#if a character suffers a lot there is always another character that doesn't

[moonshinesonic-moonstarslight]

Paper Planes story notes:

Okay, so who else wants to see Shen Yuan trying his best to not get trapped in og!Shang Qinghua's web? While said character is casually sipping vinegar like it's fine wine because he's aware of the System, the fact that he has lived through many different versions of this story, that he is the vessel of the creator god, and that out of all the souls in this game "Peerless Cucumber" is the only one who has Airplane's favor so much.

Not even Mobei Jun has the same benefits for being the "favorite character" as Peerless Cucumber gets for being the favorite follower. Seeing that he gets happy endings, purposely left blind to the inevitable tragedy to come, the story warped to benefit his wims, and he's the only one who gets Airplane playing along personally with his story beyond the usual song and dance.

Yeah, for the possessive vessel who is in a love-hate relationship with his god... Peerless Cucumber is the one person he is willing to put up with the System in order to be able to pull him off his pedestal.

Lucky for him! The System has been getting bored with the usual storylines and decided that it wanted to see how User 002 would be able to handle a meta-knowing character and see if it can finally be free of giving said user Easy Mode. (It has to offer it and Shen Yuan keeps taking it...)

So it allowed Shang Qinghua to recall the past storylines and the things surrounding Airplane (Which is something that has been permitted before so no big deal), made sure that the traitor didn't go into his tried and true tactics of focusing on getting Mobei Jun to become king while doing everything to make the North the only true stable part of the demon world one Tianlang Jun gets sealed away. (Og Shang Qinghua has two people who are worth the heartbreak and suffering that ultimately is his fate: Mobei Jun and Airplane. Not that he would tell either of them, especially Airplane, but that doesn't mean he doesn't see them as the only people worth his effort.)

In order to get what it wants for this story, the System pushed for Shang Qinghua (still a lowly disciple and fighting against his need for human connection because he knows how it's going to end up) to make connections in the sect. Basically either make a friend with one of the other characters or find a lover with one of them.

And while Shang Qinghua isn't keen on facing the pain of connecting with another person only for it to crumble into tragedy... He has befriended Shen Jiu before. Mind you it never ends well. But he has.

While he always tries to keep a pessimistic view, Shang Qinghua actually has a lot of optimism regarding making changes in comparison to Airplane. So here he goes again attempting to have a relationship with Shen Jiu.

So Scumrat was a thing that had happened before Shen Yuan got transmigrated in. It ended pretty nastily but given that Shang Qinghua has a habit of leaving the past in the past while Shen Qingqiu has a habit of avoiding his actual feelings... Neither had brought their past up and have been moving on with a distant professional relationship.

However... Shen Jiu was in love. Still in love actually. There is one person he would lay with and that is his sneaky shidi who is too pretty for his own good. Shen Qingqiu had to fight to control his impulse to look at no other person when Shang Qinghua is in the same room. He was able to control it after a few years, but it is still a fight. (Shang Qinghua has a way of digging his way into people's hearts and just staying. Does he realize this? Nope! If he did it would be a thousand times worse.) He also has a weakness for Shang Qinghua's attention and touch. Thankfully, Shang Qinghua (who knows about this weakness) has never found a reason to use that weakness against him... Yet.

And while Shen Jiu is gone... his body is still present and the echoes of those memories are deeply engrained to where not even a soul transfer can change that fact.

Shen Yuan doesn't know this. And he doesn't have the training to ignore his body's need to watch and melt under the touch of Shang Qinghua.

Who is more than willing to use Shen Jiu's weaknesses against Peerless Cucumber. Especially once he notices that the transmigrator can't pull his eyes away when they first meet. Not even Luo Binghe can drag those eyes away and Peerless Cucumber has blatant favoritism to the little godling. (They meet before the IAC because Shang Qinghua is not dealing with shoddy paperwork thank you! Basically, he came back from a melon seed trade deal to an amnestic Shen Qingqiu and, while being completely aware of what happened, decided to be a 'good shidi' and assist his shixiong with relearning how to do the administrative side of Peak Lord work.)

The System is sitting back on Shang Qinghua's side and pushing on Shen Yuan's. If it could eat it would be popping back popcorn as it watched the showdown between the Author's Vessel and the Favorite Anti-Fan.

Still trying to figure out what happens after the sudden realization that the scum traitor is fully aware that you are not his shixiong and he has no reason not to use said shixiong's weaknesses against you.

Shen Yuan is desperately trying to remain standing and keep the protagonist from landing into the traitor's web. Because Luo Binghe likes his shishu for some reason.

[stupidlittlespirit]

Can you give me more examples of Alex disliking Ford? I’ve always kinda felt it, but I never really had much of a real grasp on it.

Okay so this is the part where I look crazy because I can't give you specific examples LMAO but I'll try to explain what I mean. It's more in what he doesn't say than what he does.

Alex doesn't ever come right out and state 'I hate Ford', but he implies his distaste for him through his treatment of him. The way he hasn't gone harder/more explicit on drawing lines about Ford's abuse, or talking about how Ford suffered terribly during the time he was alone, for example. The way he blames Ford inherently for a lot of stuff that Ford, while not blameless, isn't fully at fault for. It's little things, and I'll detail them below.

TW below: Abuse, discussions of victimhood and irl consequences.

He extends more sympathy to other characters whereas Ford is sort of an afterthought. I don't actually think Alex has fleshed Ford out very well in his own head. Remember when he said that he didn't even know that Bill was going to be the main villain? They were flying by the seat of their pants for a lot of the series and it's quite clear in some elements. Obviously, the series is wonderful, I love it, it's one of my favourite shows of all time and Alex is a true talent, but it's obvious which characters are more important to him. He favours Bill a lot, too, so when his disliking of Ford/being ambivalent about him meets his enjoyment of Bill, only one of those dogs is coming out of the fight alive and it ain't Ford.

I think Alex is a genuine talent, I admire his work and his writing. He seems lovely. But I do also think he lacks in skill when it comes to complex abuse depictions.

I see a running theme that he isn't very good at portraying it specifically via 'unlikeable' characters. I mentioned on a previous post that he did this with Pacifica until people expressed empathy with her, and then he decided to round her out. He stated that himself during an old interview; I can't source it but I remember it vividly because it flagged red in my head that he couldn't see she was just a product of her environment. She's a twelve year old girl, for god's sake, she isn't 'just a horrible person', it makes a person sound like Bill when they beef with kids like that lol.

Another thing is in TBoB, there's a really horrendous page where Ford is tortured. It is visceral and awful, and tbh I wish I'd have been able to ask Alex what his top 5 horror movies were when I saw his talk because the scene is very reminiscent of a lot of my fav horrors.

But anyway, it is literal torture and it is also communicating about how helpless Ford is. He's a victim and a 'weak one' at that. Nothing he can do will stop Bill's abuse, he's stupid for trying, he's pathetic, he deserves it.

Now, that is a take I see with Ford a lot. He deserves it. He's asking for it. And it's a really upsetting one. It's also a common narrative told by people who blame victims for the abuse they suffered.

Not once have I ever seen Alex defend Ford. Not once have I ever heard him say 'Ford didn't deserve this', 'Ford suffered as much as Stan'. Not once.

Considering that he said he took 'inspiration' from his friend's 'toxic' relationships (I also think this is a strange and slightly perverse thing to do btw), I would have thought he might feel more strongly about pushing away this narrative about victims deserving their treatment.

I, obviously, also don't know for sure that he did take inspo from friends; he could well be describing his own experiences and just not feel comfortable saying so because men do suffer a different kind of stigma around being abused. That's fine, he doesn't have to out himself or anything, that would be horrible. But it's just the way he reacts to fans and speaks about the victim (Ford) that makes me think he's a bit more removed from this specific experience than it being personal.

There are many types of abuse. Ford's experience is familial, relationship-wise (platonic, because nothing about his relationship with Bill is romantic in the most basic sense of the term, if anything you can liken that side of things to sexual abuse) and personal. Ford then abuses himself as a reaction to outside abuse. Not his fault, again, but it does happen and it's a common thing for victims to do. I did.

Ford does nothing but suffer.

I truly don't believe that if you loved and cared for your character, you would be willing to watch your audience tear them apart like that after they had already been through so much and were not actually a villain themselves.

Especially if you had, or knew other people who had, experience with that kind of abuse. He doesn't let it happen to Stan, he came down hard on people when they did it to Dipper, and to Mabel, too.

It would kill me to let my OCs be bastardised like that by an audience and I'd be damned if I did a disservice to victims everywhere over something like this.

I think his lack of care is displayed in his treatment of Ford, as opposed to him outright saying he doesn't like him.

I also understand that this analysis also comes from a deeply personal point of view and my own experience with this topic, too.

This is a TV show, it isn't real and I don't need to take it so seriously, but what I do take seriously is seeing the real world reactions of other people. That does hurt. It hurts to see someone who is (very inelegantly and heavy-handedly, btw) depicted as a victim of abuse be laughed at and made into a joke, or flipped on their head and made to be romanticised with their abuser just to make a ship happen.

Fiction doesn't need to be taken seriously except when the lines begin to blur over into real life. We know people are cruel to irl victims and we can see where these lines blur quite obviously.

I think abuse and uncomfortable topics should be depicted, but I also think that as a creator, if you use them, you have a HUGE responsibility to teach and guide your audience into understanding why these things are bad/what makes them so. You shouldn't make jokes about the topic or encourage other people to go off the rails with it.

You can't control people, of course you can't, but you can hold their hand a bit and show them towards the light. If they choose not to follow it then they're probably not bright enough to pick up what you're putting down and that's on them, but you have to try.

Maybe if I hadn't (and my friends and other victims hadn't) been subjected to exactly the same reaction, we wouldn't feel so strongly about this, but it really does feel like a kick in the teeth to see a large number of people behave so grotesquely about abuse.

And just as an aside: I am a victim, I have been/am an unlikeable one, but it does not mean that I deserved what I got and that goes the same for every other 'unlikeable' victim out there.

*deep breath* but other than that I'm totally normal about Ford and not at all mentally ill :)

[aecholapis]

Just wanted to hop in your inbox and say your OCs have some of the best, most varied backstories I’ve seen so far in the fandom. I’m never not entertained by them.

Oh wow, thank you! That's a huge compliment coming from one of the fandom's renowned lore masters!

They're just little guys living their lives and making mistakes. Usually, their backstories are a combination of "what do I want them to experience", "let's put them into Situations™" and "what is most the most likely outcome in this situation" and later on, I think about all the details that could make them appear more real, more believable. That is enough for me to build characters that feel like they belong into their own little universe.

I'm glad to hear that you like them!

[sskk-manifesto]

Ep 9 ! :)

[archaeren]

How I learned to write smarter, not harder

(aka, how to write when you're hella ADHD lol)

A reader commented on my current long fic asking how I write so well. I replied with an essay of my honestly pretty non-standard writing advice (that they probably didn't actually want lol) Now I'm gonna share it with you guys and hopefully there's a few of you out there who will benefit from my past mistakes and find some useful advice in here. XD Since I started doing this stuff, which are all pretty easy changes to absorb into your process if you want to try them, I now almost never get writer's block.

The text of the original reply is indented, and I've added some additional commentary to expand upon and clarify some of the concepts.

As for writing well, I usually attribute it to the fact that I spent roughly four years in my late teens/early 20s writing text roleplay with a friend for hours every single day. Aside from the constant practice that provided, having a live audience immediately reacting to everything I wrote made me think a lot about how to make as many sentences as possible have maximum impact so that I could get that kind of fun reaction. (Which is another reason why comments like yours are so valuable to fanfic writers! <3) The other factors that have improved my writing are thus: 1. Writing nonlinearly. I used to write a whole story in order, from the first sentence onward. If there was a part I was excited to write, I slogged through everything to get there, thinking that it would be my reward once I finished everything that led up to that. It never worked. XD It was miserable. By the time I got to the part I wanted to write, I had beaten the scene to death in my head imagining all the ways I could write it, and it a) no longer interested me and b) could not live up to my expectations because I couldn't remember all my ideas I'd had for writing it. The scene came out mediocre and so did everything leading up to it. Since then, I learned through working on VN writing (I co-own a game studio and we have some visual novels that I write for) that I don't have to write linearly. If I'm inspired to write a scene, I just write it immediately. It usually comes out pretty good even in a first draft! But then I also have it for if I get more ideas for that scene later, and I can just edit them in. The scenes come out MUCH stronger because of this. And you know what else I discovered? Those scenes I slogged through before weren't scenes I had no inspiration for, I just didn't have any inspiration for them in that moment! I can't tell you how many times there was a scene I had no interest in writing, and then a week later I'd get struck by the perfect inspiration for it! Those are scenes I would have done a very mediocre job on, and now they can be some of the most powerful scenes because I gave them time to marinate. Inspiration isn't always linear, so writing doesn't have to be either!

Some people are the type that joyfully write linearly. I have a friend like this--she picks up the characters and just continues playing out the next scene. Her story progresses through the entire day-by-day lives of the characters; it never timeskips more than a few hours. She started writing and posting just eight months ago, she's about an eighth of the way through her planned fic timeline, and the content she has so far posted to AO3 for it is already 450,000 words long. But most of us are normal humans. We're not, for the most part, wired to create linearly. We consume linearly, we experience linearly, so we assume we must also create linearly. But actually, a lot of us really suffer from trying to force ourselves to create this way, and we might not even realize it. If you're the kind of person who thinks you need to carrot-on-a-stick yourself into writing by saving the fun part for when you finally write everything that happens before it: Stop. You're probably not a linear writer. You're making yourself suffer for no reason and your writing is probably suffering for it. At least give nonlinear writing a try before you assume you can't write if you're not baiting or forcing yourself into it!! Remember: Writing is fun. You do this because it's fun, because it's your hobby. If you're miserable 80% of the time you're doing it, you're probably doing it wrong!

2. Rereading my own work. I used to hate reading my own work. I wouldn't even edit it usually. I would write it and slap it online and try not to look at it again. XD Writing nonlinearly forced me to start rereading because I needed to make sure scenes connected together naturally and it also made it easier to get into the headspace of the story to keep writing and fill in the blanks and get new inspiration. Doing this built the editing process into my writing process--I would read a scene to get back in the headspace, dislike what I had written, and just clean it up on the fly. I still never ever sit down to 'edit' my work. I just reread it to prep for writing and it ends up editing itself. Many many scenes in this fic I have read probably a dozen times or more! (And now, I can actually reread my own work for enjoyment!) Another thing I found from doing this that it became easy to see patterns and themes in my work and strengthen them. Foreshadowing became easy. Setting up for jokes or plot points became easy. I didn't have to plan out my story in advance or write an outline, because the scenes themselves because a sort of living outline on their own. (Yes, despite all the foreshadowing and recurring thematic elements and secret hidden meanings sprinkled throughout this story, it actually never had an outline or a plan for any of that. It's all a natural byproduct of writing nonlinearly and rereading.)

Unpopular writing opinion time: You don't need to make a detailed outline.

Some people thrive on having an outline and planning out every detail before they sit down to write. But I know for a lot of us, we don't know how to write an outline or how to use it once we've written it. The idea of making one is daunting, and the advice that it's the only way to write or beat writer's block is demoralizing. So let me explain how I approach "outlining" which isn't really outlining at all.

I write in a Notion table, where every scene is a separate table entry and the scene is written in the page inside that entry. I do this because it makes writing nonlinearly VASTLY more intuitive and straightforward than writing in a single document. (If you're familiar with Notion, this probably makes perfect sense to you. If you're not, imagine something a little like a more contained Google Sheets, but every row has a title cell that opens into a unique Google Doc when you click on it. And it's not as slow and clunky as the Google suite lol) (Edit from the future: I answered an ask with more explanation on how I use Notion for non-linear writing here.) When I sit down to begin a new fic idea, I make a quick entry in the table for every scene I already know I'll want or need, with the entries titled with a couple words or a sentence that describes what will be in that scene so I'll remember it later. Basically, it's the most absolute bare-bones skeleton of what I vaguely know will probably happen in the story.

Then I start writing, wherever I want in the list. As I write, ideas for new scenes and new connections and themes will emerge over time, and I'll just slot them in between the original entries wherever they naturally fit, rearranging as necessary, so that I won't forget about them later when I'm ready to write them. As an example, my current long fic started with a list of roughly 35 scenes that I knew I wanted or needed, for a fic that will probably be around 100k words (which I didn't know at the time haha). As of this writing, it has expanded to 129 scenes. And since I write them directly in the page entries for the table, the fic is actually its own outline, without any additional effort on my part. As I said in the comment reply--a living outline!

This also made it easier to let go of the notion that I had to write something exactly right the first time. (People always say you should do this, but how many of us do? It's harder than it sounds! I didn't want to commit to editing later! I didn't want to reread my work! XD) I know I'm going to edit it naturally anyway, so I can feel okay giving myself permission to just write it approximately right and I can fix it later. And what I found from that was that sometimes what I believed was kind of meh when I wrote it was actually totally fine when I read it later! Sometimes the internal critic is actually wrong. 3. Marinating in the headspace of the story. For the first two months I worked on [fic], I did not consume any media other than [fandom the fic is in]. I didn't watch, read, or play anything else. Not even mobile games. (And there wasn't really much fan content for [fandom] to consume either. Still isn't, really. XD) This basically forced me to treat writing my story as my only source of entertainment, and kept me from getting distracted or inspired to write other ideas and abandon this one.

As an aside, I don't think this is a necessary step for writing, but if you really want to be productive in a short burst, I do highly recommend going on a media consumption hiatus. Not forever, obviously! Consuming media is a valuable tool for new inspiration, and reading other's work (both good and bad, as long as you think critically to identify the differences!) is an invaluable resource for improving your writing.

When I write, I usually lay down, close my eyes, and play the scene I'm interested in writing in my head. I even take a ten-minute nap now and then during this process. (I find being in a state of partial drowsiness, but not outright sleepiness, makes writing easier and better. Sleep helps the brain process and make connections!) Then I roll over to the laptop next to me and type up whatever I felt like worked for the scene. This may mean I write half a sentence at a time between intervals of closed-eye-time XD

People always say if you're stuck, you need to outline.

What they actually mean by that (whether they realize it or not) is that if you're stuck, you need to brainstorm. You need to marinate. You don't need to plan what you're doing, you just need to give yourself time to think about it!

What's another framing for brainstorming for your fic? Fantasizing about it! Planning is work, but fantasizing isn't.

You're already fantasizing about it, right? That's why you're writing it. Just direct that effort toward the scenes you're trying to write next! Close your eyes, lay back, and fantasize what the characters do and how they react.

And then quickly note down your inspirations so you don't forget, haha.

And if a scene is so boring to you that even fantasizing about it sucks--it's probably a bad scene.

If it's boring to write, it's going to be boring to read. Ask yourself why you wanted that scene. Is it even necessary? Can you cut it? Can you replace it with a different scene that serves the same purpose but approaches the problem from a different angle? If you can't remove the troublesome scene, what can you change about it that would make it interesting or exciting for you to write?

And I can't write sitting up to save my damn life. It's like my brain just stops working if I have to sit in a chair and stare at a computer screen. I need to be able to lie down, even if I don't use it! Talking walks and swinging in a hammock are also fantastic places to get scene ideas worked out, because the rhythmic motion also helps our brain process. It's just a little harder to work on a laptop in those scenarios. XD

In conclusion: Writing nonlinearly is an amazing tool for kicking writer's block to the curb. There's almost always some scene you'll want to write. If there isn't, you need to re-read or marinate.

Or you need to use the bathroom, eat something, or sleep. XD Seriously, if you're that stuck, assess your current physical condition. You might just be unable to focus because you're uncomfortable and you haven't realized it yet.

Anyway! I hope that was helpful, or at least interesting! XD Sorry again for the text wall. (I think this is the longest comment reply I've ever written!)

And same to you guys on tumblr--I hope this was helpful or at least interesting. XD Reblogs appreciated if so! (Maybe it'll help someone else!)

[unpretty]

not going to tack this onto @derinthescarletpescatarian's post because it was long enough but here is my understanding of some of the various subgenres commonly encountered in light novels/web novels/licensed webtoons:

isekai: another world. if they end up in a different world it's an isekai. it doesn't matter how they got there. sometimes the other world is explicitly a video game the protagonist is playing. they're not dead or anything, just in virtual reality. they go home at night and it's fine.

portal fantasy: it does matter how they got there, actually. they went through a portal of some kind. wherever they end up, they keep their minds and bodies. maybe in the other world they have powers, but maybe not.

progression fantasy: they are going to level up like a video game character. there may or may not be an actual leveling up mechanic. they might just get stronger or acquire more wealth and powerful allies as it goes on. they will always kick more ass. hundreds of beavers is a progression fantasy.

litrpg: western term for 'the characters explicitly have video game mechanics'. there is probably a System of some kind. characters are aware of levels and power tiers. most controversial subgenre, lots of people hate this.

dungeon break/monster hunter: dungeons or portals appear in the real world, some people get powers that let them fight the monsters. lots of people try to tell me this is just litrpg but i argue that they are distinct subgenres with significant overlap. not every litrpg is this. you can probably find traditionally published american versions of this pre-dating video games and the litrpg concept.

transmigration: this is when truck-kun intervenes. there are other ways it can happen, but usually a character dies (hit by a truck is the most common trope) and wakes up in a different body. usually an isekai, usually it's into a story or video game, but it doesn't always have to be.

regression: a character dies, but instead of dying, they wake up as their younger self with all their memories from before their death. this is explicitly not an isekai, except when someone gets fucky with it and reveals that a transmigrator was actually also a regressor the whole time.

loop: if they regress more than once it turns into a loop. this is distinct because sometimes with regressors they just have the one chance to not fuck things up this time. some loop stories also have characters transmigrating a bunch of times.

villain isekai: usually transmigration. oh no i died and woke up as the bad guy in a story! now i gotta try not to fucking die!!!

romfan: romance fantasy. it gets called romfan instead of romantasy because it came first and is being translated probably.

otome isekai: also usually transmigration and also often romfan. you are now the prettiest princess and all the boys want to kiss you. i assume there's a 'harem' version of this For Men but i don't read those and can't tell you anything about them.

villainess isekai: usually a combination of the above three. most likely to be very meta and funny. i have a weakness for these ones.

divorce revenge: there might be a real name for this but i don't know it. sometimes this is paired with regression but not always, but it's very often a kind of progression fantasy. features a woman divorcing her shitty husband and then living her best life, which keeps getting better as her husband has to watch her kick ass and then cry about how he blew it. there are so many of these.

childcare fantasy: i think this includes both the ones where someone transmigrates into a baby, and the ones where they transmigrate to take care of a baby. i don't like this genre enough to check. but 'formerly abused child gets loved and coddled and anyone who tries to hurt them suffers' is a major component of this subgenre.

there's definitely more but my attention span has waned. here's some comics that are on my reading list after the cut, there's going to be undescribed screenshots because i'm lazy. you may need to find these elsewhere if you don't want to deal with tapas or webtoon and their paywalling systems.

The Greatest Estate Developer: transmigration villain isekai and progression fantasy with litrpg elements. architect uses his knowledge to save his own ass and also his new family, gets powers, everyone will unionize whether they like it or not.

Lout of the Count's Family: transmigration villain isekai and progression fantasy. ends up in otome isekai recommendations a lot despite technically not being an otome, on account of the eye candy and shipping potential. the webnovel has turned into like six different genres by now and is asspull central but i read it anyway. protag says he just wants to save his own ass so he can relax but does it by coughing up blood constantly.

The S-Class Hunters That I Raised: regression dungeon break litrpg. guy with shitty powers regresses and has to figure out how to make his power of taking care of people suck less, turns out it's OP as all hell.

Villains are Destined to Die: villainess transmigration otome isekai, maybe a little litrpg? there's definitely a system. protag just wants to go home because the visual novel she's in is notoriously difficult and she is at constant risk of being murdered. i like this one so much i own it in print.

Marriage of Convenience: regression romfan. not an isekai!! protag hated her life and died in poverty and shame after her husband died, this time she's going to try not doing that.

Villainesses Have More Fun: villainess transmigration otome isekai and progression fantasy. protag is very excited to be the villainess because she was the best character. she loves being rich. unfortunately at least one plot point raises the question 'why is that boy white'

Beware the Villainess: villainess transmigration otome isekai, meta as all hell, extremely meme-able faces, does not end in an OT3 but should have.

Baroness Goes On Strike: regression romfan, also not an isekai. protag wanted a divorce on her deathbed but woke up on the first night of her marriage, wants her life to suck less this time through the power of being assertive.

The Perks of Being a Villainess: villainess transmigration otome isekai and progression fantasy. protag has resting villainess face and progresses through the power of advanced math, unregulated capitalism, and abuse of the patent and copyright systems.

I Think I've Been Possessed Somewhere: transmigration isekai starring a main character who's read so much romance fantasy that she doesn't actually know what genre she's in because everything is too generic. meta as all hell.

Your Throne: villainess, sort of transmigrator? the crafty politically-savvy villainess bodyswaps with the naive saintess heroine, shit gets dark real fast, probably not going to end with girls kissing despite my hopes and dreams.

The Remarried Empress: divorce revenge romfan. you see this one referenced a lot in the comments of other romfans because everyone hates Rashta, the waif that the emperor divorces the empress for.

Raising My Fiance With Money: romfan, fake dating, sort of a divorce revenge except it's her ex-fiance. no isekai elements at all, but the protag is ridiculously lucky with money, comically wealthy, and supported by her doting family despite having terrible taste in men. her love interest is a teddy bear with resting murder face.

When The Third Wheel Strikes Back: transmigrator isekai. the protag never actually read the book, he only knows about it through osmosis because it's hugely popular and his sister is a big fan. one of the only things he knows is that in a recent update his character dies. also, it was already a transmigrator isekai before he got there. he isekai'd into an isekai. so much of the worldbuilding suggests a canon ot3 but i refuse to get my hopes up.

Omniscient Reader's Viewpoint: it's sort of a dungeon break. not really an isekai but kind of. litrpg, sure. there's regressors. there's transmigrators. there's a lot going on. kim dokja was the only reader of a terrible, ridiculously long webnovel that now appears to be coming true. the official adaptation appears to be making the webnovel less queer overall. i read the webtoon until i got impatient enough to force my way through the sometimes clunky webnovel translations. it's hard to explain orv because it's a story about stories. consuming stories, telling stories, stories told about you, becoming a story, the cost of a story. it is so long. there is so much happening. the story is resolved in the epilogue you might skip if you didn't know any better. some people find it too confusing while others read homestuck.

[yusiyomogi]

i think that kui portrayed kabru's mental health issues in a very interesting way, but it's what makes it subtle to some readers. the fact that he seems so functional to the readers, especially in the first few appearances, not to mention that a lot of his problems and symptoms are not obvious and can only be seen in additional materials, seems like an intended choice from the character writing perspective.

the way kui constructs his character centers around the idea of duality. he switches between two "faces" in the story constantly, he uses two speaking styles (and two pronouns indicating them), he's a tallman who lived with elves for a long time and carries both cultures, he's caught in the conflict between long-lived and short-lived races, he's constantly stuck between two choices in his inner conflicts (what to think of laios? should he prioritize preventing another tragedy or taking away power from long-lived races?), he's bisexual. kui also made him a gemini, yknow, a zodiac sign associated with twins and duality.

there's a certain theme in this and it does affect the way we interpret his personality and choices and it goes beyond text, it's metatextual too. it's a sway between what's hidden and what's shown to the readers about him.

the thing is, i think his mental health issues are meant to be downplayed and hidden, because it's true to his character. what do we notice about him in the main story and what's hidden? well, one of the first things we see is that he's not great at fighting monsters, he suffers from ptsd that makes him basically freeze up just from thinking about them. images of dead people turning into monsters, tearing each other apart and eating each other haunt him, making him feel ill from monster food. he downplays this a lot, hides it from other characters, straight-up lies about it, but at least readers got to see it.

with a keen eye you might notice that he doesn't eat enough food, almost never eats anything on-screen. he mentions that he's never cooked food in his life: wait, kabru, don't you live alone? in that sense "don't you wanna eat?" moment reveals two details of kabru's character at once: we got to see his aversion from monster food related to ptsd, but also his inability to notice his own hunger in general. he's strong and he almost always wears armor, but we know that he often dies in the dungeon. the armor hides that he's pretty scrawny for someone who fights physically, again, something that we can only notice after he takes off his armor (symbolism!).

funnily enough, here we have our first glance at this through additional materials: in the info page about the importance of calories and fat, kui mentions that kabru has lost a lot of weight since he started exploring the dungeon, because he died a lot. what it means is that he doesn't eat enough to cover the loss of weight. subtle, but clever detail.

speaking of him not knowing how to cook, this is another clever detail that hides bigger truth: kabru doesn't know how to do chores, he doesn't take proper care of himself. extra materials reveal to us that kabru lives in the basement, lacking light and clean air and he doesn't know how to clean his room or how to iron clothes and simply... never cared to learn? this is mostly omitted from the main story, even if it does have a place for it: for example, his journey with mithrun becomes infinitely more fascinating, when you know how little kabru cares about himself. but since those chapters are told through kabru's pov, he basically "hides" this from the reader, takes control of the narrative in the same way he tells a polished version of his tragic backstory.

he talks about mithrun's story like there's no connection, like he's not literally looking at the dark mirror of himself. and, ironically, he chooses to not be vulnerable in front of the readers just like young mithrun wouldn't. extra materials give us a glimpse again: when in the main story mithrun said "i can't fall asleep without spell or potion", in the extra comic (literally behind the scenes) kabru says "i use alcohol to help me fall asleep". there's a connection and kabru sees it, but he's not telling it to us. (and yes. there's evidence that kabru is an early-stage alcoholic. we can see bottles under his bed and what he says basically imply that he depends on alcohol: he's not using it for recreational purposes, he's using it as a substance to make himself sleepy and, probably, less anxious. when that dependence turns uncontrolled, it often leads to full-blown alcoholism).

bigger connection to mithrun is of course kabru's refusal to accept his own humanity, to see that he's alive, that he has his own needs and desires. he's suicidal in the same way: he can only see his goal, he doesn't care about his life, he only sees the value of his life in relation to that goal and he never think what's gonna happen to him after he reaches this goal (because he unconsciously believes that "the after" wouldn't happen to him). and he doesn't reflect on it, again, until he's met with a question "what do you want to do?". the way he doesn't see himself as alive is omitted again in the big portion of the story and only really comes up in the end, when he asks "what was the point of my survival?", in a basically joking moment.

but we can see it through the symbolism, through his connection to death in the story, through his eagerness to sacrifice his life for the idealistic goal in his mind. and of course, we can see it clearly through his mirror: there's a strong parallel between kabru almost committing double suicide while chasing his goals and mithrun literally getting himself killed while chasing his own.

what i'm trying to say, it's interesting that kabru uses his control of the narrative to hide his own vulnerability from the readers. maybe mithrun sees himself as leftovers and it's something cathartic for him to admit in the end, but kabru really doesn't want you to see that he feels the same way. that he's also "leftovers". but you see, they are standing together in that panel. as kabru continues to try shielding himself from your view, kui puts the mirror next to him, revealing what's hidden.

[fangsandfeels]

Quite often, I'm sad that Larian canned the original idea of letting origin characters narrate their story and choices. It gave such a nice flavor to their personal stories and their emotions during every encounter.

For instance, upon encountering a wounded illithid who tried to mind control them:

Astarion already fucking hates this thing - he growls as he describes it, he seethes. And then he almost sobs, when the mindflayer tries to force him to think he deserved to be whipped and flayed for resisting it. And it makes perfect sense for him to react like that -- not only does he hate any intrusion into his mind, but also, the mindflayer found his trigger and made him feel miserable.

Meanwhile, Shadowheart, in the same scene, sounds a lot more collected, and observant, detached even when the mindflayer pushes into her mind. Sharite training pays off - she has probably been prepared for such attacks and is ready to endure what it takes to fulfill her mission. She needs to keep her focus and press on.

Will is straight-up poetic. He doesn't narrate; he tells a story he is immersed in (and wants to get you immersed too). He doesn't hate the dying mindflayer -- he has no reason to, it's dying all the same. He is taken aback by the compulsion attempt, clearly processing the emotions the creature tries to drag him through, but he is still in control, clearly understanding what it's trying to do. And of course, he would be in control - he is an experienced monster hunter, he dealt with all kinds of creatures. He knows a mental attack when he sees one.

Oh, and Gale, Gale just brings that classy "stranded in another world log" vibe. He is one of those sci-fi protagonists who go through the horrors and wonders, but always narrate them in the calmest of voices because they can't afford losing focus and losing their cool. Of course, Gale is also sympathetic, and curious, and melancholic at times, but it's all contained. I don't know if it was intentional, but his lines conveyed the feeling of isolation despite being surrounded by people.

Yes, Amelia Tyler is perfect, but I feel like BG3 origin character playthroughs suffer from the same effect that Divinity: Original Sin 2 origin stories did -- aside from a couple of details, more personalized interactions, and a bit more insights related to personal quests, they blend together with custom character behavior a lot.

Narration by VAs would have added such a nice personal touch to every choice and decision - not to mention compensated for the lack of voiced dialogues.

[deathbxnny]

Currently in a cfs/me flare up after losing my mind over the Arcane finale (lmao), and it’s been making me think about the characters keeping company to an exhausted & feverish reader. You can choose if you want to make it chronic illness related or more general, I’m just interested how you’d write them in a situation like that 🐁💖 Would love to see Vi, Caitlyn, and Viktor (pre-robojesus) if that’s okay :)) Both platonic and romantic are fine to me too!

Just wanted to add to the end that I loved your Timekeeper fic so much <3 Thank you for writing my request, it actually made me roll around my bed in joy :”D I hope days start getting better for you soon, stay safe 💖💖

Arcane characters with a chronically ill s/o. | Viktor, Caitlyn, Vi x Gn!Reader

Hey there, Anon! Sorry that it took so long to get to your request, but I hope you're doing better now! Im so glad to hear that you liked my last post too!<3

Content: Vague chronical illness, slight angst, fluff, can be read as platonic or romantic tbh, sfw

Reader has no set pronouns.

((Not proofread))

》VIKTOR

He knows what it's like to deal with a chronical illness and, therefore, is the best prepared out of the three.

Viktor always has an eye on you and practically studied what makes your sickness get worse. He sees the patterns and tries his best to quickly get you out of situations that could provoke them.

Sometimes, he feels guilty that he isn't able to do more to help you, especially when he, too, is suffering. He appreciates your presence because of that, since you're a comfort to him and someone who understands how he feels. You spend a lot of time together, perhaps even cuddled up during darker days, just not to not feel alone.

He definitely makes your room extra comfortable whenever your flare-ups return. Viktor will get you your favorite food or drink and just sit by your bed until you feel a bit better.

Absolutely works in your room whilst you're laying sick in bed, as he's worried you may get worse in his absence. This indirectly also gets him out of the laboratory often, which does him way more good than he may realise.

All in all, he's the best person to have around when dealing with a difficult chronical illness.

》CAITLYN

She's hellbent on finding a cure one way or another. Cait is stubborn and doesn't take no for an answer. To her, even the impossible may become possible if she works hard enough. So expect the best doctors in Piltover to fuss over you at all times.

She might come off as overbearing at times, mainly because she's extremely worried about your health. Seeing you sick and exhausted all the time hurt her.

Definitely spoils you with anything and everything you want in hopes of distracting you from the pain you were in, even if it's just momentarily.

Tries taking walks with you at times, even if they are short and quick. She thinks that fresh air is good for your health and that you appreciate the time you spend together that way.

If you're feeling lonely, she'll lay in bed with you and speak with you about random topics, anything that comes to mind. She'll definitely also talk about work and the missions she went on.

She may not be able to relate to you, but she'll educate herself on everything regarding your health and illness in the hope of making life easier for you.

》VI

She feels helpless at times. She really does, and it hurts to see you hurt. Unable to really help or find a potential cure/doctor to make things easier, she becomes a little creative with the way she deals with it.

Vi is extremely overprotective and doesn't let you do much on your own. Expect her to do absolutely all the heavy lifting and some of the harder household chores, just so that you don't have to exhaust yourself even more.

Tries making your days better by thinking of fun and accessible things to do. She wants to distract you from the pain and give you a semi-normal life, as she believes you deserve at least that.

Longgg cuddle sessions in which you just talk and laugh. It's the best way to wind down during a flare-up. It also helps with any loneliness you may feel.

She tries using her connections with Cait and so on to get you some help when things get seriously bad. She's terrified of losing you and can't bear the thought of it. It keeps her up at night.

Every day may be a new challenge, but she'll never give up on you, that's for sure.

[higuchisora]

Seeing as they clearly didn't know what the hell to do with Jinx/the political repercussions of her bombing the council in season 2, I'd like to explore the possibilities of how Zaun would've reacted to this that would've made way more sense than what we saw.

1. Jinx becomes an extremely controversial figure.

Few are neutral to her. This would be largely because, outside of knowing she blew up the council, no one actually knows WHY. What were her motives? Were they politically charged? Was she trying to start a war? What exactly was her goal? It was never really stated that she was infamous prior to this, but I recall in season 1 act 2 that when Vi went looking for her, people knew OF Jinx, and that she worked for Silco, but weren't really aware of any further details. So those that are aware of her connection to Silco- who objectively did make many of their lives worse with Shimmer- wouldn't be happy. They'd be scared of what will come next.

Those who don't know/don't care might fill in the blanks with their own guesses, maybe that she's some kind of activist- which would split them further into the subgroups of "Oh fuck the enforcers are gonna kill us and it's her fault" and "Finally, a war!" The second of which I'd argue would actually be a very small group. I could imagine the Jinxers being seen by the rest of Zaun as crazy radicals who don't know what they're getting themselves into/are gonna drag the rest of Zaun into danger. I think it would cause a LOT of infighting. Like a civil war inside another civil war.

How Jinx would handle this would be.... interesting. Especially if the Jinxers start making moves on their own. She never really shows much interest in activism- she works for Silco because he's her new dad, and while she doesn't seem to DISAGREE with his opinions, it doesn't seem she's all that invested in actually working to make it happen beyond just wanting to help her dad. His death seemed to take her interest with it.

Now, they could either lean into this, and make people question her motives/actions because of her clear disinterest, maybe increasing some of the controversy around her (no follow through on her action, letting Zaunites suffer the consequences, etc.), or they could make her actually take a genuine personal interest in it. But that, I think, would take a bigger arc that might be more work for arguably less payoff when considering you'd probably have to change a great deal of her character to do it, especially when you could probably achieve similar plot points/outcomes even without her intentionally becoming a political figurehead.

2. Zaun becomes fractured politically/other "symbols" of Zaun

This can be in tandem with idea 1, actually, but can still be it's own idea. Basically, after the fall of the council, and Silco's death, Zaunites are terrified. They've been run so far by Vander, Silco, and then some vague council-like oligarchy of Chem-Barons, who could be interpreted as functioning like very large gangs. The Chem-Barons have always been around, but with Silco's sudden death (and no one who was primed/expecting to replace him), this leaves a massive power vacuum that the Chem-Barons and smaller gangs are scrambling to come out on top of.

The fear of the unknown and the extreme instability would lead to people desperately throwing their lot in with whoever they think would be a better/less dangerous leader, and by extension, political symbol. Season 2 shows a bunch of new people joining the Firelights. In that case, I can imagine that before long, several new potential leaders surface, even if they didn't expect it. Namely, Ekko, Jinx, and Sevika.

Ekko because as I said, people were apparently coming to his base in droves. They don't tell us Jack shit about the Firelights besides the fact that A) Ekko leads them B) they don't fuck with Silco OR Piltover C) Piltover thinks they're terrorists and D) they look rad as fuck. That being said, considering Ekko's Everything, I think we can all gather a general picture of what the Firelights are about. Plus his cool tree would be a great symbol (@srslylini for the idea) of growth, healing, etc.

Sevika, because those that knew her as Silco's second might be hoping for some kind of stability with her. Even if they didn't like Silco, it's better the enemy you know and all that jazz. They'd feel safer with someone who at least seems to know what they're doing, even if Sevika herself has no interest in becoming a leader. I think some would just naturally gravitate towards who they see as "second in line". This could also be in connection to Jinx, as she could possibly been seen as someone who could "rein" Jinx in (again, most people don't actually KNOW Jinx, they just know OF her and that she worked for Silco and was volatile. Think how Finn referred to her as Silco's "attack dog").

Speaking of Jinx, she'd probably be treated similarly to idea 1. Extremely polarizing. Her followers would be seen as crazy, like she is. They'd be seen as warmongers and/or people who have no idea what they're getting themselves into. They'd basically be seen as the stereotypical "young rebels". The average Zaunite would see the average Jinxer as a young, angry, maybe idealistic radical who doesn't understand the cost of war. I'd argue that, again, they'd probably be the smallest and most controversial group just because most people don't necessarily WANT a war, even if they're willing to fight for it. And the suddenness of the bombing would've scared even some of the rebels who DO want war, because they weren't prepared. It wasn't a PLANNED attack, so both Zaun AND Piltover are basically caught with their pants down, which would also bring some ire from the other Zaunites.

There's another option for a faction I'd like to explore, also thanks to srslylini (thank you icon), but it takes a bit of setting up.

In a hypothetical situation in which Vi did NOT become an enforcer, I think it would happen like this: Vi hangs around in Piltover at first out of guilt/feeling like she has nowhere else to go. She's still not on board with being an enforcer, but she attends the memorial out of a sense of obligation. Her and Caitlyn have a falling out over Caitlyn calling Zaunites "animals", and here is where she storms off and goes back to Zaun, with the final words to Caitlyn that "You Pilties are all the fucking same" (or something to that effect). She's still feeling lost, and so maybe this is where she stumbles around, having maybe a similar pitfighting arc (just not as distraught, more like she's broke and angry and has to pay rent somehow so she might as well get paid to punch someone's face in). Because she's not in a massive spiral, there's unfortunately no emo arc (sad), but the bright side of this is that she's recognizable. I don't think she's FAMOUS, per say, but Babette and Ekko recognized her right off the bat in season 1 (yes you can say Ekko was really close to her, but Babette? C'mon), and considering she was older than Powder when she went off to prison, I don't think it's a stretch to assume her face was a little better-known than her sister's (especially considering she was already going on jobs, and in act 1 she gets into a fight with Deckard who I'm pretty sure knew her name, but not Powder's).

This is to say, I think a lot of the "old heads" knew who she was, especially those who liked Vander. It helps that she tattooed her name on her face LMAO. So I'd imagine she'd show up in the ring, no hair dye no makeup, and eventually after consistently knocking her opponents around and winning every time, she'd become a bit locally famous again- to the point that those same "old heads" who remember her make the connection and come looking. Maybe rumors start swirling, especially once they learn she was gone because she'd been in prison- not unheard of, and probably the first conclusion they drew when they realized she wasn't dead.

So eventually Vander's old followers/younger people who idolized him from their childhood start seeking her out. Sensationalizing her. Asking her what she's planning on doing. Is she taking back the Lanes? Will she get those Chem-Barons under control? What about Jinx? Could she hunt her down, rein her in? Hell, maybe even put her to use? Will you give us our relative safety, our security back?

And Vi, who just wanted to knock some heads around and maybe take a nap in her apartment and cry, is suddenly faced with being "Vander 2.0" and Jinx is the new "Silco 2.0" and all the weight of expectations and legacy and history and literal war and politics are being shoved in her face. She, like Jinx, is now faced with becoming a figurehead when she never wanted to be, which could lead into option 3:

3. A joint approach to Zaun

This would primarily be driven by Sevika even if she wasn't one of the possible leaders, because SOMEONE has to be the responsible adult here and it's certainly not any of these traumatized losers (affectionate). She'd be the glue to keep it all together, the reluctant team mom who WILL make this work because she WILL have Zaun even if she has to die to get it.

This could work with either Jinx and Vi, or Jinx, Vi, and Ekko (I genuinely can't imagine season 2 act 1 Ekko willingly teaming up with season 2 act 1 Jinx AND Sevika without some kind of buffer). Basically, once the other "leader candidates"/political symbols have been established, Sevika would round them up with the intention to use their influence to unite Zaun against Piltover. This would take a LOT of arguing, but ultimately I think she'd be able to get them to shut up and hear her out for a moment. Regardless of how different their beliefs are about what the "ideal Zaun" looks like, they can all agree that Piltover isn't in any of those pictures. She could convince them to set aside their own squabbling for the time being, for the greater good: aka, the independence of Zaun.

At the very least, I think she'd be able to get them to agree that Piltover coming down and hurting Zaunites in revenge shouldn't be ignored, and that they're currently a bigger threat than their fellow Zaunite. So eventually they'd reach some kind of truce: behave like a united front against Piltover, push them out of Zaun, stabilize Zaun, and then worry about tearing each other apart later. And because all of these characters- ALL of them- have shown (prior to season 2) anti-Piltover sentiments, they'd at least be able to agree that enforcers shouldn't be allowed to beat down on their people (especially in this version where Vi has better, more consistent writing lmao).

Of course, Rome wasn't built in a day, so maybe they don't reach a total agreement immediately- maybe they just agree to a ceasefire at first, but still refuse to work together. But once Caitlyn becomes a dictator? Once enforcers start gassing the streets, rounding people up, implementing martial law?

That's when the gloves would come off.

I'd imagine this could also be part of how Vi and Jinx slowly start to repair their relationship. They've got bigger fish to fry, but also, this time their enemy is connected to their own personal conflict with each other. Jinx might ask, "what happened to your enforcer girl? What happened to being a Piltie lapdog?" And Vi would essentially, in perhaps more emotionally constipated words, explain that it wasn't really about Caitlyn, it was about being needed. It was about trying to find Jinx, about trying to stop Silco, about trying to "fix" things, only realize that she couldn't. It was about trying to make things better, but that she realized the person she was trying to do that with didn't actually care. That all she wanted was to make sense of the destruction of her old life, and find meaning in a new one. And I think Jinx, too, in her own emotional constipation, would resonate with that, would understand that. It wouldn't fix things between them, but I think it'd be a start.

It could also help their relationship with Ekko. Since Vi isn't an enforcer this time, and season 1 (the One True Season) showed their sibling relationship, I think her and Ekko's bonding would be more like "reconnecting with an old friend", whereas Jinx and Ekko would have a lot of work to do, too. There'd probably be a bit of a cold war between them for a while, once Ekko agrees to help, because he knows actually talking to her would piss him off. But eventually, through Sevika's manhandling of these three, and being forced to make nice with reluctant-figurehead-Jinx, they'd connect again.

Perhaps part of a plan is for them to develop new technology for Zaun. Whether that's weapons against Piltover (unlikely on Ekko's part I think), or just safety gear/ safer city infrastructure ideas for the betterment of their people, I think eventually they'd figure themselves out, too. He'd see the Powder in her, the part he saw on that bridge, and maybe it would give him the ability to try and understand Jinx. And Jinx would realize that maybe these people in her life DO love her, DO care about her, more than just for what she used to be but for who she is now. And somewhere along the way, they'd be friends again (or they can date IDK or care man I just want them to stop trying to kill each other).

Whatever happens next is so wide in possibility that I can't possibly cover it here so this is where it ends, lol.

[lucidloving]

I learned how to be quiet about pain when I was very young. I learned how to fold in on myself like laundry, to take up less space in the cupboard. I learned how to keep the peace around me by sweeping the dirt under my own rug.

I have been taught that expressing my less favourable emotions is just complaining—something weak people do when they're too incompetent to solve their own problems.

Incompetent. Incompetent. This word is very important to me. Incompetent is the word I am always running from. To run from incompetency means to run from feeling dejected, feeling lost, feeling hurt. To run from incompetency is to run towards goodness. To run towards a me who knows all the answers and shoulders all the burdens and shrugs off all the pain.

Some days I am not very good at this race I am running. Days when the past lurches forward to bite my ankles, or days when the future looks back to scorn my present.

On these days I am weak. The poise slips. It's all too easy to cry a little and vent my fears. I forget that I am supposed to be keeping all of this shut away where no one else can see. I forget that I am not supposed to be dragged down by these feelings in the first place.

Today I feigned nonchalance and I feigned it well. No one noticed that I was hurt by the thing that happened, and sitting alone in all my hurt, I was bitterly gratified. I had fulfilled the proper narrative of an animal who is injured and returns to its cave to lick its wounds only in private.

But there is a desperation for the hidden pain to be noticed. This is the Achilles' Heel of the whole stealth operation; it threatens the little play I have constructed in which I suffer alone and inconvenience no one and am all the stronger for it.

Today I stood upright to talk to my mother and doubled over in pain the moment she left the room. It is satisfying, knowing I did the valiant and honourable thing of keeping the damn pain to myself. It is infuriating, the way my eyes flickered to the door in the dark and private hope that she would come back in and witness me while I was down.

I want to be strong and hide all the hard things away. I want someone to see my efforts to hide all the hard things away and realise I'm strong. I want to bring to life this character I have created who suffers without complaint and is loved when the truth is revealed. Who suffers well.

This is the person who stores up agony to a breaking point, to justify the ultimate snapping of composure. This is the person who wants to be depended on relentlessly and one-sidedly, so that someone someday might notice the unfairness of it all. This is the person who virtuously and righteously take all the hits without a sound, so that when they finally, inevitably break, their pain will come to light all at once and inspire awe and guilt in equal measure.

Who am I, really? Is it terrible to want to play this character? Perhaps some old wound craves acknowledgement and understanding and doesn't know how else to ask for it except by hiding until it festers.

Strength. Competency. Resilience. Dependability. Independence. They have all become synonyms in my black and white dictionary. They have all become straws for the drowning man.

I self-impose silence. I take pleasure in denial and secrecy. I take pride in successfully keeping a problem to myself.

Pride. That's another important word. I think I have too much of it, although it pains me when others point it out. Pride implies I think highly of myself, which is something a good person should never do. Pride is so audaciously self-absorbed, so high-and-mighty, so filthy with ego. There's probably a lot of it in this damn thing I've written.

Pride is the other thing that keeps my mouth shut. The thing that says I should be austere, untouchable, immovable. Pride is the thing that says look here, you don't have a lot going for you so you better keep this mask on right if you want to be good. If you want to be admired.

These terrible things keep me safe. I can't let go of that stupidly noble character or that cowardly pride. I need them to shield me from the reality that I am emotional, not all that put together, and honestly hopeless most of the time.

I need to have something worth liking about myself. I need to have a grit that makes me undeniably good. I need to have a strength that goes unsung, that lies in wait of discovery.

What an exhausting way to live. But it's the only way I know.

[dunmeshistash]

G'day, I hope you are doing well.

Ever since I finished the story of Dungeon Meshi (all supplementary material included) I've been writing down bullet points on characters in addition to in-depth synopses as a way to tidy up my rather busy mind. To this end I've also greatly enjoyed reading other folks' interpretations of particular characters, as it gives me further insight into aspects of that character I may have glossed over.

However, there's one character I'm struggling to write a cohesive synopsis about, that being none other than 'miss enigma' herself, Falin Touden. I get that her whole shtick is that she's kind of a mystery, but I find myself drawing a lot of blanks when it comes to her as a character, and while I have nailed down some important bullet points, there are a lot of different interpretations on her, all of which starkly contrast one another. Though perhaps it's just the wording. Hard to say.

It could very well be that I'm being too dense i.e. perceiving "Falin is willing to risk killing others to save her friends." and "Falin, in the heat of the moment, when faced with certain death, was willing to face the prospect of harming potential passersby in a final Hail Mary to get her friends to safety." as entirely different observations. I have a hard time with those kinds of things.

With this being a hub for all sorts of observations, interpretations and cool trivia, I was wondering if you'd perhaps be willing to share how you yourself perceive Falin as a character, so I can compare notes and perhaps gain a more proper understanding of her as a character as a result. I know this question is very broad and kind of vague, but if you could spare the time I'd be most grateful.

Other than that, I wish you an excellent day.

Hello!!! I love Falin!!!!!

She *is* a mystery, we mostly know Falin through the perception other characters have of her instead of a direct deep look onto who she is, which I find very interesting. I think the best post I've seen about her (which as usual I can't remember where edit: someone linked it thank uu) I think called her perceived altruism/love "selfish" and I've been thinking about that ever since.

In that sense the way she cares so much about the comfort of people around her might be a way to keep *her own* comfort because she doesn't want to see other people suffer.

This girly died and came back to life from bones and the first thoughts she has is that she caused trouble for her loved ones

She probably has felt this way since she was a child, "because of her" that her family was torn apart "because of her" that Laios left, her mom was sick, her father had to send her away. (wasn't actually her fault but she might think it is)

I imagine ever since then Falin has done her best to not cause trouble and to make the people she loves happy, everything we know about her and the things she was doing was always for the people she loved, that's why I enjoy the post canon comic where Toshiro asks her hand in marriage again so much. The first time she considers accepting just because "might as well" while for the second time she finally wants to live for herself.

I think Falin herself has lost who she "really is" by trying to accommodate everyone around her and that's probably part of why we ourselves don't really know her, so much so that the most cynical character is uncomfortable around her (probably cause he notices Falin is "hiding" something)

I think Falin is quite the melancholic character to be honest, someone who has lost herself in self sacrifice and who is only now learning how to live for herself doing what she wants.

Both the teleportation scene and the bit about healing show "cracks" in the selfless front she puts out tbh. By context I don't think what she did was only due to "desperation of the moment" she says out loud "Even if I end up hurting others I want you and my brother to live on". She weighted out how much suffering she might cause and decided she wanted to save them anyway, and I'm sure in that calculation she knew that they would suffer because of her sacrifice too.

Falin is saving them for herself, I'm not great with words so this is all over the place and maybe sounds a little negative about Falin but the thing is, you cannot live your life for other people, you can't sacrifice yourself for other people's happiness, you shouldn't erase your own presence so others are happier and I think Falin is starting to learn that by the end.

I'd probably keep rambling without getting anywhere and missing a lot of more meaningful moments but I'll stop here, if anyone has recs for Falin analysis please share!

[cybertronian-reader-imagines]

Imagine femme bot reader being a hugger/cuddler. Femme reader is also lovable, short, and childish, so they get a lot of admirers.

No continuity or characters were given here but my brain just immediately went "Earthspark" and imagined Femme!Reader is also just a really loving and supportive teacher to the Terrans. LOTS of hugs and pats on the back when the kiddos do a good job. Not to mention every single Cybertronian in this continuity needs a hug I stg

Content Warning: Mentions of PTSD in this one. TBF that's probably a warning for a LOT of my stuff - there's robots be traumatized.

The Earthspark!Autobots recruiting a Femme!Autobot who is a smol, energetic cuddler would include...

Optimus has always been pretty casual about giving his cohorts pats on the back/side hugs/etc, but they don't so often respond to him as enthusiastically as you. They see him as this larger than life thing,  so it makes him really happy that you're so relaxed around him. Between that and how you make sure the Terrans receive physical reassurance, and the two of you become fast friends.

Elita-1 doesn't really initiate hugs, being more of a words person, but once she adjusts to how physical you are she will crush you with affection in return. She immediately gets the sort of bot you are and recognizes your warmth as strength. She will call anybody out who assumes your childish nature makes you naive. Speaking of which....

Megatron has zero idea how to deal with it when you straight up hug him in front of everybody for the first time, and it shows on his shocked face in a way he may never live down. During the war, he never let anybody that close, and while he's mellowed out a great deal now, most bots would be afraid or at least cautious to try being so affectionate with him. He's likely the most prone to assuming your demeanor means you're innocent, even if you've actually suffered from the war as much as anybody else.

Wheeljack ends up asking you for advice on being more open and warm with Twitch - it's not something that comes naturally to him, and he can tell physical reassurance does her a lot of good. You help him out and in return he often has a new gadget for you as a thank you present... to mixed results.

Bumblebee is the most hesitant around you at first - the last thing they need is another child running about, for Primus' sake. Autobots need to be mature and professional. But eventually, he realizes nothing about your sunny disposition keeps you from doing the job at hand just as well as the rest of the team, and from there it doesn't take him long to get attached. 

Arcee is the most like you in disposition AND size, so you two immediately click. She's not as much of a hugger as you, but will respond enthusiastically to a hug by straight up LIFTING you off the ground and swinging you about. The terrans LOVE when you two are teaching, because you're the most encouraging and least intimidating duo of any of the Autobots.

Please, for the love of Primus, give Grimlock a hug. He's not going to openly ask for one, but he needs one badly. He never acts too excited when you hug him but also never backs away or tells you to stop... and you notice the more you comfort him, the more likely he is to come to you when he's had a rough flashback or is otherwise just feeling out of sorts, and not so subtly sit or bend over in a way that makes it easy for you to reach up and hug him.

[blitz0hno]

It's sad to me that if the Milgram cases were Real with ALL the character traits/situational factors being the Same and we analyzed the people the same way we do the characters, we'd all be mocked and degraded for humanizing these "muderers" (except MAYBE Shidou and Yuno but that's not even beginning to touch the other end of the spectrum; some of the patronizing the fans do of characters reflect their real-life sense of "pity" etc.)

Like obviously people are gonna be wary about actions that lead to Death but tbh ALL THESE MURDERS WERE PREVENTABLE WITH BETTER SOCIETAL STRUCTURES

this wasn't supposed to be a long post but fuck it

Haruka needed a caretaker and a care team who understood his emotional and physical needs; he was neglected and compared instead, left to cope with intensely painful emotions alone.

Yuno is highly isolated and seeks feelings of warmth and closeness in quick gratification, because giving your heart to someone else in a selfish world is dangerous; she needed honesty and realness, and also an economy that doesn't make men's objectification of her an ideal career choice.

Fuuta is also highly isolated and has extremely punitive views; his "community" was built on vitriol instead of good faith.

Muu is a neglected teen who lashed out as a result of the social structures she and her friends perpetuated; a culture of perfectionism and hierarchal notions make desperation to stay "on top" explosive.

Shidou shouldn't live in a world where he has to "deceive" people to help transplant patients, or suffer with guilt over his own family; a culture of death acceptance and genorosity would help him overcome these horrible feelings.

Mahiru had her mind fixated on a highly commercialized/mainstream idea of "love" and "romance," wrapping her self-worth in it to the point where she pulled another down; had her partner been honest with her, in a world where saving face and repression wasn't more important than communicating, they could have been at peace with or without each other.

Kazui was forced by the expectations of others to play a role he never wanted to, and another human's hopes and dreams were wrapped up in this role; his "failure" to be a husband to her as a straight man would not have even been an issue in a world where everyone can explore themselves without shame.

Amane was raised with cult ideology and shown immense levels of violence for a child to comprehend; she should have been protected, and a world where safety is more important than ideology would have saved their whole family.

Mikoto was heavily abused to the point where "survive by any means necessary" is on the table; everyone involved in his "murder" would have been better off showing a lot more compassion to others AND themselves.

Kotoko, though no "tragic backstory" that we know of, has always known that this world and that people in it can be violent and cruel; giving them a taste of their own medicine wouldn't be so bad if the medicine weren't so horrible to begin with.

If this world sought understanding before judgement, Es would not have the weight of 10+ worlds on their shoulders.

But if the world wasn't this way, we wouldn't have Milgram.

So it goes.

[yellowocaballero]

Miguel is Fine, Actually (Being Spider-Man's Just Toxic As Hell)

Before I watched ATSV I said that I would defend my man Miguel O'Hara's actions no matter what, because he's always valid and I support women's wrongs. I was joking, and I did not actually expect to start defending him on Tumblr.edu. But I'm seeing a lot of commentary that's super reductive, so I do want to bring up another perspective on his character.

Miguel wasn't acting against the spirit of Spider-Man, or what being Spider-Man means. Miguel isn't meant to represent the antithesis of Spider-Man. Miles is the antithesis of Spider-Man. Miguel represents Spider-Man taken to its extreme.

Think about Miguel's actions from his perspective. If you were a hero who genuinely, legitimately, 100%, no doubt about it, believed that somebody is going to make a selfish decision that will destroy an entire universe and put the entire multiverse at severe risk - if you had an over-burdened sense of responsibility and believed in doing the right thing no matter what - you would also chase down the kid and put him in baby jail to try and prevent it. He believed that he was saving the multiverse, and that Miles was putting it in danger for selfish reasons. Which is completely unforgivable to him, because selfishness is what he hates the most. And then he goes completely out of pocket and starts beefing with a 15yo lmfaooo he's such a dick.

But why did Miguel believe that? Why did he believe that Miles choosing himself and his own happiness over the well-being of others was the worst possible thing? Why did he believe that tragedy was inevitable in their lives, and that without tragedy Spider-Man can't exist?

Because he's Spider-Man.

Peter Parker was once a fifteen year old who chose his own happiness over protecting others. It was the greatest regret of his life and he never forgave himself. Peter's ethos means that he will put himself last every time, and that he will sacrifice anything and everything in his life - his relationships, his health, his future - to protecting and helping others. Peter dropped out of college because it interfered with Spider-Man. He destroyed his own future for Spider-Man. He ruins friendships and romantic relationships because Spider-Man was more important. If Peter ever tries to protect himself and his own happiness, then he's a bad person.

That is intrinsic to Peter. Peter would not be Peter without it. A story that is not defined by Peter's unhappiness is not a Spider-Man story. If Peter doesn't make himself miserable, then he's just not Peter.

That is a Spider-Man story: that not only is tragedy inevitable, that if you don't allow yourself to be defined by your tragedy then you're a bad person. If you don't suffer, then you're a bad person. If you ever put anything above Spider-Man, then you're killing Uncle Ben all over again. Miguel isn't the only one that believes this - as we saw, every Spider-Man buys into what he's saying. There's no Spider-Man without these beliefs.

Miguel attempted to find his own happiness, and he was punished in the most extreme way. He got Uncle Ben'd x10000. He tried to be happy, and it literally destroyed his entire universe. It's the Spider-narrative taken to the extreme. Of course Miguel believes all of this. Of course he believes this so firmly. He's Spider-Man. That's his story. And the one time Miguel tried to fight against that story, he was punished. And like any Spider-Man, he'll slavishly obey that narrative no matter the evil it creates and perpetuates. Because if he doesn't, the narrative will punish him. The narrative will always punish him. It's a Spider-Man story.

I don't think the universal constant between Spider-Mans, the thing that makes them Spider-Man, is tragedy. I think it's the fact that they never forgive themselves. And Miguel is what that viewpoint creates. He doesn't believe this things because he's an awful, mean person. He believes them because he's a hero. He's a good person who hates himself.

Across the Spider-verse isn't really a Spider-Man story. It's a story about Spider-Man stories. Miguel's right: if this was a Spider-Man story, then Miles acting selfishly really would destroy the universe. But Miles' story isn't interested in punishing him. It pushes back against Peter's narrative that unhappiness is inevitable and that you have to suffer to be a good person. It says that sometimes we do the right thing from love and not fear, and that Peter's way of thinking is ultimately super toxic and unhappy. ITSV was about Miles deciding that he didn't need to be Peter Parker, that all he needed to be was Miles, and ATSV is about how being Peter Parker isn't such a good thing. Miguel shows that. Whatever toxic and unhealthy beliefs he holds - they're the exact same beliefs that any Spider-Man holds. He's a dick, but I don't think he's any more awful a person than Peter is.

TL;DR: Miguel isn't a bad person, he just has Spider-Man brainrot.

[arceus-insanity]

Endeavor Deserves No Sympathy!

I don't understand how anyone can think Endeavor was ever a good dad. It also always comes off as incredibly victim blamie, especially towards Touya, and often Shoto too.

He literally only got married and had kids to use them. He never gave a shit about their well being, never even thought about it until he had the one thing he cared about and was still miserable. I've already gone over the math proving he gave up on achieving his dream himself at 21 at the absolute latest. (https://www.tumblr.com/arceus-insanity/763259515356512256/i-liked-endeavors-character-when-he-was?source=share)

And basic math will once again be used to prove just how little this waste of flesh actually tries.

This time the focus is on how quickly he abandoned Touya and immediately went to emotional abuse via neglect & literally replacing him, and once again risking that more children be born with self-destructive quirks.

For context we only see Endeavor doing anything with his kids that's not him literally walking through and ignoring them in two circumstances. Once when Fuyumi's a newborn and Touya is attempting to crawl (not walk) over to her. And training. Those are the only times he tries to spend with any of them, even after he starts his 'atonement'

Now comparing Touya in the scene of them training and himself as a toddler and all the child imagery this series loves to use instead of actually saving imperfect victims, Touya is at least 3 (probably closer to 4) when he's taken to the doctor and they are informed of his condition

Natsuo is 4 and a half years younger than him.

We know for a fact Natsuo (& Shoto) was conceived after they got the news, not willingly either. Pregnancy takes 40 weeks average, so Touya would still be 3 when Natsuo was conceived. So once again it took this 'man' less than a year to give up and have another child he hoped to use as a tool, and was explicitly making to hurt his existing son. And as I have said plenty of times before, risking that the new kids could be born with the same disorder, I hate how convenient it is that Shoto gets near zero negative quirk side effects.

Want to know what we never see, Endeavor doing something else with Touya and Touya demanding training, it's always him walking past/ away from Touya. Considering all of the shit they've pulled to soften Endeavor's abuse both in the manga and even more so in the anime, they wouldn't skip something like this. It's not hard to tell that Touya's 'obsession with training' is really about spending time with his dad, you know like a human child that literally needs love, proven by numerous studies and research in the real world.

He throws all parenting responsibilities onto Rei, adds more children to that load, and when Touya suffers for it (like everyone else) he does nothing, doesn't even hire a nanny

Another are you kidding me take I've seen is that somehow Touya's quirk issues are worse than Midoriya's and Yuga's. Touya managed to train his quirk to produce blue fire at 13 with zero equipment and less than no help, and only lost control of it, because of the mental abuse Endeavor had inflicted on him leading him to a mental breakdown. And/ or the theory I've only seen once of AFO using his ability to force quirk activation (seen with a passed out chapter 90 during his first confrontation with All Might)

Midoriya was breaking his bones all the way into the Shie Hassaikai arc and was only able to fight because Eri and was breaking support equipment in the following arc as well. Yuga had a support belt all the way back in the entrance exam and was still struggling with that.

Speaking of Yuga let's compare parental effort here, because as much as it backfired Yuga's parents tried a whole lot more. For starters they nearly bankrupted themselves to get him a quirk, so he could feel equal. All For One is a mythic man prior to his arrest, and those who knew of him were shown to be serious long-term villain groups, so they had gone to quite a bit of effort to find that he existed to begin with. They also got him support gear (the navel belt thing) as a kid to help him with said quirk, he literally had it in the entrance exam. Endeavor never looked into that, Endeavor is not only rich too but he's a top hero he would have direct access to support equipment companies that would jump at the opportunity and it never even occurred to him.

Endeavor's name is an irony as endeavour means to try hard to do or achieve something. He never tries hard he gives up incredibly quickly the second there's any road block, but instead of moving on he makes everyone suffer for it. He's a toxic pageant mom who'd rather force their child into a toxic world and a role they don't want than work on himself

And what finally makes him change? Getting exactly what he wanted and still being miserable, and he still expects through his actions his family to cater to him.

Not his son getting a major disability due to his actions, no, he decided to double down, mentally abusing and neglecting the son he supposedly loves, raping his wife who didn't want more kids or participate in this abuse, and again risking that Natsuo & later Shoto might have that same issue. Not when his wife breaks down and permanently scars his precious masterpiece, who proceeds to rightfully blame him, and he just thinks of it as a tantrum despite it lasting a fucking decade. Not when his eldest literally dies as the result of his selfishness. Not literally during any part of this entire process!

Dabi is 23 when Endeavor finally starts to 'try' to be better, that means that for at least 24 years he has only been caring about his fucking precious number one spot in a popularity contest that he couldn't even bother to try to be likeable for, this wasn't one bad decision, this was him constantly choosing to be so insanely selfish that he found ways that shouldn't even be possible for over two decades. And it was all him.