the fact that this duel between Mihawk and Shanks is an important relationship to shanks. It couldn’t just be to show strength because he was about to clash with whitebeard the strongest man. It’s also hard to notice that those two relationships didn’t end particularly well for shanks.

Also the fact that it was Mihawk out of every character , Mihawk that brought luffy’s bounty to Shanks. Something he obviously knew would mean a lot to him. I used to think the scene was just there to show us how big a deal Shanks actually is like look at that fun childish alcoholic gang inspired our main hero? He’s actually a super big deal and he used to spar with the strongest character by far we had seen at that point (it wasn’t even close) and they fought on equal footing. It added a new layer of mystery to Shanks.

But it’s also the fact that even now with Mihawk’s bounty Shanks was mentioned and he’s the only one who this was mentioned for. Crocodile is just for his df and intelligence and they don’t mention that he literally tried and almost succeeded in subjugating a country and he was beat by luffy “or smoker given how many marines actually know the truth” even buggy who was literally Shanks’ sworn brother under the pirate king doesn’t get a mention like that. But Shanks and this duel is so integral to Mihawk’s character that it’s mentioned along with the only other long lasting fact we know about him and that is that he is the World’s Strongest Swordsman. Isn’t that fucking insane.

And like I feel insane scrapping all these details together as proof of something because they are all (besides the duel) the barest bones of a connection but god it is actually driving me insane.

And I’m not saying Mishanks is going to become canon or that it should or that I even particularly want it too. What I do want is to see how deeply these two are connected. What are these red strings of fate tying them to each other. Why can’t apparently ten years of little contact sever it? I swear to god if it’s actually nothing much I will lose my fucking mind. If nothing ever comes of all of this I will actually go insane. How can some people look at this and not see foreshadowing!?!?!!

[arsenicflame]

It's a time-honoured tradition- every time Sam comes across Izzy (and Ed) in their travels, he asks Izzy to marry him. And every time, Izzy turns him down.

At this point, Sam is asking more for the sake of it than any belief Izzy will ever say yes, a remnant of childhood dedication touched with 30 years of heartbreak and regret- though even now, a small part of him still holds out hope. Sam's promises have only got more extravagant over the years, from a job as his first mate, to a captaincy, a fleet at his command, a whole fucking island if that's what Izzy wants- but he knows it isn't though, not really. If Izzy was ever going to agree to marry him, to leave his life and go with Sam, it wouldn't be for anything Sam could offer him. Izzy never did care for flashy shows of wealth, for a ship or to be captain. The only thing that ever mattered to him was loyalty given, and loyalty shown in return. 

It all comes to a head after Stede left and came back, after Izzy lost a toe, lost his leg. Sam hasn't seen him since before things with Ed started to really slide off the rails, before stress permanently set into the lines of Izzy’s face. So, when he sees a dishevelled man with a hoof for a leg in a no-name port, he doesn't even consider the idea that he might know him. It's only when he turns towards him, and Sam catches a glance at those oh too familiar tattoos, he realises this is Izzy, his Izzy, that stands before him.

Knowing Izzy's discomfort with pity, he doesn't treat him any differently than he would in years gone by, positioning himself in Izzy's line of sight before approaching and sweeping him up into a bone crushing hug. 

“Israel-goddamn-Hands!” he exclaims, as Izzy grumbles back a begrudging “Samuel-fucking-Bellamy”, a tradition almost as old as their friendship itself. Izzy might not hug him back, but he can’t keep the corner of his mouth from twitching, just for a second.

(If Sam holds Izzy a little tighter and a little longer than usual, well. That's his business)

By the time Sam lets go, most of the crew has appeared in the town square, drawn in by the commotion. They may have given Izzy his leg and welcomed him as one of them, but still there’s an underlying tension, with nobody quite ready to set aside everything that happened before the Kraken. Seeing him cosying up to an unknown man sets everyone on edge, unsure whether to come to their first mate’s aid, or to assume that they've been betrayed once again.

When Ed sees that the yelling was Sam, his hand goes tense where it's held in Stede's. He knows the routine, has seen it more times than he can count, but as he watches them part he realises that this is the first time in a long time he's unsure of what Izzy's response will be.

Knowing that something’s different, knowing that Izzy's feeling vulnerable already, Sam doesn't go for the same flashy proposal he’s been giving for years. He doesn't promise Izzy the world, he doesn't cause a scene (or, any more of a scene than he already has, anyway). He looks at the fractured man in front of him, takes his face in his hands, and says the exact same thing to him he said when they were little more than boys. “Israel, I have to ask you. I know what you'll say, but I have to try. Come with me. Marry me and sail away with me. I'll keep you safe”

And Izzy… hesitates. He glances over at Ed, at Stede, and says to Sam “...We’re staying in port for a week. Ask me again then”

That's the moment Sam knows there is something deeply, horribly, wrong. He's not just looking at an Izzy who got seriously injured in a fight and is struggling to cope, this is something so much bigger than that- and that Ed has something to do with it. Izzy wouldn't even be considering leaving if he didn't. Whether it was negligence or something more sinister, Sam doesn't yet know, but he intends to find out.