#i think at this point in time when we DO have a lot more varied aroace characters that's kinda ok

[rancidslime]

Hold on I'd actually love to talk about Archie comics and the forces behind Riverdale for a second because they're legitimately fascinating.

So, before we talk about why Riverdale's so bonkers, we gotta talk about Kevin Keller. Archie's cast and those of its spinoffs being thrown into Situations of wildly differing tone and periods is a time-honored classic of the series, but that started to mean more than just "here's a story about the gang finding out what kissing is in prehistoric times" after the successful introduction of Kevin in 2010. For those who may not know, Kevin was the first openly gay character in the Archie comics, and his release was kind of a huge deal - Archie had always been seen as this squeaky-clean symbol of (white) Americana, so something like that happening in the new 10's - to fucking Archie - was legitimately groundbreaking. (He's since been followed up with characters like Toni Topaz and Eliza Han, but Kev was the first.)

Remember, Archie is the kids' comic book in America, for better or worse. Superhero comics can vary wildly in tone and intended audience, but if a parent grabs their kid an Archie comic from the shelf at a grocery store, they basically know what they're getting and don't have to worry about someone's neck getting ripped out on-panel. Getting something like Kevin in the "safest" comic short of Family Circus was kind of a watershed moment.

(As an aside: some have pointed out that Kevin isn't a terribly interesting character, being something of a masc everyman All-American Boy™, but I would argue that that's basically all Archie is, and at a time where all the "gay representation" kids were getting were horrible caricatures of fem men as envisioned by straight people, whitebread masc guy Kevin is kind of exactly what the doctor ordered. I would go so far as to argue that presenting this gay teen as unquestionably part of the gang, slotting into Archie's idealized 50's aesthetics perfectly, was one of the best moves they could have made for the era and surrounding climate. This was a time when "Gay men are just as capable of performing masculinity as straight men" was a legitimately transgressive statement. I'm a Kevin apologist. A Kevin defender.)

So, Kevin's release is huge. He's very popular with kids and adults alike, to the point where his introductory comic and miniseries sell out faster than any other Archie comic in history. He got his own spinoff within two years. People love Kevin.

So what does this have to do with Riverdale, beyond Kevin being a character in it? Well, Kevin Keller proves to the leads behind Archie that modernizing the series has the potential to be very lucrative indeed, and this is where Archie starts to get shockingly experimental. (Relatively speaking, anyway.) The new 10's see the release of Life With Archie: The Married Life, (a dual-timeline soap opera exploration of his married life with either Betty or Veronica) Afterlife with Archie, (a zombie story incited by Sabrina trying to bring Jughead's dog back after he was struck by a car) and of course, the infamous Chilling Adventures of Sabrina. (This one got a Netflix adaptation, but in case you need the cliff's notes, basically it's Sabrina the Teenage Witch only the witches get the power from worshiping Satan.)

These series were also well-received. Enter Roberto Aguirre-Sacasa, the guy behind the aforementioned Afterlife with Archie. After the success of the title, he was made Chief Creative Officer, and he's also the showrunner of Riverdale, and here is the reason Riverdale is Like That.

So while Riverdale is undoubtedly an incredibly weird cultural object, I think a lot of people who aren't familiar with the show or franchise get the wrong idea about it. I think the biggest point of confusion among onlookers is "How in on the bit is Riverdale?" and I would respond: extremely. Are you kidding? Why is there even any doubt about this? Sacasa is a gay guy who got cease-and-desisted for writing a play that reimagined Archie as gay in 2003. This dude got promoted specifically for playing with genre and making Archie weird as Hell back when it used to be considered a dull, whitebread relic. You think shit like the "I'm weird. I'm a weirdo." speech and "That means that you haven't known the triumphs and defeats, the epic highs and lows of high school football." happened by accident? You think it just stumbled into doing an entire Hedwig and the Angry Inch episode? Oh, no, my friend. That shit was the result of a demented fag writer doing what demented fag writers do best; produce camp masterpieces. Everything about Riverdale is completely intentional.

Now, is it good? No, of course not. It is, however, great fucking television. I don't really watch the show outside of a few isolated episodes, but I am really glad it exists.

Gritty sci-fi webcomic where partway through the third major arc the protagonists get trapped in some sort of utopian false reality by a mysterious godlike being, except they never escape and the comic just changes genres to quirky coffee-shop slice of life until it's unceremoniously cancelled six years later.

[hyohaehyuk]

tvinsider - ‘Interview With the Vampire’ Stars Break Down That Bloody Finale

Jacob, in Daniel’s final monologue, he says Louis has a messed up idea of love. What is Louis’s idea of love to you?

Jacob Anderson: I think it’s a constantly moving, movable feast. I think it evolves in different ways, and I think we’ll continue to explore what his idea of love is. We know he wants it desperately. He wants to be accepted and to be understood. And I think that’s a big part of what love means to me. It’s about somebody else accepting you and you accepting them in all of their multitudes.

Maybe Louis didn’t exactly find that in Lestat, but that’s also kind of the premise upon which he first fell for him. This person said, “I see you.” And I think that’s a really important thing for Louis is being seen and understood. But I don’t know if he has particularly healthy ideas about love. As evidenced in the show and in the story. [Laughs]

Sam, same question for Lestat, who I imagine has a very different perspective on it.

Sam Reid: Look, Lestat, one of his whole M.O.s as a character is he falls in love first, and then deals with the repercussions of being a sociopathic monster. How do you interpret love through that lens? And this is the thing, particularly with Louis and Lestat and why they’re similar in a way (and Claudia and all the vampires, really) is that they have to exist in a human society to survive. And they deal with it in different ways.

They have to survive in a world where human convention needs to be followed to some degree, because they survive off eating human beings. Or they can follow an Armand path — you’ll find a bit more about his class of vampires in the books, which don’t necessarily integrate with society.

Louis, Claudia, and Lestat tried to integrate with society in that capacity, and therefore when you’re looking at yourself and “am I a lovable thing,” you’re actually always reflecting yourself against human beings, which are much less monstrous and psychotic. And so how can I ever be a lovable thing? I’m so terrifying. I think the issue they all sort of feel is that “I don’t feel worthy of love. I don’t feel like I can be properly loved for the monster that I am.” That’s the kind of question that particularly Lestat is always dealing with, and the way that he behaves is always a reaction against that. He knows he’s bad, he’s really good at being bad, he’s really good at being and playing a bad, evil vampire. But he wants to be loved, and he loves back. But sometimes if you’re not gonna get love, you may as well take the hate, because they’re pretty close.

The season is bookended by these epic bloody scenes where you go full operatic vampire mode. How fun was the Mardi Gras ball massacre to film, and what vampire traits did you have to figure out how to express for it?

Bailey Bass: I had to figure out was how Claudia acts when she’s in this frenzy and really, really wants to drink someone’s blood. I grew up being obsessed with Twilight. In the third movie, Bella cuts her arm, and then [the vampires] turn and look at her. I remember loving that scene as a kid, and it kind of inspired Claudia’s frenzy.

But then more than that, I don’t think people realize how technical it was. All those kills were in different sets throughout the house and on different places of the stage and it all needed to be blocked out. And on top of that, we’re feeling raging emotions. Frenzy is, for at least me playing Claudia, was similar to playing varied depression or playing anger or playing extreme joy. So it was very elevated.

Jacob Anderson: I wasn’t there for a lot of it. We started doing Dubai around the same time, so I actually missed a lot of that.

Sam Reid: It was broken up into lots of pieces, that whole sequence, so it was a weird thing to shoot. We shot it over a couple of weeks, and we’d shoot one little piece of each death and one murder. You finish drinking the blood at this point, then you walk up the stairs at a different point, or Louis jumps across the table at this point. It was sporadic and spread out, which kind of felt like we were always covered in blood.

For weeks I would go to work and I would just be covered in blood, sitting around drenched in the f***ing sh**. [Laughs] I became so attached to that costume, I took it home with me. We both have those bloody shirts that I die in.

Oh my gosh, I love that. Just have it framed on your wall.

Sam Reid: Well unfortunately, ’cause it’s all mouth blood, it doesn’t dry, so it’s just this constantly sticky garment.

The response to this show has been overwhelmingly positive. How does it feel to be part of one of the most beloved new shows of the year?

Bailey Bass: It’s really exciting. I think I’m overwhelmed by how accepting people were of Claudia, even though we had some changes — you never know how the fans are gonna feel. I’m so happy that the Anne Rice essence of Claudia that was in the books is in the show. A fan made an edit of Claudia throughout the entire season, and I’ve watched it like eight times. I was tearing up because I’m so happy that they love her as much as I do.

Jacob Anderson: I was saying to Sam yesterday that it’s so amazing. You want to be a part of something that people feel strongly about, whatever those feelings are. Whether they’re feelings of disappointment in the characters or they’re just feelings of, I love these characters so much, whatever it is. Just some provoking, strong feeling is, for me anyway, what I want to be a part of in my life. We all love the show so much. We love working on it, and we are fans of the writing and the craft that goes into it outside of ourselves that it’s so great to see that people agree.

Sam Reid: Yeah, ’cause we really didn’t know what we were making. It was such a bizarre shooting experience. It was like we went into this bubble, this cocoon world, and it only feels like we just finished shooting it, really. Then we went straight into Comic-Con, then bits and pieces of it coming out online, and then the show coming out. It feels a little bit like we’re still very much there. It’s been amazing to put it out there and let it exist outside of us as well and just go like, “OK, well, here you go. It’s yours now.” And it’s nice that people like it.

[aroaessidhe]

2023 reads // twitter thread  

Mindtouch

slow cozy sci-fi about two students at an alien medical school who end up roommates because they’re both psychic, and become friends

slice of life, nonanthropomorphic aliens, start of a series

[physalian]

How to make your writing sound less stiff

Just a few suggestions. You shouldn’t have to compromise your writing style and voice with any of these, and some situations and scenes might demand some stiff or jerky writing to better convey emotion and immersion. I am not the first to come up with these, just circulating them again.

1. Vary sentence structure.

This is an example paragraph. You might see this generated from AI. I can’t help but read this in a robotic voice. It’s very flat and undynamic. No matter what the words are, it will be boring. It’s boring because you don’t think in stiff sentences. Comedians don’t tell jokes in stiff sentences. We don’t tell campfire stories in stiff sentences. These often lack flow between points, too.

So funnily enough, I had to sit through 87k words of a “romance” written just like this. It was stiff, janky, and very unpoetic. Which is fine, the author didn’t tell me it was erotica. It just felt like an old lady narrator, like Old Rose from Titanic telling the audience decades after the fact instead of living it right in the moment. It was in first person pov, too, which just made it worse. To be able to write something so explicit and yet so un-titillating was a talent. Like, beginner fanfic smut writers at least do it with enthusiasm.

2. Vary dialogue tag placement

You got three options, pre-, mid-, and post-tags.

Leader said, “this is a pre-dialogue tag.”

“This,” Lancer said, “is a mid-dialogue tag.”

“This is a post-dialogue tag,” Heart said.

Pre and Post have about the same effect but mid-tags do a lot of heavy lifting.

They help break up long paragraphs of dialogue that are jank to look at

They give you pauses for ~dramatic effect~

They prompt you to provide some other action, introspection, or scene descriptor with the tag. *don't forget that if you're continuing the sentence as if the tag wasn't there, not to capitalize the first word after the tag. Capitalize if the tag breaks up two complete sentences, not if it interrupts a single sentence.

It also looks better along the lefthand margin when you don’t start every paragraph with either the same character name, the same pronouns, or the same “ as it reads more natural and organic.

3. When the scene demands, get dynamic

General rule of thumb is that action scenes demand quick exchanges, short paragraphs, and very lean descriptors. Action scenes are where you put your juicy verbs to use and cut as many adverbs as you can. But regardless of if you’re in first person, second person, or third person limited, you can let the mood of the narrator bleed out into their narration.

Like, in horror, you can use a lot of onomatopoeia.

Drip Drip Drip

Or let the narration become jerky and unfocused and less strict in punctuation and maybe even a couple run-on sentences as your character struggles to think or catch their breath and is getting very overwhelmed.

You can toss out some grammar rules, too and get more poetic.

Warm breath tickles the back of her neck. It rattles, a quiet, soggy, rasp. She shivers. If she doesn’t look, it’s not there. If she doesn’t look, it’s not there. Sweat beads at her temple. Her heart thunders in her chest. Ba-bump-ba-bump-ba-bump-ba- It moves on, leaving a void of cold behind. She uncurls her fists, fingers achy and palms stinging from her nails. It’s gone.

4. Remember to balance dialogue, monologue, introspection, action, and descriptors.

The amount of times I have been faced with giant blocks of dialogue with zero tags, zero emotions, just speech on a page like they’re notecards to be read on a stage is higher than I expected. Don’t forget that though you may know exactly how your dialogue sounds in your head, your readers don’t. They need dialogue tags to pick up on things like tone, specifically for sarcasm and sincerity, whether a character is joking or hurt or happy.

If you’ve written a block of text (usually exposition or backstory stuff) that’s longer than 50 words, figure out a way to trim it. No matter what, break it up into multiple sections and fill in those breaks with important narrative that reflects the narrator’s feelings on what they’re saying and whoever they’re speaking to’s reaction to the words being said. Otherwise it’s meaningless.

—

Hope this helps anyone struggling! Now get writing.

[kuromi-hoemie]

y'know, i love reading the notes on this and watching everyone work thru their thoughts and feelings n whatnot, but you're like the one person whose tags i read and really thought Yes, you know exactly where i was coming from.

this is me

[3hks]

Writing Character CHANGE

Character development is absolutely CRUCIAL to a story, but having spent more time thinking about this topic, I came to the realization that I misunderstood a lot of points other people have made when teaching how to write character development.

There are a lot of factors that play into character development, but in this post, I'll cover some overall, but the main thing concerns any change to your character! (Which is also a huge part in development, really.)

So with this post, I'll be teaching you MY personal tips regarding this subject!

*The Basics*

Before we really get into the developmental stage, there are some things you want to establish, in which I'll explain later!

A couple of flaws.

How your character views themselves at first.

Your character's morals/ideals and how they think.

These things may vary, but you want your readers to be able to at least roughly predict how your character will act during specific events!

*Change*

Character development is just about how your character changes throughout the story. I like to say that there are several different ways one may change, (we'll get into that later on) but your character should NOT stay the same as the same person during the exposition and during the resolution!

"During character development, your character should grow."

This is a common piece of advice; your character needs to grow. And while I've assumed for the longest time that I understood what it meant, it never truly clicked.

While they will use words such as grow, what they really mean is that your character should mature. By the end of your story, your character may not always end up as a better person. When I say mature, I mean that they have reflected back on their life and have understood the consequences that came with their actions (if any) or how they could've done things differently.

Your character will not always end up as a better, fixed person, but they should understand their world and themselves better.

*Negative/Passive Change*

Alright then, so how does a character develop if they don't necessarily change for the better? Well, I'll get into that!

No matter what, your character should have learned a lesson through their experience. Even if they haven't exactly improved as a person, there should be a moral they can learn from what they have gone through.

If not, then did they really grow?

Additionally, how did their qualities negatively impact themselves? If they are bad traits, then it needs to be clear. And the best way to achieve this is by demonstrating how it hurts your character! However, it is rather uncommon for a character to undergo little to no change after a story!

*Positive Change*

Let's circle back to the basics, real quick. Remember how I said that before any development takes place, your character should be anything but perfect? That same thing applies to after the change.

Do NOT create a flawless character by the end of your story. Instead, focus on one or two flaws that get fixed as the story continues. These don't have to be huge, life-changing imperfections, but they can be minor ones that still shape their life in one way or another.

"Fixing" too many shortcomings can make your character seem, well, out of character, producing a character development that's more forced. The same thing applies if you're attempting to FULLY alter a fault that's just too big. The change will be too noticeable.

What am I talking about? Here's an example!

Imagine a character who's incredibly closed off to other people, wanting to ensure that he never gets too close to others.

That's a pretty sizable flaw, no? By the end of your story, you do not want to completely change because you need to preserve character, but you can change it a bit. Does he have a few friends now? Does he understand that there are some people worth trusting?

He may still be closed off to majority of people, but at least it's not everyone, and that's a realistic change.

*Different Changes*

As I continue to read more stories and watch more shows, I have realized that character development is not always about fixing flaws or personality, but it can extend far past that line.

So listen up, because I feel like no one really talks about this.

Your character can change their IDEALS, MORALS, and how they VIEW THEMSELVES.

Hear that? If your character has strong morals, they will hardly stay the same as they reach the end. Remember the requirements I mentioned at the beginning?

See how it connects now? There is SO much more to character development than changing a few imperfections. Like I said in the start, your character needs to grow and mature. Things like new morals or ideals assist with that!

*SUMMARY*

In order to start character development, you need a couple of flaws, an idea of how your character looks at themselves, and their morals. This is because those are the main parts of you character that may change through time.

Growth = Maturing (gaining a better sense of who they are and the world they live in.)

NOT ALL CHARACTER DEVELOPMENT IS POSITIVE!

For negative or passive change, make sure to clarify how their imperfections affected or hurt them and have some sort of moral that follows.

YOUR CHARACTER SHOULD NOT BE PERFECT!

They should not be perfect in the beginning, and not perfect in the end! Do not 'fix' too many traits because you want to preserve character.

I think that's all! It's quite the post for something so simple, eh? But hey, character development is absolutely PIVOTAL to a story so I hope I at least explained the 'change' part of that well!

Happy writing~

3hks <3

[pygmi-cygni]

writing tip - research

research is one of the pillars of writing. a poorly researched fic, essay, short story, novel, etc is immediately apparent because of several things:

lack of depth

stagnant plot or development

confusing or inconsistent setting

it doesn't matter what genre you write, if it's original or fiction, whatever. you need to research. depending on the relevance of your writing, the depth of research may vary, but it needs to happen. you do not know everything.

Fantasy

I see a lot of writers and authors use fantasy as an excuse to avoid research. Shut the fuck up. Every good fantasy is based on a real ocurrence or social dilemma. That's why we like it so much.

'but pygmi, fantasy is made up! it isn't real!'

SHUT UP. Even if you don't realize it, your story will have elements that readers are intimately familiar with. If you flub something, it will be noticed.

Besides, just because you make stuff up doesn't mean you can be inconsistent. You'll just have to fill in the cracks with made up stuff, which will even out to being about the same amount of effort. Pick your poison, either way you're gonna feel it.

Research is not everybody's favorite. I like it, personally, I think it's like going on little side quests for knowledge. But I understand if you wanna skip all the business and get to writing your baby. No shame.

Let me give you some pointers to make sure the time you spend researching is relevant and well spend.

Lists! God I love lists. after you have outlined your story and your characters and everything, make a list of all the things you need to have a deeper understanding of. This means determining priorities. - How important is The Thing? Will it majorly affect plot or character development? Is it a focal point of the setting? If the answer is yes to any of those questions, it's important. research.

Big picture, little picture. How important is The Thing (again)?. How much detail do you need to know? Especially when it comes to royalty or a hierarchal system, I see research being misguided. There are so many nuances to royal interactions that I could give a rat's ass. Big picture, general outline. I don't need to know everything, just basic courtesy, terms of address, appropriate convo. done. but if your MC is a coroner? might wanna put more detail into that; you'll be talking about the job a lot. determine how much the element will affect your story and go from there.

Don't fudge it for the plot. You'll have a preconceived notion of a certain job description, and then research it and think 'oh that's actually boring.' Don't muddle up the rules just to fit the aesthetic. It's sloppy, and your readers will notice.

To practice researching, pick your topic and after learning a bit about it, try teaching a powerpoint to your parents or friends. if you feel comfortable enough with that knowledge to do it successfully, I'd say you have a good enough understanding.

Setting

researching location is a big one that often gets overlooked. You don't always need to memorize maps, but get a general idea of the city/country layout so when you say "they drove 20 minutes from A to B" it makes sense, rather than having a reader think "Uh, A to B is closer to four hours, wtf?"

if you are making up your city, make a list of important streets and locations in relation to each other. This will help you keep it straight and organized in your head.

Get a feel for flora and fauna. Palm trees don't grow in Alaska. Don't write an Alaskan city with palm trees.

Weather? what's it like? Let me tell you, Portland doesn't get higher than 102F. rainy, cloudy, all that stuff.

Atmospheric details really add a lot, especially if your audience is from that location. It adds another layer of relatability. Also, use weather/plants/animals to your advantage! symbolism, possible curse, all that stuff.

Eras

Oh my god stop fucking this up. Baroque, Elizabethan, Edwardian, Middle Ages ARE DIFFERENT FROM EACH OTHER. STOP SLAPPING FANCY CLOTHES ON PEOPLE AND CALLING IT THE OLDEN DAYS.

get an idea of when electricity was widespread in homes. when was the refrigerator invented? did they use the word 'hella' in 1950? this kinda stuff is important for not breaking the illusion of a time difference. If you are writing a period piece and someone is chatting with a neighbor like it's 2015, we'll have some questions.

Unless it's doctor who. you guys can do literally whatever.

Plot and Character Development

If plot and characters are poorly researched, you are limiting the opportunities for growth. In researching your MC's occupation, you may discover a cool side effect that connects to a plot device. Stagnant, stale characters can be spruced up with a more developed backstory.

All in all, research is really important for your story. regardless of how professional it is, tumblr or the new york times. Do your research. As a writer, you are representing the community in your own way. Do us proud.

xox love you

[too-much-tma-stuff]

Finally Getting Help (prt 6)

Masterpost

The Wayne family gathered in the family room once Alfred was done setting up the projector, somehow there was also a plate of cookies and a couple pots of tea on the coffee table. How he’d found the time they didn’t know, he always seemed to be doing just a little more than should be possible but they didn’t question it. 

Jazz seemed nervous as she plugged in her USB and accessed the power point on Ghosts and Liminality. The tidal page had a picture of Danny in his Phantom form standing with a group of others, a boy with gray skin and blond hair, a girl with green hair and skin, and a goth with purple eyes and a dark skinned boy who looked around Danny’s age, and Jazz with the title “Ghosts and Liminals!” 

The next slide had simple text: “What are they and How are they made?”

With each slide she read the text on the screen allowed and then added any context or anecdotes she thought of, or had prepared. 

(Next slide)

Ghosts:

Made of ectoplasmic energy and obsession

Made either:

when someone dies with strong enough desires

An idea gains enough traction to take on a life of its own

Immutable concepts and gods

Must be allowed to indulge in obsessions or they will cease to exist

All have basic abilities such as flight, intangibility, invisibility, and minor shape shifting

On top of basic abilities most will have additional powers based on their obsessions

Immortal unless killed 

Love to fight

Liminals

Made when a human is exposed to high levels of ectoplasm for prolonged periods of time

Have some ghostly traits 

Ghostly traits vary person to person

Less susceptible to human illness and injury

“The ghosts on the picture are Kitty and Johnny, we’ve had problems with them but would consider them friends now. They’re the ghosts of two humans who died, but there are others, Vortext for instance is the ghost of Storms. Those ghosts who come from ideas are called ‘neverborns’. There seem to be almost an infinite number of ghosts, however not all of them are interested in having anything to do with us so we tend to get the same faces showing up a lot in Amity.

“I don’t know how many liminals there are. I thought they might be new with my parents' research but as I look into it more I think there are more natural sources of ectoplasm then my parents thought.” Jazz explained before going to transition to the next slide.

“I have a question-” Bruce started before Jazz hushed him. 

“Wait till the end please! I might answer it without you having to ask,” She scolded, and he felt very much like a schoolboy again as his children snickered.

(Next slide including a image of the glowing green viles in the Fenton’s lab and a glowing green crystal)

Ghost biology 

Ghosts do not have any recognizable organs or bones

The only solid part of their being is their Core which is the source of their ectoplasm 

Any injury to a ghosts form not done directly to their core is considered minor and will heal

A healthy ghost is fully capable of mending any damage including removed limbs in a matter of hours or days depending on extent of the injury

All injuries not including the Core are considered minor 

Ghosts are considered young for at least the first hundred years of their existence and are often not considered adults until nearly 500

A caveat to this is ghosts are heavily driven by emotion and will often be the age they feel they are allowing ghosts to mature much more quickly, or more slowly

When this is the case ghosts are treated as the age they present and behave

Ghosts reproduce by shaping ectoplasm and Wanting a child badly enough

“Believe me it was incredibly scary the first time I saw Danny in his ghost form have something go right through his stomach. It took him a long time to convince me it wasn’t a big deal and it barely hurt. He does have to make sure he repairs the damage Before turning human again though or the damage can transfer over and I don’t need to tell you a hole in the gut is a lot more serious for humans!

“If I’m honest I only know ghosts that have stayed younger then they really are, for instance Youngblood who’s a few hundred years old and could be well on his way to adulthood if he wanted but has remained a child. I assume it can go the other way though, if a ghost is very mature for their age.”

Ectoplasm 

Ectoplasm is the energy that makes up all ghosts and the Ghost Zone itself. All ghosts can feed on the ectoplasm around them as well as produce their own by indulging in obsessions. The ghosts Cores produce the ectoplasm like a brain produces neurochemicals when exposed to the right stimulation.

Ectoplasm is a powerful source of energy but unstable. When it is stabilized into an ecto-crystal it is more stable and can be used as a power source safely by ghosts and liminals.

“Most ectoplasm is green like you see in the pictures. But it isn’t the only colour, some other ghosts produce different colours and it is highly tied to what emotion drives them. When it’s pure it usually smells like petracore but it can get pretty foul.”

(next slide)

What are Obsessions

Every ghost has one or more obsessions

They can be very literal things such as boxes, or ideas and emotions such as Love

In rarer cases they may have dual obsessions

Unlike for humans obsessions are very healthy for ghosts

Ghosts need to indulge their obsessions

Sometimes the way ghosts indulge their obsessions might seem evil, however it is almost always just amoral 

Obsessions shape every part of a ghost from their powers to thier physical appearance, to befriend a ghost you Must understand and aid their obsession

In very extreme circumstances a ghosts obsession may shift, sometimes this is healthy, more often it is a result of extreme trauma

“With my interest in psychology this was sort of hard for me to accept. From the outside the way ghosts obsess seems really unhealthy but it’s what gives them life. When not allowed to indulge in their obsessions ghosts will dysregulate and go to extreme lengths to try and get their obsession, if that doesn’t work they either go dormant if their core is still healthy enough or they will melt. 

“Ghosts change their obsessions very rarely, I’ve heard of it happening as they heal. For instance once a ghost has gotten revenge for themselves, if that was their obsession, their obsession might shift to avenging other people, or even protecting them so they don’t need to be avenged.”

(Next Slide)

Ghost Culture

The Ghosts have a monarchy

The title of the Ghost King is not hereditary but passed through trial by combat

Under the monarch is a council of being known as Observants, and powerful and old ghosts called Ancients 

Ghosts respect strength and value power and cunning in combat a lot

Ghosts bond with each other through combat and play fight with family and friends often

“I have down that the ghosts are a monarchy, and technically that is true but the current Ghost King was a tyrant who was locked away thousands of years ago. I’m sure as soon as someone shows up who’s powerful enough to beat him his court will be happy to pick up where they left off with a better King, or queen, though I don’t think the title has to change based on gender.

“I really can’t stress enough how violent ghosts are! Because nothing short of having their cores shattered can kill them, play fighting for them can look Very Much like a murder attempt to a human. A lot of the issues we’ve had with ghosts have come from them just not understanding quite how fragile humans, and for most of them they feel really bad once they know they actually Hurt someone by shooting them. It’s really best for everyone when they’re kept separate and Ghosts can happily tear each other apart in peace.”

Liminals

The result of long term low level exposure to ectoplasm, sudden high doses are almost always deadly

Liminals Can have almost every trait a ghost can, usually having a combination of a few

Commonalities between liminals include

Minor cosmetic changes such as: glowing eyes, pointed ears, and/or sharp teeth 

Increased stamina, strength, and aggression

Increased obsessive behaviour

Liminals sometimes develop powers shaped by the strength and type of obsession 

“Most of the people Danny and I know are liminals. I don’t want to talk about them in case they don’t want to be outed so I’ll talk about myself and my parents. We all had prolonged exposure after all. My ears are pointed,” She said brushing her hair back so they could see them, “And Danny is a little more then liminal but even in human form he has fangs. 

“My parents didn’t realize it but they could to the point they could subsist on their obsession without needing to eat or sleep as often as a regular human would. About a year ago I started developing the ability to tap into and feel other peoples emotions, I can feed on them a little too but I try not to because the Worst ghost we met did that and I don’t want to be anything like her.”

(Next Slide)

In conclusion

Ghosts are not evil even though sometimes their actions are hard to understand

Never get between ghosts when they’re fighting each other but it’s usually safe to yell at them to remind them not to break anything

Never get between a ghost and their obsession

Don’t drink ectoplasm unless you know you’re already liminal

“I have a feeling the section about liminals will be familiar to a bunch of you. I know Damian is liminal though I don’t know how he was exposed to ectoplasm and some of you,” Her eyes skirted across Tim and Bruce. “Are toeing the line. You’ll probably notice Damian and Danny getting really close, and they might get in some really vicious looking fights. I promise Danny is playing at least.”

The family was left silent for a moment, Bruce knew he was thinking about Jason. Who had died, been exposed to.. What certainly seemed to be something like Lazarus water and come back, obsessive, aggressive, and emotional. He wished he’d had this powerpoint a long time ago. It helped understand Damian too but mostly he was thinking about Jason. He needed to reach out again, maybe meeting Danny would be good for Jason?

“So uhhh, ya, that’s the end of the powerpoint?” Jazz said, shifting from foot to foot in the awkward silence. “Any questions?”

Next

[silversodas]

Yo! Can We Talk About Velvette?

I feel like we were shown Velvette’s best attributes in her duet with Carmine, and how they might get underestimated. The first time I herd the song I kinda wrote Velvette off, mostly because of her youthful brazenness in the beginning of the song

“In case you missed it, I am that #BITCH and I’ll do nothing less then what I please.”

it makes her sound like a dumb kid with a whole lot to prove, and it makes you roll your eyes so hard they fall out of your head. That is until it gets to this part

“When I brought out the Angel’s head, I couldn’t help but observe, your wrinkled face was turning red”

This was vary observant of Velvette and she throws this observation at Carmine like an accusation. She actually reminds me of cutthroat journalist I read about in murder mysteries

“And why are you, avoiding war? That’s what the guns you sell are for”

The laying down of facts and point making that sound like accusations, again, remind me so much of a journalist. On top of above average observation skills she shows she has pretty good detective skills

“Thanks to my being respectless, one thing I am starting to suspect is”

“You know why this Angel is headless”

she turned out to be right! As we later find out. A second listen gave me more perspective on why she was being nasty, because while Zesteil was correct about needing information, Velvette wasn’t having it because she knows that him and Carmine are not giving all the information THEY have, and she demands to know why.

You could say it’s the modern overlords making cooperation impossible, but the older overlords are not cooperating either. And Velvette has every right to be suspicious, because one vary good reason anyone would jump to as to why Carmine is keeping quiet is “war is vary profitable” no more war? Way less profit. That’s just one of the vary plausible conclusions Demons like Velvette could come to and they spell trouble for Carmine

And for my last point

“That was a productive meeting”

I don’t think Alastor was being sarcastic, I think the info Velvette dug up, pieced together, and presented on a silver platter, with Carmines telling reaction as the cherry on top. I think it told him so, so much and was, in fact, a productive meeting.

Vary last point

I want to point out the “thanks to my being respectless” line. I thought it was interesting because it’s like she is saying “because I didn’t just sit back and did what I was told, I found out shit you were trying to hide” she seems to hold being respectless in the same regard as not just excepting things blindly or being taken advantage of

[luna-azzurra]

do you have any tips for writing arguments/fights?

Before you write an argument, know why each character is upset. Understanding their motivations will make the conflict feel authentic.

What are their personal stakes? What do they stand to lose or gain?

What are their emotional buttons? What specifically sets them off?

Keep Dialogue Realistic, Arguments often involve interrupted sentences, raised voices, and heightened emotions.

People often cut each other off in heated arguments. Use dashes or ellipses to show interruptions.

Use short, sharp sentences to convey anger or frustration.

Don’t be afraid to use exclamation points sparingly to show yelling or intense emotions.

Example:"I can't believe you did that!" she shouted. "I had no choice!" he interrupted, throwing up his hands. "You never listen to me!"

Show, Don’t Just Tell, Body language and physical actions can add a lot to an argument. Show how characters are feeling through their actions:

Clenched fists, crossed arms, pacing, or avoiding eye contact can show tension.

A character might slam a door, throw something, or storm out.

Flushed cheeks, narrowed eyes, or a furrowed brow can convey anger or frustration.

Build Tension Gradually, Arguments often escalate rather than start at full intensity. Build the tension step by step.

Start with a minor disagreement or a tense conversation.

Let the argument build as each character becomes more invested and emotional.

Reach a peak where the characters are at their most heated and emotional.

Decide whether the argument resolves or leaves characters estranged.

Use Emotional Beats, Incorporate moments of realization, regret, or empathy within the argument. These emotional beats can add depth:

A character might have a sudden realization in the middle of the argument.

Show a character feeling immediate regret after saying something hurtful.

A character might momentarily see the other’s point of view, even if they don’t fully agree.

Reflect the Stakes, Make sure the argument reflects the stakes of the story. The higher the stakes, the more intense the argument should be. If it’s a minor disagreement, keep it low-key. If it’s a life-changing issue, let the emotions and tension run high.

Vary the Pacing Not all arguments need to be fast and furious. Vary the pacing to reflect the ebb and flow of real conversations, Use quick back-and-forth dialogue for intense moments. Allow for pauses where characters collect their thoughts or calm down slightly before the next surge of emotion.

Consider the Aftermath, Think about the consequences of the argument. How does it affect the characters and their relationships moving forward?

Are characters feeling guilty, relieved, or still angry?

Does the argument bring characters closer, or does it drive a wedge between them?

Example of a Written Argument

"You never take my side!" Luana shouted, her voice echoing in the small apartment. "That's not true," Jamil replied, his tone defensive. "I just don't think you’re being reasonable." "Reasonable?" She laughed bitterly, crossing her arms. "You call ignoring my feelings reasonable?" "I'm not ignoring your feelings!" Jamil snapped, taking a step closer. "I just think you're overreacting." "Overreacting?" Luana's face flushed with anger. "You always say that! Every single time I bring up something important!" "Well, maybe if you didn't blow things out of proportion—" "Don't you dare say that!" she interrupted, her voice trembling. "I can't talk to you when you're like this." "Fine," he muttered, turning away. "Maybe we shouldn’t talk at all."

[imtherain]

He Brings Me Flowers: (Sex Pollen/Logan) Part One

Hey hey heyo

I'm only a few days late and this is only half the fic, but I promised I'd publish this sooner, so I broke it in half. I'll probably post a full version too at some point.

Warnings: Sex Pollen, some fighting, plants!, surprise lesbians, newly married Jean/Scott, reader is in 1rst person because I write better that way usually, a lot of internal talking, negative self image, kinda of a cliff hanger, no sex specifically but people get a bit frisky.

I promise I'm trying to finish the rest, but my brain cells are tired

Word Count (I shouldn't tell you): just shy of 10k for this one

tagging @gothamnighthawk because I took a screenshot (promptly forgot which thing she wanted tagged in and took the last 20 minutes verifying I had the right fic)

[Masterlist]

[Logan List]

[Part Two!]

Here we go!

It all started with what sounded like a basic mission, recon only, investigating a base that had been found in a dense forest a few miles outside of a small town I’d never heard of, just across the Canadian border. The rumor was that the base was working on creating new biological weapons, but when I landed the jet, all we’d really found was a sudden, inexplicable, field of flowers.

Honestly, the place was extraordinarily beautiful, like stepping into a whole different world. The field was entirely surrounded by trees, sentinels against the outside world, holding the flower field in its arms like it was afraid they would escape. Perhaps that should have been warning enough… something too pretty in a place it shouldn’t be.

No one seemed to have any issues as we approached. And there were a lot of us, considering it was a simple recon mission, but it was a chance to stretch everyone’s legs, so basically anyone who wanted to come along had been allowed to join. 

Jean and Scott hadn’t been on a mission at all since their honeymoon, so they signed up. Rogue had been asking to go on a mission for months now, and Ororo only let her because she tagged along to keep an eye on the younger woman. And then there was Logan, who just seemed to be the default on every mission. I heard Scott joke once that they needed to bring him to ‘take the dog for a walk so he didn’t chew up anyone’s shoes’.

Oh, and of course, there was me.

I really enjoyed going on missions, but mostly because I really enjoyed flying the jet. It not only was a blast, but it made me feel useful, which was nice, because my mutations didn’t really seem all that great compared to everyone else’s. All I could do was freeze someone in time for a bit, which sounds far cooler than it is, and there weren’t exactly a lot of cases for that being particularly useful. I’d only really ever used it to hold someone until someone more important than me could come get them. And even that was rare. 

At the end of the day I was just really fancy handcuffs.

Logan and Scott were bickering while we made our way through the flowers. In patches the petals were yellows, some as big as the mammoth sunflowers my aunt used to grow, and some smaller petalled ones that looked like black-eyed-Susans. Another patch was all creamy whites, three or four different petal groupings. One patch was pale orange, another, brilliant reds. Some looked familiar and some were totally alien to me. It was almost as though every flower someone could think of was here in the field around us.

Jean and Rouge were walking behind the boys, trying to deescalate, and Ororo was right behind them. She seemed just as interested in the flowers as I was.

“Wouldn’t be a mission without those two fighting, would it?” Ororo’s voice came from beside me suddenly. I nodded.

“I swear, I don’t even hear it anymore, it’s just like how I got used to the train whistle when I lived near a crossing,” We laughed.

“Do these flowers seem off to you?” Ororo asked carefully. It was almost as though she was trying to check to see if she was hallucinating or not.

“I was wondering how they got so many varieties to bloom all at once,” I agreed. “Because back that way I saw a whole bunch of flowers that shouldn’t be blooming this time of year, right next to ones that shouldn’t be growing this far north at all,” 

“Maybe they have something to do with the intel we received,” Ororo said. 

“What are you ladies talking about back here,” Logan’s voice drew both of our attention away from the patch of warm golden flowers we’d been admiring.

“Do these flowers seem weird to you?” I asked him. Logan’s eyes traced my face quickly before he glanced across the field. Ororo smirked at me but I ignored her.

“Not really,” He shrugged. “It all smells the same,” 

“What does it smell like?” Ororo asked, obviously hoping for some sort of insight. 

“Flowers,” He said unhelpfully. Ororo rolled her eyes at him and went to catch up with the others. Leaving me alone with Logan. 

Who was staring at me.

“What? Is there something on me?” I asked, alarmed. With this many flowers around, it wouldn’t be a surprise for there to be all kinds of bees. I wasn’t allergic that I knew of, but I also didn’t really want to find out otherwise.

“Nothing,” Logan shook his head. “Just thinking about how it’s been a while since I’ve seen you out on a mission,” 

“I literally fly you to every mission,” I rolled my eyes at him and started walking again. I didn’t want to get too far behind everyone else. Not to mention, being alone with Logan had the bad habit of making me daydream about him falling hopelessly in love with me one day.

Which I knew for a fact, was delusional at best.

“Well yeah, but you usually wait in the jet,” Logan pressed. “It’s nice to see you out,” 

“Just another person for you to show off for, huh?” I smirked, thinking I caught him.

“Nah,” He disagreed. “I don’t show off for those losers,” He nodded towards the group ahead of us with no malice in his tone. “I only show off for pretty girls like you,”

I scoffed.

“Laying it on pretty thick today,” I rolled my eyes at him even though my cheeks were red. Logan chuckled and I hated that I had the feeling he knew exactly how warm his compliment had made my chest.

But I also really wished he wouldn’t tease me so much. I knew he wouldn’t want someone like me and that he only did it to make my blush and nothing more. We were coworkers, neighbors kind of since we both lived in the adult dorms, and sometimes I’d even dare to say we were friends. But anything other than that? There was no way. He only called me pretty as a favor, a harmless tease, the way I told every cat I saw that he was handsome. And I mean, every cat is handsome, so maybe that isn’t the right comparison.

All I knew was that Logan wouldn’t want to fall in love with me. No one ever did. 

I had convinced myself I was just fine with that. Just like every other boy I’d ever gotten feelings for. I was a friend at best, never a girlfriend, never even someone to fuck. I’d made my peace with that as a young woman who found herself surrounded by doors that stayed shut, stayed locked, stayed with their flashing signs that read “Love Inside: No Admittance.”

We came upon the building not long after. It looked remarkably like an office building of some sort, but it was only one story tall and sprawling. Logan, as always, led the charge inside, checking corners and doorways as we made our way through the surprisingly unlocked front doors. I stayed with Ororo and Rouge who were both better in hand to hand situations than I was, even though I had gotten pretty good at sparring. Mostly that was thanks to Logan who taught me how to kick someone’s ass without worrying about hurting them, as that had always been an issue I had sparring with the other women. 

I was simply… bigger than them. Both taller and thicker. Hell, I knew for a fact you could add Ororo and Jean together and I’d still have about 30 pounds on them. Not to mention the time I’d given Ororo a black eye when she had finally convinced me to spar with her, and that was the same day I’d knocked the wind out of her when I wasn’t even trying to. 

Clumsy at best, uncoordinated. Not really useful for much of anything when you can’t even control your limbs correctly. Why would they bother to bring you on missions if you couldn’t fly the jet?

We didn’t see much of anything on the first level of the building. A few cameras mounted high on the wall, but they were all busted and clearly not functional. Empty offices with dusty shelves and overturned chairs. A pile of metal folding chairs collapsed near the front doors.

One room was full of empty flower pots, which was strange but harmless. Honestly, it looked as though no one had even set foot in the place in several years.

The lower level showed signs of life, but not signs of weapons being made.

The level appeared to have been mostly conference rooms originally, large glass windows looking into square spaces from a nondescript hallway. The first one was mostly empty, the only thing left was another stack of those uncomfortable metal chairs pushed against a wall. A large, dark stain, bloomed in the middle of the carpet. It smelled like mold and must.

Most of the other rooms were filled, or at least partially filled, with vines. The whole level smelled thick and cloying like a greenhouse with all the fans off. No airflow. All green air and black earth.

“Never seen anything like this before,” Jean mused.

“What, you never saw Little Shop of Horrors?” Logan asked. 

“Let’s hope this is nothing like that,” Scott slid himself into the conversation, as he always did when Logan talked to Jean. 

“Nothing seems to be moving,” I added. “But everything seems to be alive,” 

“Unsettling,” Rouge shivered at the thought. “And weren’t there supposed to be people here?” 

“Oh god, I hope they aren’t in there with all those vines,” I felt my throat constrict at the thought. 

“I don’t really want those nightmares,” Scott agreed. 

“I don’t sense anything with a heartbeat,” Jean soothed our worries, but seemed a bit nervous about whatever it was she did sense. “Not here anyway,” 

“Are you sensing something somewhere else?” Scott paused in front of her, his hands going to her arms to sooth her. They were sweet, Scott always coming to Jean’s aid, trying to make things ok for her in every way he possibly could. I often wondered if I’d like to be taken care of like that, but I figured it would make me feel like a child, and I hated being treated like a child. 

Jean said something back to Scott and he smiled at her softly.

After a while, watching them just sort of hurt my teeth.

I paused at a desk that was half covered with the greenery spilling out of the room next to it. It almost looked like the vines had either pushed the desk out of their way, or were trying to pull it back in. And these vines seemed to be leafier. Broad expanses begging to get sunlight. I wondered who would be cruel enough to grow plants like that in the dark. Or rather mostly dark, as there were a few fluorescent lights still doing their best.

Under the reaching leaves, I found some papers. Most were water damaged and useless, but one appeared to be an old magazine clipping of a man smiling at the camera, a greenhouse in the background. The way the picture had been torn from the magazine had removed the top half of the man’s head, but you could still make out the smile, still see the teeth.

There was a boy next to the man, but the boy wasn’t smiling. He was holding a potted plant to his chest, as if hoping he could hide behind the many different flower heads all coming out of it. He wore a black jacket that seemed all the more dark next to the taller man’s white lab coat.

“I found a picture,” I said, just loud enough that the others could hear. “Not sure it means anything,” 

“Let me see it,” Ororo came and took it from me. “Hmm, don’t those look kind of like the field outside?” Scott took the old clipping from her next. 

“Yeah, seems close enough to be related. Think the boy or the dad is behind all this then?” Scott asked. He flipped the image over and part of the article was visible, but he didn’t bother sharing it with the class.

“That’s an old magazine,” Logan said, not needing to look too close. “I’d wager the son,” 

“Ok, but either way, why would they be making weapons out here if they were plant people?” I asked. “I haven’t seen anything to suggest a weapon is even being made here.” 

“There’s someone coming, hide,” Jean said suddenly. Everyone moved without questioning her. 

Ororo pulled Rouge under the desk I’d been searching, the vines hanging down enough to shield them. Jean and Scott moved to slide into the nearest-to-them conference room, barely squeezing in amongst the plant life there.

I looked around, panic in my chest as I realized I didn’t have anywhere to go. The conference room to my direct left had vines pushing their way out the door. The desk was already hiding two people. I couldn’t help but freeze as I realized there was nowhere for me to hide and I was too big to just slide in somewhere. I’d get caught and blow the whole mission.

Logan caught my eye and came running towards me, which honestly, didn’t help my panic. I opened my mouth to tell him to hide himself, but he was faster than me, covering my mouth with his hand. His other arm came around my middle, holding me flush with his chest, effectively stilling us both and preventing me from making any noise.

I tried to wiggle away from him, confused as to how us standing still was going to prevent us getting caught. Logan just shushed me, and held me tighter as he listened for the threat I was sure he’d be able to hear even though I couldn’t.

Heat bloomed in my cheeks at the nearness of him. He smelled like leather and his last cigar and whatever it was he put in his hair. I heard him sniffing, trying to figure out where exactly the threat was, and probably what it was.

“Come on,” Logan’s voice was low and directly against the shell of my ear and it made me shiver. He took my hand and pulled me with him, back the way we’d come, but only into the previous section hallway so that we could hide behind the open fire doors. One side was off its hinges, leaning heavily against the wall, the other side was only partly open, making a nook between the metal and the wall behind it.

Logan pushed me into the space first so that he was on the outside should anyone or anything come for us. Always the ‘walk on the road side of the sidewalk’ type.

“I could just freeze them maybe,” I offered in a hoarse whisper.

“We don’t know who they are or what they can do,” Logan’s whisper was harsher than mine. “Best let me handle it,” 

Normally, I would have sassed him, but my heart was in my throat as if this was the worst possible game of hide-and-seek. Which, it kind of was.

There was a loud banging and the sound of someone cursing at themselves. I could almost make out their muttering as they made their way down the hall to where the others were hiding. I couldn’t see much through the opening at the hinges, but I could see the edge of the room filled with vines and make out the corner of the desk.

“Hmm, didn’t think you’d make so many leaves down here… brave girl,” A male voice praised one of the vines. I could just barely make out the reflection of his back on the glass window of one of the nearer conference rooms. He wore a white lab coat that was clearly dirty at the bottom like some mad scientist. Working with plants was dirty work, so I guess the look was warranted at least.

The man turned and began walking our way again. I felt Logan’s hand press itself against the soft part of my hip as he reached blindly behind himself to find me. He wanted to know where I was so that if and when this went sideways, he could step in front of me. I knew how he was, always a protector, and me always needing protecting. That was part of why I often stayed in the jet on missions. I didn’t want to get in his, or anyone else’s, way.

I turned to look up at Logan, listening to the mad scientist muttering to himself as he checked another section of vines. I hoped Logan could read my face as I tried to tell him not to worry about me. Logan held my eyes and I gripped onto his arm as the muttering got closer. I watched in fascination as Logan raised his free hand and his claws came out, slowly enough that they hardly made any noise at all. He looked back out the open side of our hiding spot.

I tugged on his sleeve, trying to draw him closer to me, farther from where the door wouldn’t cover him well enough. He cast me a glare that normally would have had me shrinking away from him, but as much as he wanted to protect me, I needed to protect him too. I shook my head at him, begging him to stay put. Begging him with my eyes, please, for once, just stay still.

The muttering suddenly stopped and I held my breath. Just as Logan made to move, I touched the back of my hand to his cheek and he froze, my powers temporarily holding him out of time.

I felt bad for having done it to him as I knew it wasn’t a fun experience. While it did not have any lasting effects physically, the entire time you were frozen, you could not breathe (not that you needed to), you could not move, you could not do anything but perceive the world around you. The longest I’d ever held anyone was just shy of 47 minutes. And I hated that someone had had to experience it for that long just to prove something to Charles, who had requested such a test. 

It had been one of the scientists that Charles had hired on as an intern at the time, a young man who’s name I didn’t remember. I did, however, remember how he told me it was fine, that he could take it. We even did a short session first, just a few minutes. Then he wanted to see just how long I could hold him for. Everyone else involved was so fascinated the whole time, even the scientist who had had to suffer for me to learn about myself. To learn how hard it got to hold someone like that. How I felt them struggle against my teeth.

And the scientists had learned that my powers simply paused the existence of someone, and then when I let them go, they were fine as though no time had passed. Their bodies, perfectly fine.

The mad scientist went on his way down the hall. Muttering about fertilizer and wondering where he’d left his coffee. His lab coat fluttering behind him as he went.

Once I could no longer hear him, I touched Logan’s cheek again and released him from my hold. It was easier to let someone go if I touched them again, but it wasn’t really necessary. My hold would wear out eventually, and Logan was always quicker to flee my hold than most. I figured it was because he struggled more than others.

He took a deep breath, grumbling a bit as he adjusted to having control of his limbs back, and glared at me.

“What the fuck was that for?” He demanded. 

“I didn’t want you to hop out and start clawing people without knowing what’s going on,” I snapped back. “And I could tell you were about a half a second away from doing just that,” 

Logan glared at me some more, but then shook his head, not wanting to admit I was right. 

“Let’s go get the others,” He said, taking my wrist and pulling me back into the hallway. I pulled my arm from him, rubbing the warm spot he left behind. Without the threat of being caught, him touching me at all seemed really uncalled for. Entirely inappropriate.

And something I knew I’d commit to memory for the next time I wondered what human connection felt like on a physical level.

But whatever, he shouldn’t be touching me… but since it was for extenuating circumstances, I supposed I could let it go for now. 

“Thank goodness you two are alright,” Rouge’s accent always got stronger when she was worried. “Did you see where he went?” 

“He was headed for the stairs we took to get down here,” Logan told her. He was hovering near me, and I wondered why I had the feeling he had something he wanted to say to me. But when I looked up at him, question marks in my eyes, he looked away.

He didn’t normally look away from me, and it stung. But now wasn’t really the time to be That Girl about it. If he was going to be mad at me, I could apologize again later and he’d forgive me. He always did.

“Well I say we go thata way,” Scott deadpanned, though he clearly said it like that to get a reaction. He was pointing in the opposite direction of the mad scientist.

“I hate to agree with Cyclops, but,” Logan chimed in.

“He’s right,” Ororo said, brushing a wayward bit of plant matter off Rouge’s back. “And we should hurry to find our information before that man comes back this way,” 

We moved faster now, not stopping until we found what was clearly the only office still being used as such. There were about fifteen different computer monitors stacked up on each other. Some were the big old CRT monitors, flickering dully with lists of data. Most were newer models, LCD screens or what seemed to be old flat screen TVs. Some were bolted to the wall.

Ororo and Rouge went to investigate the computer screens closer, reading the data and trying to figure out what he was doing. Jean joined them after a moment of whispering with Scott. Part of me always felt like she was up to something when she did that, but Logan told me he could always hear what sappy shit they were saying and that I wasn’t missing anything.

I had told Logan once that if he ever saw me get like that about a man he should just kill me. Logan had laughed, and promised me he would.

“Well, looks like we’re dealing with the son,” Logan said. He had gone to dig through a pile of papers and manilla folders. He held out a newspaper and I took it, reading the headline.

“‘Henry Mitchelle, Father of Renowned Botanist Prodigy Malachi Mitchelle, dead at 52. Cause Still a Mystery’.” I said aloud. I skimmed the article. “Sounds like daddy dearest’s greatest accomplishment was having his son. And this says the police should blame Malachi for the death, since Henry had been of solid health until suddenly he, well, wasn’t.” 

“He had heart failure, which had nothing to do with me.” A new voice said from the door that none of us had thought to watch. Everyone turned to him, ready to fight. He held up his hands as if he were surrendering.

“That why you started making weapons?” Logan asked. He was the only one that didn’t look like he was ready to fight, but I knew he was likely to be the first one to get in front of whatever Malachi would surely throw at us.

Malachi scoffed loudly. He was probably 35 or so, his hair needed a brush and probably a good scrub. There were soil smudges on his cheek, his forehead, and on every article of clothing he wore. His hair was mousy brown and his eyes were a terrifyingly bright shade of green.

“You think I make weapons?” Malachi sounded like we had just accused him of trying to water a fake plant. “The reason I’m out here in the middle of nowhere is so that everyone and their uncle will stop asking me to make them weapons. I suppose that’s why you’re here, you all look official.” His tone conveyed his annoyance with the idea of “official” anything. 

“We’re not government,” Scott offered. Malachi stepped into the room and took the newspaper out of my hand. He ignored Scott entirely.

“My dad always told me that I was so gifted, that I could change the world. But he also wanted the money, so he sold me off to whoever wanted my plants for the highest price.”

“I’m sorry he was like that,” I said, empathetic. I knew far too many people, fathers or otherwise, that likely would have done the same. “You deserved better,” 

“I actually had ‘better’ too, my mother.” Malachi’s face softened with the memory of her. “But she passed as well, someone told me once it was careless to have lost both parents,” 

“Are the flowers for your mother?” Ororo’s voice came from behind me. Malachi’s neon eyes turned to her.

“Originally, yes, and she loved them. I call them Feel Good Flowers because they helped the body release happy chemicals,” He smiled so softly at the memory. I wondered how this man could be dangerous. He mostly seemed to be sad, but content enough to keep living.

“I take it dad wasn’t thrilled with your Happy Flowers,” Scott said. He was standing in front of Jean and Rouge, who were both still trying to investigate while we held Malachi’s attention.

“They were deemed ‘inefficient, ineffective, and useless’ so… no, my father wasn’t exactly proud of them. Couldn’t make him money, couldn’t bring back the dead,” 

“Sounds like a jerk,” Scott’s attempt to hold Malachi’s attention was weak, but worked well enough.

“It was a blessing when he died,” Malachi agreed. “Even if they tried to blame me for it,” 

“Nice sob story, bub,” Logan said, obviously bored with this conversation. “So what are you doing out here then?” I felt my gut twist with the way Malachi’s eyes turned to Logan. Logan clearly felt the shift too because he was suddenly a lot less nonchalant about this whole thing.

“Trying to be left alone,” Malachi’s voice grew echoey as he snarled the words. 

“We were told there were weapons being made here, that’s why we’re here…” Ororo tried to cut in. Normally, her voice was soothing and cut the tension. I’d seen her talk down several potentially dangerous mutants before, which was also why she made an incredible vice principal at the school. 

But this time she’d picked an unfortunate choice of words.

Malachi’s eyes were fully glowing suddenly, just like he was a halloween decoration with those stupid LED eyeballs. A loud crash came from behind us and the wall broke in, vines shooting through. 

A flash of Cyclop’s eye bolts cut through most of them. Another crash and this time, the ceiling came down under the weight of thick plant life. There was shouting and I reached forward, trying to grab Malachi. I figured I could freeze him and it would hopefully stop the vines. 

But Logan was closer, and saw my play, so he stepped between us, swinging claws at the scientist’s face.

“Cut the crap, asshole,” Logan snarled as Malachi dodged him. “We were playing nice,” 

“You came in here to disturb me,” Malachi moved away from Logan easily as vines tangled his legs. Logan fell to the ground with a grunt, but was able to slice the vines off in one easy swing. 

“If you’re out here killing people with plants, yeah!” I shouted after him. I was out in the hallway now, both trying to be out of the way, and block Malachi from escaping towards the stairs. Malachi laughed. 

“The only people my plants have killed are the ones who came in here looking for weapons,” His face, which had been so normal before, was now a twisted snarl. “Care to be next?” The skin of his lips, and the waterline around his eyes, both seemed to have darkened to a deep green. His eyes still glowed that eerie LED green that was unsettlingly fake, but only because I knew he wasn’t made of plastic. 

“How about we don’t kill anyone?” I offered. I eyed the vines that were now crawling on the floor towards me. They curled up on themselves when they got cut down the line. I saw Logan move away from the spot the vines ended, chasing after Malachi.

“Y/N, take Storm and Rouge back to the jet, we’ll handle him,” Jean said, pushing Rouge in my direction. 

“What? We can help!” Rouge snapped.

“We can cover that end of the building while Logan deals with Malachi,” Ororo’s soothing voice came out again and Rouge bristled at it. But also, Ororo had a point. Plus, I could work on getting the jet ready to go, and it would keep Rouge, who was still not really an official XMan, out of harm's way.

“I’ll keep the seats warm,” I relented easily enough, even though the roar I heard down the hall made my anxiety spike. Logan was fighting hard, and the building shook every time he took a hit. “Y’all best go get Logan in check before they collapse the whole building,” Another crash and Jean winced, knowing it was just a matter of time before I was right. 

“We’ll go get him,” One could never see Scott’s eyes, but you could sure hear how hard he rolled them whenever Logan was up to his…shenanigans.

I grabbed Rouge’s arm and turned her towards the exit, cutting her off in the middle of arguing with Ororo about how the fight was being broken up.

“Trust me, no one’s going to get to fight much, you aren’t missing anything,” I told her. She brushed me off with a huff. 

“I know, but I hate feeling like I’m being sidelined just because I’m a newbie,” 

“I’ve been doing this for ages, and I get sidelined more often than not,” I said, a poor attempt to sooth her ruffled feathers. “There are worse things than being needed elsewhere,” 

Rouge groaned because she knew I was right.

We made pretty good time getting back to the first floor. As soon as we saw natural light again, we all sort of sighed in relief. I think we were all a bit nervous about getting buried alive and didn’t want to admit it. 

The floor behind us shook as vines shot up through it, a wave in the ocean of speckled beige. When they receded Logan’s body was lying face up and groaning on the old tiles.

“You know what? Fuck this guy,” Logan muttered as he hauled himself to his feet. A blast from Scott cut through the same hole Logan had just popped out of. “Watch it Summers!” 

“Come on,” Ororo grabbed my arm and pulled me away from the fighting again. Logan looked up and our eyes met for a brief second. I knew he’d be ok, but I hated how many hits he always seemed to have to take first. As I turned to look where I was going, I swear I saw him wink at me.

Even in the middle of a fight he found time to tease me. He really was a bully at the worst times. I told myself I didn’t care if it made my chest warm to see him so at ease in a fight.

Plus, I sometimes wondered if he liked getting hit.

“Can’t go that way!” Rouge’s voice cut into my thoughts as a mass of vines covered the front entrance.

“I thought he wanted us to leave?” I groaned. The vines tangled into each other and seemed to solidify into a new wall. “You got anything Miss Storm?” I asked. She thought for a moment.

“I can’t do anything inside the building with all the windows blocked.” Ororo lamented.

“Logan!” Rouge’s voice shouted behind us. “We can’t get out!” 

“He’s a little busy,” I rolled my eyes looking for something to help us. There were some more old chairs, but that didn’t really seem useful at the moment.

“Never too busy for you,” Logan’s voice at my shoulder made me jump. He’d come running when Rouge shouted but it always surprised me how fast he was when he wanted to be.

“Think you can open the doors for us?” I asked him, pretending he wasn’t smiling at me. Pretending he didn’t look amazing fresh from getting shoved through who knows how many walls (and also the floor) of the main office.

“One weed wacker, coming up,” Logan unsheathed his claws with a smirk and I rolled my eyes at his joke wondering how long he’d been working on that one.

Logan chopped through one layer of vines, just for it to be replaced by another. He growled and went after it with both hands, but still, each vine he cut was replaced by another. 

The floor shook and jostled me into the useless metal chair pile that occupied the space behind me. The noise was far more obnoxious than the pain it caused me. Rouge cursed as she also lost her footing and landed against the vine wall. Luckily, the vines didn’t seem to care since she wasn’t trying to prune them.

“You good, sweetheart?” Logan called over his shoulder, still slicing at the wall.

“I’m fine,” I snapped, pulling myself back to my feet. It was hard to stand up again because the chairs shifted and I couldn’t get a good spot to push myself up from. Plus, if I were honest, I had landed on something pokey that jabbed me in the ribs hard enough to make breathing hard for a second, but no one needed to know that. They’d just worry about me and we didn’t have the time for that.

“Hurry!” Ororo shouted at Logan.

“You wanna try it?” Logan snapped back angrily. Ororo rolled her eyes at him.

“Umm, guys?” I swallowed hard as I watched a mass of plants swell up through the hole in the office floor. “That doesn’t look good,” 

“Where are Jean and Scott?” Rouge asked.

“Want your friends back?” The voice sounded like three or four of Malachi all speaking at once. I felt my stomach drop. Wherever his mutations were made him look like a monster now. All glowing bits and the wrong colors. “Have them back!” 

Suddenly another couple of vines burst through the floor and flung two bodies at us. They both slid to a stop in front of me and Ororo. 

“Scott! Jean!” Ororo cried out. They both got to their feet and dusted themselves off.

“Hey guys, the elevator here sucks,” Scott coughed. Jean smacked his arm. “What?” 

“We need to get out of here,” Jean told him as though that wasn’t already obvious. 

“Trying to, but this wall is really persistent,” Logan grumbled.

“The vines are trying to protect him,” Jean said. “Which means they’ll only let him through,” 

“And that helps us… how exactly?” I demanded, watching as Malachi and his vines moved closer. If he moved slowly to toy with us or to give us time to realize how futile fleeing turned out to be, I didn’t know. I was more confused as to how things had gone so far south so fast. Malachi had seemed reasonable enough…right until he started glowing.

“Like this,” Jean held up her hands and Malachi’s advance froze. “Logan?” Jean asked in the same tone of voice she’d use for the most mundane requests.

“Yeah?” He sounded skeptical of this whole situation. 

“Go stand by the girls please,” Jean nodded towards Ororo, Rouge, and I. Logan raised an eyebrow but took the three steps he needed to clear the doorway. Jean turned and thrust her arms out.

With a multilayered scream, Malachi and his chunk of vines blasted their way through the blockaded door. 

I peered through the opening long enough to assess that Malachi was down for at least a few moments, and before anyone else said anything, I moved to push Ororo and Rouge, the closest two to me still, out the door.

“Time to go!” I shouted. The others all agreed and the six of us bolted out into the afternoon sun, back out into the impossible field of flowers. 

We could hear Malachai groaning as we hurried past. Maybe we should have checked on him, or arrested him, or something? But we were all too ready to be back on the jet. We could come back for him another day, much more prepared for him.

“Why do I always park so far away?” I complained as we moved through the field. Everyone else was what felt like miles ahead of me and I could distinctly hear Malachi and his vines moving behind us. I risked looking over my shoulder and almost instantly tripped over my feet and crash landed into an entire bush of flowers. 

I heard the stems break under my body and something in me lamented that I’d killed such a beautiful plant. But then I noticed why I had actually tripped. The vines were under the ground now, wiggling their way between the plants so as to not disturb them.

“Y/N!” Someone shouted my name and it felt so far away. The flowers that lay crushed on the ground beneath me looked like white chrysanthemums, each flowerhead the size of my fist, only they had red stamin sticking out of them. They were so beautiful, but also alien to me.

“Just go!” I shouted back, getting to my feet. “The vines are underground!” I added. I noticed then that the mound of vines that had held Malachi had disappeared. 

And there Malachi stood where we’d left him, still as a statue, as a breeze rushed through. The wind kicked up dust from around what might have been a million different flowers. I felt the fine powder get whipped against my face and closed my eyes against what felt like the tiniest grains of sand. I coughed, knowing it was surely in my lungs too. 

When I opened my eyes and looked at Malachi standing there in the distance, he was tousled and dirty, but also looked almost exactly the same as when we first saw him. He didn’t move to follow or attack us anymore.

And his eyes were no longer glowing as he stared blankly after us.

I caught up with the others just as they got the jet’s door open. It always took such a terribly long time to let the ramp down when we closed it, which was why we usually left it open for a quicker getaway. But since no one was sitting with our only ride home, we decided to be more careful and close it for once.

“Move, move, move,” Logan’s voice was loud as he ushered everyone on board. I noticed that the front of his uniform had the same fine dust that had pelted me in the face after I’d tripped. I probably wouldn’t have noticed had it not been for the fact that Jean had left a barely there handprint in the powder on his chest when she touched him as she climbed on board the ship.

It always annoyed me when she did that to him. Jean had literally married Scott less than six months ago and yet she still touched Logan like they were maybe more than friends. Not that it was any of my business, but leave the poor man alone.

Nevermind the green thing in me that wished I was allowed to touch his chest like that.

Scott was flipping switches to turn on the jet as I crested the ramp. I counted that we had everyone on board and hit the button to close up the hatch again.

“Well, that wasn’t great,” I complained, moving to the captain’s chair and shooing Scott from the controls. When I sat down I noticed that my chest felt funny, like I’d been holding my breath too long. And I was really warm, like maybe I was getting a fever.

“Scott?” Jean’s voice was worried and of course, her husband came running to her. I tried to tune them out while I finished the sequences to get us fully airborne. 

“Something’s off, something doesn’t feel right,” Jean was almost babbling. I had to focus on getting us safely into the clouds, so I didn’t notice the change things took until I heard Logan swear.

“What the fuck you two?” His anger made me turn in time to see Jean straddling Scott’s lap while she kissed him. Clearly with tongue. 

“I… I need you,” Jean stammered into Scott’s throat. Scott seemed to be under the influence of whatever nonsense had its hold on her too, as he was not trying to stop her from kissing him, nor from grinding down on his lap. When she moved up, his suit was clearly struggling to contain whatever it was he kept in his pants. 

“Guys!” I snapped.

“Can’t…stop,” Scott panted. “Need you,” The second part was directed at Jean. I scoffed out loud and turned back to the controls because I really needed to get us to the altitude to use the autopilot. It took all of two minutes max, but with the idea of what was happening behind me fresh and spiky in my mind, it made it feel like a hell of a lot longer.

And my head was feeling strange, like maybe I was getting a migraine or something.

I could hear a scuffle and some moaning as Logan tried to break apart the lovebirds. 

“Don’t make me shoot you,” Scott’s voice was low and a kind of menacing that I didn’t know he was capable of. 

“You wouldn’t risk bringing this entire jet down just to get your rocks off,” Logan was clearly struggling with someone else while he snapped at Scott. 

“MMm,” Jean’s voice moaned. “Logan,” I stood then and punched the button for auto pilot with my entire fist.

“What the actual fuck is going on back there?” I demanded turning to face them. Jean was trying to rub herself on Logan, begging for any sort of friction while he did his best to keep her at arms length. I felt a sharp hit of anger and jealousy ricochet around my ribs. It was stronger than any such similar feelings I’d had before and I was confused as to why I suddenly wanted to grab Logan and pull him behind me.

Or under me.

Shaking that thought from my head, I tried to ignore the heat on my face.

“Need Scott,” Jean said, sounding like she’d forgotten what syllables were. “Or Logan,” she purred his name in a way that made me want to jump out the window. Logan shoved her back at Scott, who happily caught her.

“Both of you knock it off,” Logan reprimanded them as though they were children. But when he turned to look at me, it was obvious that part of the reason he’d shoved Jean off was because whatever it was that had affected them was doing something to him too. “Fuck,” The curse was quieter and more to himself as he shivered.

“Is it actually getting really hot in here?” Rouge’s voice was shaky as she asked. 

“I think we were drugged,” Ororo managed. She had a light sheen of sweat forming along her brow as she watched Scott and Jean making out like teenagers. Her eyes were stuck to them as though looking away would be a crime.

“How? When?” Logan snapped. He looked a bit twitchy, standing too close to the lovebirds. “You two need to fucking stop,” Irritated both for good reason, and for the uncomfortable pressure that was forming in his chest.

“Storm?” Rouge questioned as Ororo put her hand on her thigh, far higher up than was normal for either of them.

“Marie, since when do you smell so nice?” 

“Ok, I am not dealing with this,” I said, feeling a weird mix of fear, anxiety, and heat blooming in my chest. “Everyone, it’s nap time,” I decided all at once. I had no idea if I could hold more than one person at a time, but if ever there was a need to…

“You taste sweeter than sugar, honey,” I felt the blood rush to my ears and to my stomach as I registered the Ororo and Rouge had just kissed. I had to physically push Logan out of my way so I could make a direct path to the original problem… Jean and Scott, who were about three seconds from peeling off their suits.

I grabbed each of them by the back of their neck, as if scruffing a misbehaving pair of puppies, and pulled them apart. They both looked up at me in shock for a moment before falling back together, limp and frozen in time.

“Secure them in their seats please,” I commanded Logan as I made my way over to Ororo and Rouge. Logan finally moved to do as I asked and I wondered if he was feeling the same wobbly feeling I was as I stopped in front of the next pair of us.

“Yes ma’am,” Logan purred and I ignored that wave of want that his graveled voice pulled through me.

Ororo and Rouge at least appeared to be trying not to cause a scene, but they were eyefucking quite openly. And their hands were wandering.

“It hurts in my chest,” Ororo told me as I pulled her hand off Rouge’s thigh. Rouge whimpered at the loss, but had steeled herself for at least the moment. “Like I need to touch her or I’ll die,” she sounded so scared. I broke my heart because I didn’t know what was going on and so I couldn’t help her. Or my other friends.

“We’ll get you home and Hank will know what to do,” I assured her. The best I could think of.

She buckled herself into her seat as Rouge reached for her arm, begging for contact again. I pressed my fingers against Ororo’s cheek and her eyes went hazy and she went limp, her seatbelts holding her upright.

I had never figured out why some people froze more solidly than others. Logan always seemed to keep his feet when frozen, but almost everyone else turned into noodles. I turned to Rouge who was looking at Ororo with a sort of pained look that I couldn’t place. It was somewhere near lust, of course, but there was something that spoke of fear in it too. I wondered if either of them had lusted for a woman before.

“I promise, I’ll release y’all as soon as I can, so please don’t fight me,” I told her. I wasn’t particularly southern, but y’all was something I’d picked up from someone and never managed to put back down. I touched her face carefully and she laid back in her seat, her hand still resting on Ororo’s arm.

“How are you so calm?” Logan demanded through clenched teeth. I could feel my heart beating at a higher rate than normal, but if Logan thought I was calm, he didn’t realize that. Which was good, he didn’t need to worry about me.

Also alarming because usually he could tell when someone’s heart was racing (and he’d teased me about it more than once).

“I was hoping you weren’t being affected,” I groaned. My head felt full of cotton, like everything was in a soft focus and there was tea waiting for me when I sat down, that kind of feeling. 

“All I can smell is them,” He growled, taking a step towards me.

“Sit down and buckle up,” I told him, my voice a bit shaky. There was a terrible ache between my thighs, like someone had scooped out my insides and were about to carve me like a pumpkin.

Logan stepped closer and for a second I thought he was going to listen. If I had them all held, maybe it would be easier. Maybe I could focus on holding them still instead of the fact I really wanted to know if Logan’s tongue tasted like cigars or not.

I bet it did.

“I want to smell you,” Logan’s pupils were blown beautifully wide. “And only you,” he was staring down at me like I was the only thing in the entire universe. I wished it was true, that he felt that way about me. But I knew it was whatever we’d been covered with. I knew it wasn’t real.

“Sit down,” My voice was weaker than I wanted it to be.

“Why can’t I smell you?” He was almost just talking to himself, annoyed that he could smell everyone else’s arousal over mine.

I walked backwards towards the captain’s and copilot's chair, pleased that Logan followed. But I wasn’t quick enough and he managed to get his hands on my hips. I brought my hands up between us, pushing him away.

But he was always so much stronger than me, so I struggled to get any space between us. Besides, as soon as he was in my space, something in me really wanted to drown in him instead. Consequences be damned.

“If I drop you here, I can’t lift your heavy… heavy ass off the floor,” I panted as he leaned down to inhale deeply at my throat. I surprised myself at the whimper that left me when he placed the first open mouth kiss at the only skin exposed on my neck over my suit.

“Fuck,” He moaned so low in his chest I could feel it vibrate in mine. “Let me just… just touch you for a second,” 

“Logan, it’s not real,” I told him. It didn’t ease the ache in my gut but it helped keep my mind clear. Plus there were four different strings already pulling my brain tight. I was wildly, uncomfortably aroused, but I wasn’t about to lose control just because the man I had a crush on was kissing my neck.

When did he unzip the top of my suit to get to more skin?

“Please,” He moaned against my throat again. “Just one kiss, then I’ll behave, promise.” 

“I don’t believe you,” I murmured, trying desperately to push him away. But it felt so nice to have him like this. It was something I’d thought about far more times than I’d ever admit to anyone. And my hand was in his hair.

But it wasn’t real, he didn’t really want me. 

Why would he? 

“Y/N,” Logan groaned as his hands moved to find my chest. I gasped at the sensation of his warm hand covering one of my breasts. I wanted so badly to surrender to the feeling, to let him touch and feel and devour me whole.

But I knew it wasn’t real, and that hurt differently enough that I finally got my last two working brain cells together to push him off.

“Fuck, Logan, sit your punkass down,” I snapped, feeling tears in my throat. It would be so much easier to give in. To at least feel something good for once. To finally figure out what it would feel like to be with him.

But it wasn’t real, wasn’t real, wasn’t real… and I knew I would hate myself when it was over if I gave in now.

Logan gave me a sassy smirk, watching me breathing hard as a reaction to him and what he’d done. 

“Don’t you feel it too?” 

“I don’t feel anything,” I lied. The snap of my words seemed to surprise him, but only deterred him long enough for me to sit myself in the Captain’s chair and buckle in. “Now, don’t touch me,” I commanded him. I knew if he touched me too much I’d give in. That at some point, the effects would overwhelm me too. Best to keep him away.

“No,” He growled. “Wanna smell you, wanna touch you, wanna fuck you,” His eyes were so hazy and it made my center pulse with need and that empty, endless ache. But the endless ache was an old friend, I’d sat with her before. I could sit with her now too.

“I need to call the mansion,” I told him. 

Maybe ignoring him would help keep him at bay. I knew it wouldn’t. Even without the nonsense going on, he’d never been a particularly good listener unless he wanted to be. 

And he sure didn’t want to be right now. 

“Don’t interrupt or I’ll not let you smell me ever again,” I told him. This seemed to work better as he sat cross legged next to me on the floor, perked up like a dog waiting for a bone after having done a trick. I felt a wave of lust wash over me at his eagerness to please me. My core ached, knowing he’d gladly lap me up for his reward.

“Did you find it?” Charle’s voice over the radio should have been a relief but it made me angry because it wasn’t the right voice. But I bit back my annoyance and tried to respond coherently.

“We’re flying back.” My voice was choppy as I took too many breaths. “I have everyone but Logan frozen, we…we were dosed with something,” 

“Y/N,” Logan grumbled impatiently.

“What’s happening?” 

“Umm…” I suddenly was too embarrassed to say what was going on. 

“Y/N? Is everyone alright?” The alarm in Charles’ voice snapped my brain cells together with enough force I was able to manage one sentence.

“They’re trying to fuck each other,”

“Oh.” The embarrassment would have killed me had Logan not gotten impatient and started sniffing along my leg, pressing open mouth kisses along the seams of my pants. I swatted at him, trying to get him to knock it off. He just smirked and kept pressing, glad to at least have my hand in his hair.

“I have them frozen, but Logan…” My voice got caught in my throat as Logan moved to bury his face in my hip, nuzzling and smelling his way up my ribs until his face was in my armpit. “Jesus fuck, knock it off,” I whined like a kid who was late for nap time. All upset and no anger. I felt tears in my eyes and in my throat because this was all simply Too Much. 

“Are you safe to get everyone home?” Charles redirected. I grabbed Logan’s face and glowered at him.

“Take a nap,” I told him and tried to snag him in my powers. It worked but he was frozen with an arm across my lap and his face trying to find a way into my suit. “Sorry, I had to freeze Logan too, but he’s harder to hold onto.” I tried to keep my words even. But I could feel all five of them now, like trying to hold onto the strings of too many balloons but only with my teeth. 

“Y/N, can you fly everyone home?” 

“Yeah, I think so. Best prepare them for us, tell Hank it was Malachi Mitchelle, maybe that’ll help.” Logan’s string slipped in my mental grip and he growled as he pulled himself free.

“Gotta go,” Logan said loud enough for Charles to hear as he sat up on his knees to turn off the radio connection. “Now, you,” His eyes were hungry and his gaze made my insides twist with want.

“Logan, please just stop,” I begged. I was specifically trying not to feel anything for him, to not let him do something he’d regret later. I knew he didn’t want this. At the moment, I’m not sure any of us really did.

“No,” He challenged me. Logan’s hands traced my body, one moved around to the inside of my thigh and inched its way closer to my center. He held my eyes, daring me to tell him I didn’t want this.

But this wasn’t about what I wanted.

“It’s not real, you don’t want this,” I felt those tears again, warm in my throat and stinging behind my eyes. He looked up at me and brushed the tears from one of my cheeks with his thumb.

“No, I do want this… I’m always gonna… never going to stop,” He was breathing heavily but smirking. My center pulsed and squeezed around nothing because dammit all if that wasn’t exactly what I wanted to hear.

Logan’s smirk got lost when he buried his face into the crease made by my leg and hip. He breathed in the scent of me again and the moan that escaped him had my heart ricocheting in my chest. 

“Never going to get enough of the smell of you.” I found my hands in his hair, fingers intertwined in his tuffs as if I had the strength to pull him away from my lap.

“Why?” I asked more as a general question, ‘why is this happening to me?’ or ‘why do I bother trying to be good?’ or maybe even a bit of ‘why would you say that to me?’

“Cuz I love you,” Logan murmured against my stomach. I looked down at him, that ache in my pelvis shimming at the closeness of him. But the ache in my chest? That longing for something real? It burned brighter. I knew he wasn’t trying to tease me this time and somehow that made it worse. 

While influenced he probably thought he was telling the truth.

I couldn’t take it when I knew the fall would come when this madness passed. The look in his eyes when he realized ‘oh god, what have I done?’.

I felt tears in my throat again. I wished what he said was true, that his ardent behavior was stemming from somewhere real and true. But it wasn’t.

It simply wasn’t.

I grabbed his face in one hand, the other still in his hair, and squeezed his cheeks together while he looked at me like he never wanted to look at anything else.

“Go the fuck to sleep, you petulant child,” I ground out, all the anger in me aimed at myself and the fact that I had to deny myself this wonderful thing. This thing my body craved.

This time, Logan’s eyes went hazy and blank, his jaw went slack, and his limbs all buckled under him. I finally had him wound tight enough to hold. 

But now I had to hold him, and the other four, for the next 43 and half minutes. Which was the expected time remaining, according to the flight data that flashed on one of the panels. I had no idea if I could hold on to everyone that long, especially Logan who was too good at shaking off my powers.

[Masterlist]

[Logan Masterlist]

[Part Two!]

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[topazadine]

Avoiding therapy speak in writing

I think we all know by now that therapy speak is irritating and unrealistic, especially if you are writing in a fantasy world that doesn't even have modern psychology.

Part of the reason that it is so annoying is that it is the definition of telling instead of showing: characters are just plainly informing us of their feelings rather than making us work for a better understanding. It's cheap and boring. Instead of making your characters seem like complex individuals with their own hangups and difficulties, they seem like plot points programmed to tell us things.

But obviously, you want to put these people in situations and have them talk about it! How do you do that without sounding maudlin? Here are some options.

Listen to real arguments/conversations

I cannot stress enough how important it is to listen to how actual real human beings talk to each other during heightened emotional states. They don't have to be nasty abusers, and they don't have to be perfect angels, just everyday people doing their normal thing.

Of course, I'd hope you're not seeing people argue all the time, but if you do happen to see it, listen carefully and notice how people actually address their problems. Think back to tough conversations that you have had, even if you wouldn't classify them as arguments. Consider how people acted and reacted to one another. Notice how normal humans talk about issues outside of therapy, even intelligent and emotionally evolved people.

I've had years of therapy, and even I do not talk in therapy ways about my issues when I'm talking to my family or friends. It just feels cheesy and fake outside of that particular setting - plus, it freaks other people out and can seem kind of manipulative. Try talking like that in a real conversation and see how uncomfortable it is. You'll understand why avoiding therapy speak is important.

Consider the character's own hangups

Just as everyone has their own unique speaking style and mindset, so do we all have our own argument styles. These are often informed by our pasts and upbringing; they are as varied as our own histories. However, there are a few different options.

Someone with a happy upbringing may be more assertive and willing to address their problems because they had that demonstrated to them as children.

A spoiled child will grow up to be a demanding adult who refuses to give any quarter.

Those who got yelled at a lot as children may shut down and fawn to avoid getting hurt.

Someone who grew up in a violent household may mimic that behavior and get incredibly aggressive when upset.

Individuals whose parents didn't teach them emotional regulation will lash out and get loud.

Manipulative people may stay very calm and gaslight the other person, or they may get hysterical to garner sympathy and make people focus on comforting them.

Someone who has gone to therapy may revert to their original argument style, or they may imperfectly apply what they have learned in a way that feels a bit unnatural. They may start out with rage, then force themselves to calm down through grounding techniques.

People who have been coached through previous emotional outbursts could demand a time out, then fail to actually calm themselves down.

Some may refuse to acknowledge they are upset and insist, in increasingly forceful terms, that they are fine.

Others may get quiet or crack a joke to ease the tension, but it doesn't really help.

Keep each confrontation short

IRL, emotional confrontations are generally not that long. They don't go on for hours and hours, though it can feel that way. No one is going on and on about their feelings and sharing every little detail of how they feel (at least not that I know of personally, maybe other people are different).

Even the worst arguments I have had, the real nexus of the argument was maybe an hour or two, though the fallout lasted much longer. I'd say there was an hour maximum of real, active confrontation, preceded or followed by hours/days/weeks of simmering frustration.

Why? Because arguments are exhausting. You don't have the energy for that in the heat of the moment. Yes, feuds and fights can last years, but each actual confrontation is short.

For longer, more serious issues, hash it out over a few sessions rather than all at once. It's rare to get everything out of the way immediately unless the characters already have a strong, loving relationship.

Show incongruencies

Especially for more reserved people, they will likely have their emotions leaking all over the place but won't actually say anything. As such, focus on body language while keeping the conversation more focused on the plot. For example, Character A might be crying but still trying to argue their point about whatever is going on.

Address physical complaints instead of emotional ones

In many cases, people will use "I'm tired" or "I didn't sleep well" or "I'm not feeling great" as shorthand for whatever is actually bothering them. It relieves pressure by not making them talk about upsetting matters while still addressing their discomfort in some form.

You should also consider the fact that some people can't connect physical sensations to feelings, so they may genuinely feel ill and not really understand why. This is especially common in people who can't emotionally regulate or have been through trauma.

For myself, I tend to somatize my feelings, so I might not feel upset, but I will feel physically sick. My stomach will hurt, my chest will get tight, or I'll get a headache, but my emotional state will seem calm. This isn't all that unusual, and many people experience this to different degrees.

As such, you can have your character say that their stomach hurts, or that they have a headache and can't discuss this anymore, or that they need to go lie down because they're dizzy. If we know they're relatively healthy, this can be a clue that they're getting overwhelmed but either cannot pinpoint their emotions or don't want to discuss them.

Let characters advance and retreat

A lot of the time, someone will address a scary emotion and then retreat again, sometimes over a period of hours, days, or even weeks. This is normal: most of us don't have the emotional fortitude to forge ahead through something difficult all in one go. Character A may say something vulnerable, then change the topic, laugh it off, say they're done discussing it, or even leave the situation.

Leave emotions partially unaddressed

Again, it's rare for someone to spill out everything they're feeling all in one go. As such, have Character A address the most important thing - or the least important, depending on their level of emotional maturity - and let it be done for then.

They might say their small piece, but when someone tries to probe deeper, they don't have an answer, or they get "stuck" on that one emotional level and cannot go further.

If Character B keeps pushing, then they may get incredibly upset and push back, or retreat.

Have Character B point out the feelings

Works especially well if the other character is a close companion or a parental figure. Often, people who know us really well will have better insight into our emotions than we do. Or, we might have good insight into our emotions but are still too afraid to open up. Having Character B point out the issue gives Character A grace to be more honest.

I can't tell you how many times I've been really upset, so I've distracted from the issue by getting angry about something completely different. Then, my mom will gently point out that I'm not actually crying about my new plastic cup being broken or whatever; I'm actually upset about XYZ. In that moment, I realize I've been caught out and admit that yes, that's what I'm really upset about.

Have Character A address it with a third character

Who among us hasn't gone to someone else to talk about our feelings? Having a third party serve as a sounding board is normal. Sometimes, Character A will feel such catharsis from this conversation that they don't address it as thoroughly with Character B.

Of course, you can use this to your advantage and create more tension if the third character gives bad advice or is biased.

Remember that just because the third party responded well does not mean that Character B does. You also have to avoid omniscience and remember that Character B wasn't privy to that conversation.

Have one confrontation be a stand-in for a larger one

I always think about the "The Iranian Yogurt Is Not the Issue" post when I think about this. Often times, things like not doing the dishes or whatever aren't actually the big deal: it's lack of boundaries, communication, or respect. A minor argument can be shorthand for a larger one that is too challenging for the characters to tackle.

This isn't just creating drama for the hell of it, though; it's about exploring the larger issues without making the characters lay it out on the table. A good reader will be able to see it's not about the Iranian Yogurt as long as you set up the relationship well.

Currently, I am writing a story where Uileac and his sister Cerie go to rescue Uileac's husband, Orrinir. On the way there, Uileac idly comments on how he wonders where a waterfall comes from because he's trying to distract himself from thinking about the fact that his husband is kidnapped and possibly dead.

Cerie, being pretty wound up too, starts arguing with him about it because she's like "why is this relevant? We're kind of too busy to think about geology right now!" Uileac gets annoyed at her for being so aggro, and she gets annoyed at him for being so irreverent. Both of them are upset about something completely different, but they're too scared and panicked to actually address that, so they release their frustrations by complaining about waterfalls.

Those bad vibes have to go somewhere, but neither of them are very good at talking about their feelings (though very good at stuffing them down). As such, they take the pressure off by sniping at one another. You've probably done this too, when you get into a dumb argument about something absolutely pointless because there's something you don't feel strong enough to discuss.

There's also the fact that if you're mad at someone about something but feel it's too stupid or petty to discuss, that frustration will leak out and everything else they do will annoy you, leading to a bunch of irrelevant arguments.

Use "reaffirmation" gestures

I talked about this in a different post, but after an argument, the "make up" stage doesn't always involve going "ohhh I forgive you" and big hugs and kisses, especially when the two characters aren't emotionally mature.

Instead, Character A makes gestures that reaffirm the relationship. This could be offering to do something Character B needs, making plans for later, or changing the topic to discuss something the other character cares about ("how are your cats doing?") etc.

Note that these "reaffirmation" gestures aren't the same as the cycle of abuse. This is more when two characters have had a difficult emotional conversation but aren't really sure how to continue being emotionally open, so they revert to something safer that still shows they care. They're not over-the-top gestures either, but more a special attention to something the other person loves. Knowing what the other person loves also demonstrates the depth of their relationship.

As always, I can't tell you what to do with your writing.

You are the crafter of your own story, and if you want people to talk like therapists for whatever reason, that's your choice. However, we want characters to feel like real people, and most real people don't lay it all out on the table every single time they're upset. If they do, they might be trauma vomiting, which is icky in and of itself.

Healthy communication isn't always perfect communication. People can have strong, loving relationships and still get things wrong - we're human. Having people calmly and rationally and easily talk about their feelings every single time is not only kind of boring, but it also feels weird, because unless we're primed to discuss those difficult topics and know we're perfectly safe, we're not going to do that.

People don't even do that in therapy, where they are paying for the service of talking about their feelings! Therapists also don't always do that IRL!

We're humans, and your characters need to feel like humans as well. That means letting them be imperfect communicators and using context clues rather than making them do all the work for the reader.

If you liked my advice, consider purchasing my book, 9 Years Yearning, for $3!

[rederiswrites]

I wrote this out for FB and then thought I might as well share it here as well. So if you have ADHD, are a late-diagnosed adult with ADHD, and most particular if you are a person with a uterus and/or have children, this one might be for you.

...

Last couple of days have been a little...weird. Let's start at the beginning. Buckle up and learn something.

As many of you already know, I have ADHD. It's a condition with a PR problem--a lot of people, often even medical professionals, have a very distorted idea of what it does, and a very limited one. For starters, it's not about parenting, or lead paint, or lack of discipline. It's genetic, *highly* heritable, starts in childhood and persists throughout life, and is a sufficiently severe disability that it comes with a decrease in life expectancy of up to 13 years. It is a visible difference that can be perceived in brain scans. These are all, at this point, well established and thoroughly attested in the scientific literature. ADHD affects up to 5% of the population and appears across cultures. It is very common.

It's not just about lack of attention--in fact, plenty of medical professionals think the name should be changed, as in fact the problem isn't the volume of attention but the way we struggle to direct it. We are motivated by interest, and struggle to properly weight future goals and consequences, specifically because they are in the future. If the robin outside the window is more immediately rewarding to our brain, we will watch that, and not the teacher. Our ability to properly weigh the consequences of that choice is negatively impacted by our own biochemistry.

We struggle with many of what are termed the "executive functions", the self management systems of the brain. Degree and presentation varies from person to person, but initiating tasks, completing tasks, staying ON task, restraining impulses, emotional regulation, and working memory are among the things impacted. My working memory is notoriously horrible. When they send you those activation codes on your phone? I often have to go back and read them out several times to enter a six digit number. I have to stop and remind myself what I'm doing between every step of my morning bathroom routine, or making tacos. Sometimes I take off my glasses to put on my contacts, reset, and reach for my pill bottles while I still can't see. My long-term memory is also affected, with my husband de facto serving as the memory-holder of the family.

Another common symptom I personally experience is "time blindness", which can mean both that you have no "internal clock" that has a clear idea of the passage of time, and that our ability to properly weight the importance of things in the future is impacted. So, for example, I can know intellectually what's coming, but it takes some really complex and exhausting antics to actually focus and work on those things if they're more than a week or sometimes even a couple days away.

Without externally imposed controls, many ADHD people flounder and fail to meet social markers of success. Estimates of how many ADHD people manage to complete college range from 5% to 15%. Again: 5% to 15%! I have failed twice myself. WITH externally imposed controls, ADHD people often have to work far harder to make their brains do what is required, and either fail and develop an image of themselves as failures (usually with plenty of external help), or keep fighting and suffer crippling burnout.

To that point, ADHD is HIGHLY comorbid with a whole range of knock-on conditions, some of which stem from the same brain patterns that give rise to the ADHD itself, and others from the trauma of living with a disability, but they include very high rates of depression, anxiety, fibromyalgia, social isolation, and addiction. I have dealt with depression, anxiety, and fibromyalgia my entire adult life. I have never ended up in the trap of self-medication but let's be real, that's partly about having supports and a healthy social environment. It's not some accomplishment I praise myself for, nor is addiction a sin I shame anyone for.

And anxiety has a very different texture to it when what you're really anxious about is the next time you fail in some catastrophic way. Lock your keys in the car. Completely space on a doctor's appointment. Go to pay for groceries and find that your wallet is next to your computer at home. Because the anxiety is not irrational fear of some generalized bad thing. These things do and will happen, regularly. Sometimes it feels like the only fix is getting good at recovering. Because no matter how many times you manage not to blow it, there's always another chance.

So, the struggle to be a reliable person, to be a consistent parent, to be a dependable life partner, is continuous. And it is so so so hard and it sometimes feels like you're not actually making any progress at all. I have tried therapy. I have tried three (or four??) different non-stimulant medications that sometimes help people. One of them DID help. ALL of them had catastrophic side effects. There were times as I was trialing these medications when I needed to be minded because I wasn't capable of taking care of anything, not even myself. Without Jacob, I don't know where I'd be. Not here. Probably in poverty, which is where he found me.

I have tried probably most organizational tools you know of. I have tried imposing schedules, all of which turned to dust and ash when the next fibromyalgia flareup or the next major life disruption happened. I don't think a new schedule has ever lasted a month before.

I HAVE felt like I'm made progress lately. I learned things that really helped my fibromyalgia, which gave me the space to work on other things--just like getting the borders of a puzzle finished. Enough things were spiraling upwards, and I think I might be cementing some gains. I have felt optimistic.

But in the meantime, I asked my doctor if, now that no less than three cardiologists have insisted my heart is Perfectly Healthy, I could finally try stimulant medications. After decades of use, Adderall, Ritalin, and a couple related stimulant drugs are still the gold standard for ADHD treatment and improve outcomes substantially for many people. And stimulants are in serious international shortage. Have been for many months. The only one she thought she could get me was Adderall. And she didn't dare try anything but the standard 30mg because nonstandard dosages would be even less attainable.

So now I'm taking Adderall. One week on 30mg, which I stopped when it was clear my function was being seriously impaired rather than improved. Reassessed with the doctor, now trying 60mg, because that's two of the pills I've already managed to obtain. It is....too much. And in some ways it fixes problems I wasn't working on, while so far making my executive function, my initiation or even *contemplation* of tasks, virtually nonexistant. Which was, of course, the thing I was trying to fix.

So yeah. When you have the context, I figure you can understand the substance of my frustration yourself. If you have children, I don't think you need my help to imagine what it would be like to know that you are unpredictable, or to see that your children are used to to you undergoing events that make you act strangely and erratically. I think just knowing that often, new medications introduce themselves by giving me a migraine, and I know this is possible when I take that first pill, is fairly self-explanatory. And so I expect you can imagine what it would be like, with all of this as a backdrop, to experience worsening of your symptoms, probably because of age-related hormonal changes. To in desperation try something you'd previously been denied. And to learn that it probably won't help.

In a week, I will either give up on Adderall for now or find a way to make it work. I'll put together the pieces yet again--at this point, possibly my strongest personal skill--and continue that upward climb as far as I can get. I'm incredibly fortunate in that regardless, I will be fed and dry and warm and loved. But right now, I feel justified in some serious dismay.

[cy-cyborg]

Tips for wring amputees: its ok if your amputee can't repair their own prosthetics

There's a trope in fiction for amputees to always be these mechanical geniuses who can make and repair their own prosthetics, endlessly tinkering away and improving them. This isn't a particularly trope, and i dont think its harmful or anything, but in reality, prosthetics are REALLY, REALLY complicated, and a lot of amputees cant do their own repairs. And thats ok. Like, prosthetic creation and repair is way, way harder than I think people expect. Well outside the skillset of your standard mechanic, handy man or craftsperson.

People who make and repair prosthetics are called prosthetists. To become a prosthetist, most countries around the world today require you to have completed a bachelor's degree in specifically in prosthetics and orthotics, which covers not only how to make a prosthetics (and orthodics) but a great deal of medical knowledge, physics, how different forces impact "non-standard" bodies, the additional biological wear-and-tear that comes with being an amputee and so much more. This will qualify you to do the job of fitting/making the prosthetic socket (the part that attaches to your body) and putting premade components together to make a functioning device. On top of this, many prosthetists are also expected to have artistic skills, sewing skills, good physical strength and dexterity, IT skills, and more recently, knowledge of 3D modelling and printing.

You want to make all the high-tech components the prosthetists put together to make the full prosthetic? The requirements for that vary country to country, but most will require at least some level study in the field of engineering and/or medicine, on top of what was already required for the prosthetics course.

The reason for all this is because even "basic" prosthetics are extremely finicky, and messing up one thing will have a domino effect on the rest of the body, especially in more complicated prosthetics. It can also result in people getting severally injured if anything is even slightly off. many leg amputees for example end up with spinal issues due to extremely minor issues with their prosthetic that weren't caught until years later, and by then the damage had been done.

Some amputees do learn to do basic repairs. This is most common in places like the US, where a visit to the prosthetist can cost hundred to thousands of dollars (depending on your insurance), but it's also quite common in rural parts of countries like Australia, where cost isn't an issue but access is due to vast distances between major cities. I was personally in this category; as a kid, my nearest prosthetist was 6 hours away. My prosthetist was able to teach my dad, who later taught me, how to do some of the simple repairs, but we still needed to go in every few weeks for the more complex stuff (Kids prosthetic need more adjusting than adults because they're still growing. Also I was rough on my prosthetics and broke them a lot lol).

But even after being taught how to do repairs and having my prosthetics for 20+ years, I only ever did these sorts of repairs to my below-knee prosthetic. I will not do any repairs of any kind to my above knee leg, which is much more technologically complex. Every time I tried, I made it worse to the point where the leg was unusable. I just leave those repairs to the guy who went to university to learn how to do it, and sometimes even he needs to send it off to someone with even more specialist knowledge when it's really badly messed up lol. Last time that happened Australia post lost the package. Not really relevant to this post, I just find the idea of it being sent to the wrong place by accident hilarious, it was one of my more realistic legs too so someone probably had a heart attack when they opened that package lmao.

Anyway, back on track lol.

This isn't even touching on the fact that on some more advanced prosthetics, many features are actually locked behind a security barrier only prosthetists can access. My prosthetic knee has an app on my phone I can pair it to, that allows me to change certain settings and swap between certain modes for different activities that tell the leg to change its behaviour depending on what I'm doing (e.g. a mode for running, a mode for cycling etc). but most of the more in-depth settings I can't access, only my prosthetist can, and he can only gain access to those settings with a security key given to him by the manufacturing company that requires him to provide proof of his credentials to receive it. I don't really agree with this btw, something about being locked out of my own leg's settings makes me feel a bit of an ick, but it's set up like this because people used to be able to access these settings and they would mess with things to the point their leg was virtually unusable. Because altering one setting had a domino effect on all the others, and a lot of folks weren't really paying attention to what they were messing with, all their prosthetists could do was factory reset the whole leg, which causes some issues too. Prosthetic arms are often similarly complex, as I understand it and have similar security barriers in place for more advanced arms. I don't know for sure though, so take that with a grain of salt.

All this to say these are incredibly delicate, finicky and complex pieces of equipment. There's nothing wrong with having a techy amputee character who can do their own repairs, but in reality, that is pretty rare, and its ok to have your character need to see a prosthetist or someone more knowledgeable than them. It's a part of the amputee experience I don't see reflected very often in media. In fact, the only examples I can think of in fiction (meaning not stories based on real people) where this is reflected are Full metal alchemist.

technically I think Subnautica Below Zero also mentions prosthetists are a thing in that world, but its a very "blink and you'll miss it" kind of thing...in fact I did miss it until my last playthrough lol.

[galedekarios]

just musing about gale and his parents:

we only have a handful of conversations where he mentions his parents and when he does, it's usually only his mother, morena dekarios.

his mother is mentioned at several points in the game. during a custom protag playthrough, he mentions her in a datamined conversation that appears to be bugged/broken:

and he mentions her at the end of the game as well when he proposes to the player:

i was also able to find another mention in a banter with karlach that usually happens for me shortly after recruiting her:

from gale's origin, this aspect is explored even more deeply:

there's more, of course, and it very clearly shows that the bond he shares with his mother is a deep and loving one from both sides. it's also very interesting that he is called dekarios after his mother and not--even though naming conventions could certainly vary even in waterdeep--after his father.

who he doesn't mention at all.

the only time we do get a vague mention is during a conversation with the protag after saving mirkon from the harpies:

after that, i haven't been able to find any reference, indirect or direct, to gale's father in the game.

so, here we enter theory territory:

i feel that, from a narrative point of view, in keeping with what i think gale's themes are, gale's father may have abandoned gale and his mother when gale was still young.

gale's character is rife with what might be interpreted as abandonment issue and it makes sense to me at least that those weave through his life up until the point where the protag meets him in the game.

another theme with gale is that he appears to have a lot of female figures in this life, who all had a profound impact on him, whether that impact is positive or negative: morena, tara, and yes, mystra.

it feels like to me that he had no father figure--and i use that term a bit more loosely here--until later in his life with elminster. this is already hinted at in a game with a custom protag, but all the more solidified in a gale origin playthrough:

i think without directing telling you, the game does allow you to sort of guess at that part of his background in this way, and understand why gale is as he is as a consequence. you can also understand why he acts as he does with elminster. seeking his approval. yearning for it. being extremely hurt by elminster having to see him like this when mystra sends him to gale to deliver her... instructions. this almost pointed absence of a mention of his father in all his comments (and tara's too, now that i think about it) when it comes to family is glaring to me.

being left, being abandoned, makes it much more understandable to me why he doesn't speak of him at all: if gale's father had died, it would make more sense to me that he would remark on it or share it in some way or another. it might have come up in a banter with wyll, perhaps, who is struggling with the expectations his own father had placed on him.

"he died when i was still very young." perhaps, or something along the lines of, "i barely remember him; he died when i was only a child.", etc etc etc.

YET if gale's father indeed abandoned his mother--who he holds in such high regard, and not to mention his own hurt--i can easily see and understand why he wouldn't waste a word on him.

anyhow yes, this is long and ramble-y, and i 100% might be reading too much into what may be a simple oversight, but it was interesting to me and i still see it as tying in with the theme of abandonment, even though we don't know the reasons for it in this particular case.

was it not wishing to deal with a child with magical talents he couldn't control yet? was it for another reason entirely?

[bluewolfangel01]

I feel uhhh so silllyy for requesting this but what if sheep mc snapped at like the brothers cuz there’s no way their 100+ year old asses are still acting like angsty teenagers (MC has a delusional joy moment😔😔😔)

It's okay, this is a very interesting request and I'm glad to do it 😁

I will specifically be writing Mc as a sheep like in the manga cause tiny pissed off sheep going off on tall and powerful demons is hilarious (sorry for the wait btw)

angy Mc is funny Mc and you can't change my mind

(I headcanon that the brothers sense their sin on Mc/you btw)

-Angy Mc-

Satan was the first one to sense something was up after a few minutes after his brothers and him started arguing

At first he wasn't sure what he was sensing, until he realized that he felt his sin, pure festering wrath

The worst part? He realized that it coming from Mc, who oddly enough was just sitting quietly on the couch, blankly staring at their phone in front of them

Satan went quite

Which caught the attention of the other brothers, who also turned their shouting at Satan, and even though Satan was very tempted to strick back at them, he held his tongue for once

Mc: "Can you all not fight, argue, or yell FOR ONE DAY?!"

It was at this point the brothers knew, they f#cked up (and went silent)

Mc: "Honestly, I know yall are brothers and demons so this kinda stuff is bound to happen but for Diavolo's sake this is getting ridiculous!"

Mc: *points hoof at Belphie* " Belphie. I know you're the avatar of sloth and therefore sleep a lot, but you can't solve all your problems and grief by sleeping the time away constantly, and the youngest brother brat thing doesn't always make you endearing!"

Mc: *points hoof at Beel* "Beel. I know you have survivors guilt but Lilith ended up living with humans like she wanted, Belphie doesn't need you standing up for him all the time, and you needn't continue to try to fill the hole inside you by eating in a restaurant that has no more food when you could just go down the street to another food place!"

Mc: *points hoof at Asmo* "Asmo. I know you ~get it on~ mainly to distract yourself from your troubles, to make yourself forget even just for a bit, sometimes but you can't push those feelings down forever, so actually talk with someone, anyone, about whats bothering you rather then trying ignore it! And stop hitting on your brothers, it's kinda weird!"

Mc: *points hoof at Satan* "Satan. I know you have an inferiority complex when it comes to Lucifer, but for the love of Diavolo, you wouldn't be called Satan, avatar of wrath, if you were like Lucifer in the first place. You have blonde hair and like cats, Lucifer has black grey-ish hair and likes dogs. AND THATS JUST THE START OF THE CONTRASTS! You are your own person, get that through your thick skull!"

Mc: *points hoof at Levi* "Levi. I know that it's easy to compare yourself to others and not at least feel somewhat bad about yourself but how do you not realize that you're the best tech wiz we got, an amazing gamer, and the most dedicated being I've ever seen in my life! So if you think that you're not good at something think again!"

Mc: *points hoof at Mammon* "Mammon. How in the whole Devildom is the Avatar of Greed almost always poor?! Also I know you are a material gorl, but items and things can't fully fill the void that you feel, so stop acting all emotionally constipated and just ask for affection if you want it!"

Mc: *points hoof at Lucifer* "And you Lucifer. I know you're the eldest and the prideful one, but there is such a thing as shouldering too much and being stubborn to a fault! Ask for help and for Diavolo to lessen your workload every once in a while! And stop not telling your brothers important things, rather then being all secretive to try to 'protect them' youre just hurting yourself and them cause of it!"

Silence was all that could be heard in the House of Lamentation, the brothers still as statues with varying amount of widened eyes, staring at the small being that they cherished that had just ripped into them so aggressively

After a minute ofa dead silent pause, Mc turned off their phone, hopped off the couch and started walking to the living room exit

Mc: "Honestly, I didn't expect to become a therapist for demons when coming here, and now I can't even read my enemies to lovers book in even somewhat peace.... I don't get paid enough for this."

They then disappeared from the brothers' sight, left to wrap their heads around what just happened

And the arguement that started it all? Who was going to make dinner that night