#if i can make even one more person care about her beyond 'a boss from act 1' i will consider that a victory

[thebearemoji]

Me talk about minthara now? Nnyes

Hhhhhhhhh I revert to a whiny little baby whenever I think about the fact that some portion of the bg3 player base will simply never encounter minthara in any capacity hhhhhhhhhhhhhh

I am aware minthara is believed to be "rushed content", and that accounts for many of her bugs. But I don't really care about why she's a mess, im more interested in talking about the result of that reality.

So I've finished 2 runs of bg3 so far, one in which I played a generally very good character and one in which I played a generally pretty evil character. After completing the latter run, I'm left with several qualms about what felt like a simply inferior experience to my first play through. The most frustrating being that Minthara, who became one of my favorite companions, is completely chained to the much less satisfying "evil content" with no way to see her story otherwise.

For context, minthara can only be recruited if the player helps the goblins attack the Grove in act 1. This alone is enough to stop plenty of players from ever seeing minthara beyond that single misleading conversation in the goblin camp. Some players don't enjoy role-playing being mean/evil, and attacking the Grove is unfortunately about as despicable as a game can get. For some reason, you can't tell the tieflings to leave despite the fact that they're only collateral damage in the attack on the druids. You gotta kill every druid, and every innocent refugee, or no minthara.

But the deck stacked against my beloved drow doesn't stop there, not only do you have to kill the tieflings along with all their associated content and side quests, in order to recruit minthara you have to forgo recruiting Wyll, Karlach, and Halsin because all 3 object to the attacking the Grove.

3 companions for 1, a frankly unpleasant task of slaughtering tieflings even for someone who enjoys role-playing evil characters, not to mention she's been plagued with bugs that cause her content to fail to trigger. All those things considered, why would anyone go out of their way to recruit minthara...?

Well... i just think she's neat.

After the first encounter with minthara in the goblin camp I was not necessarily looking forward to recruiting her. I assumed she was a murder hobo and nothing more based on first impressions, but at the very least I was looking forward to getting a third companion who wouldn't nag at me for every choice I was making. At the very least, she would be another character in my corner.

However, much to my shock, she turned out to be far more nuanced then she seemed at a glance. Because the person the player meets in the goblin camp isn't minthara, but rather a puppet of the absolute wearing her skin. She has little to no control over her actions, including the roll she plays in the attack on the grove.

I really struggle to wrap my head around this choice to tie her completely to the grove. Especially considering she's being mind controlled, but there's no way to know that. Minthara is a bait and switch, someone who (despite still being evil) is nowhere near as bad as the game inclines you to believe. But you can only discover this if you help her do something truly despicable. So there's a companion who's a better person then she seems, but you can only find out about her better side if you're evil. Why? Why can't a good tav save her? Why doesn't she get the same opportunity at redemption that laezhel, astarion and shadowheart get? I know the reason is probably time constraints, but I'm mad about it.

I really think she's worthy of a closer look, i love me some good lawful evil energy. Minthara is a good example, I believe. She takes no pleasure in killing or violence, but she will also eliminate anyone who remotely impedes her without hesitation. And she weaponizes grudges like her will is sharp enough to kill on its own. She's fierce, eloquent and cunning, and also managed to make me laugh out loud with how dead pan she can be (see her response to dribbles: "Say the word and I will kill the clown. We will be heralded as heroes." with a look of pure distress on her face).

She's a lolthsworn drow who is now exiled after falling under the influence of the absolute. The place she comes from is harsh and punishing, and yet she was a noble. She describes the beauty and majesty of menzobarenzan (sp) in the same breath that she discusses battle. I wish she would've gotten a flash back cutscene like shadowheart. Either her home or Ketheric betraying her.

Honestly I wish every character had gotten a flashback cutscene like shadowheart. It's a win/win of exploring the social aspect of the tadpoles by sharing memories and also adding a visual to the events the characters describe. But I digress.

Minthara's character trope may not appeal to everyone, she is still not a good person. But neither is astarion, and he's fandom favorite. Surely people wouldn't hold minthara's morality against her while also praising Astarion for some weird reason i cant put my finger on???? HaHA-

I wouldn't blame anyone who doesnt do an evil play through. The game didn't let me have fun with it, and playing games is about having fun. Why try to be evil and get nagged at by the game for 70 hours of gameplay when I can instead save everyone and enjoy myself?

So the reality is, Minthara may remain a cryptid for many players, riddled with bugs and cursed by the narrative to lose so that many other characters can win. But at the very least, I want to draw attention to one snippet of her dialogue. This is from a conversation after Orin is defeated.

I can't shake the idea that the minthara I know and love is trapped within the person you meet at the goblin camp. In a similar vein to gortash's mother in baldurs gate, trapped behind eyes she no longer controls. At the mercy of the tadpole and the whims of the brain and the 3. A helpless victim desperate to get her chance at vengeance at those who wronged her.

And that knowledge will haunt me every time I play a "good" character. I will know that even though my goal may be to save them all, there is one that I quite literally cannot save. Because the game won't let me. And God damn it, she's too interesting for that to be her legacy in this game. Minthara worries that no one will remember her, but I will think of this dialogue every time my journal flatly instructs me to "kill the goblin bosses".

[kittenface40]

I.M.P is irrelevant to Helluva Boss

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

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

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

NO IMPACT ON THE OVER ARCHING STORY:

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

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

HELLUVA BOSS? WHAT BOSS:

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

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

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

NON EXISTENT SURFACE-LEVEL RELATIONSHIPS:

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

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

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

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

EMPLOYEES LACK OF REASONING:

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

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

-----

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

[lemony-and-zesty]

Your au has hit me with the hyper-fixation stick. If I became annoying, I’m sorry.

How does everyone react/feel about JD being a hitman and him being so different from the brother they knew

And how does JD feel about himself being so different

I am sorry for taking a while to get to this but man I am so devastated by this question - especially the last part. And I wanna do right by it so I’ve been thinkin about it really hard.

I’m putting it under the read more, not just cause it got long, but it also got kinda,,, sad haha.

I’m thinkin they all have that initial reaction of “You’re a WHAT” ofc but it’s what comes directly before and after that that i really wanna nail down right.

Honestly I don’t even know which brother to start with 😭,,

I guess Floyd.

He’s shocked, of course, when he sees JD for the first time. Why’s he covered in so many scars? What could’ve possibly happened to him?

Why does Floyd feel like he’s seen him like this before

The main thing is trying to speak with him beyond just hellos. JD always seems to find some excuse to run off when Floyd’s involved.

It’s almost like he has to treat his oldest brother like a scared animal that’ll flee if he moves too quickly.

Floyd doesn’t know how he feels about that.

Once he finds out about it, he’s horrified. Both of and for John Dory. They’ve all been through so much, but this feels like something else entirely. He can see how affected he is and he’s devastated.

—

Next up is Clay.

He’d be the most,, angry,, about it all I think.

When he first sees John he’s quick to brush him off (like in canon) and that’s about the extent of it for a while. He honestly barely notices cause he’s too focused on his other brothers - especially Floyd.

It takes a long while for him to warm up to JD, and it doesn’t help that a lot of that bossiness JD had is still there. But he can tell he’s trying. Hell, they’re both trying. But Clay can’t help this feeling of unease that he gets around JD.

When he finds out,, god I can’t imagine anything but him getting furious and screaming at him. I feel like he’d storm off before even hearing JD out. He’d probably only be able to be calmed by one of his other brothers or Viva.

—

Bruce is mostly shocked at how quiet his older brother is. JD was a lot of things, but quiet was never one of them.

Honestly, much like Clay, a lot of things fly over Bruce’s head cause JD tends to just,, fade into the background when they’re all together.

And, y’know, it’s not easy to talk it out when he deflects and runs away from anything that gets anywhere close to what he got up to the past 20 years.

Bruce doesn’t want to pry, but he’s worried. The man before him is so unlike his older brother and it makes him nervous.

Once he finds out he’s devastated for his brother. Especially once JD explains the situation with the boss. And though it sounds kind of awful, Bruce can’t help but feel happy when JD finally cracks and explains it all to them, cause that’s the most like himself he’s seemed in a long time.

—

Branch is a bit of a tough one. Especially since she finds out well before the others,, what with JD being hired to target Poppy and all.

She’s furious when he first shows up, and even more so when she finds out who he is. Cause how could he do this? How could he leave her for twenty years only to come back and threaten to take away the one person she cared for most?

But, she needs him to help save Floyd, so she buries it and moves on. Still never letting herself be comfortable around him.

During the journey she finds herself noticing little things about John Dory. The way he carries himself, the way he tends to get lost in his thoughts. How he always seemed to be on guard.

She can’t help but feel a twinge of,, something.

He seems so much like she did back before she got her colors back.

She really doesn’t know how to feel about that.

When the truth comes out she’s horrified, but she can’t find it in her to blame JD too much. Not with how he describes the boss.

—

Overall, they’re just,, worried about him.

As for the target of all their worries? How does he feel about it all? Honestly, it’s pretty simple.

John Dory hates himself.

He hates every single thing about himself.

He tore his family apart, and almost like that wasn’t enough he just had to tear everyone else’s families apart too.

That’s the worst part, he thinks.

Every target, every hit, every kill. They had families. And all because of John’s mistakes, those families are ripped to shreds.

He can’t even stand to look at his own reflection cause every part of him just serves to remind him of everything he’s done.

Sometimes, especially after fleeing his boss and saving Floyd, he considers running again.

He considers just,, leaving and going back to the Neverglades and just letting the beasts tear him to pieces. At least like that he couldn’t hurt anyone else.

—

But yeah. That’s the gist of it :]

It’s a rough situation but I like to think they manage to navigate it.

Eventually,,

[outlanderskin]

Why are you so fucking calm????

Are you asking this in relation to the last paparazzi walk or in general😅🤣? I think that time in this fandom may give me another perspective because the only feeling I have is "I've seen this movie before." I think Sam (and Cait's) actions have no impact beyond the Outlander bubble. The fans who care about them are Outlander fans, to the general public they are unknown, at most "that actor/actress who played that character x in that filme Y". None of the people outside that bubble care if he's seen with anyone. A person outside the bubble who looks at that photo, even knowing the girl's profession, won't see anything unusual, because for that person, Sam is just a single guy who is an actor and doesn't have to live according to anyone beliefs. Mind you, he was not seen on the street beating a woman, an animal, or a child. He was not photographed or filmed committing any crime. Coldly analyzing (from outside the bubble) what you see in these articles is a single guy (that's what you find about him on social media) walking hand in hand down the street with a woman. The woman's profession would be no one's business. Those outside the bubble won't even bother to research, and even if critics, directors, and bosses in general do research or know that she works as an escort, this won't be considered a scandal. Firstly because (publicly) he is single and being single if he wants to have a serious relationship with her (regardless of her profession) is not a crime and it would be considered prejudice and puritanism to boycott someone for that. And secondly, because we are talking about the world of entertainment and let's be realistic: it is a sexist world, dominated by men and where married men involved in cheating scandals, continue to work and earn loads of money and the excuse they use is "that's his private life, not his professional life." I know the impact of these things on the fandom is huge, but it's always just here. Remember Hawaiigate? Even something so serious that it had to be handled with him making public statements (and her distracting the fandom) didn't have a big impact on his business or his career. The only impact it made was some fans who stopped following and supporting him, but those numbers were replaced in the following months by new fans and look at the numbers today.

I've said many times that I don't idolize them both and I don't expect them to make choices based on what I believe. I've also said a thousand times that I think their choices regarding this circus are terrible. But it doesn't impact me emotionally like it impacts some people in the fandom in general (on all sides). My advice is always the same: if it's causing you pain, if it's too much for you to bear, if it affects your real life, walk away. This is just a fandom. It's not your job, your family. Even the circles of friends you make in a fandom (the real friendships) can be maintained if you decide to leave. Just remember to respect the friends that remain, not to think of yourself as superior because you "found the light" and decided to leave, and friendships can continue beautifully.

As for me, so far, all their bad choices only contribute more and more to what I believe. That's why I'm here with my popcorn in hand, always waiting for the next show and remembering that the only actions and reactions I can control are my own. And, that's OK.

[spopsalt]

How to show abusers Helluva Boss vs Hazbin Hotel vs Rick and Morty

So, I've been meaning to make this post for a while, but an anon said they'd like to see the post, so I was finally motivated to make it!

Ok first up, let's do Helluva Boss, I was wondering wheter to use Stolas or Stella for this one, since both of them are horrible portrayals of abusers, but there is a similar portrayal on how Stolas is portrated with Hazbin Hotel, so I chose to use Stella.

Yep. This is an actual line from the show. Depth? What's that!? Stella is just made to be a Saturday one-dimensional cereal box villain. Who only exists so people can feel bad for poor Stolas. The thing is she had potential to be an interesting and complex character but nope! She just exists to make you feel bad for the poor baby Stolas ohhhh noooo she's mean. They acts like this isn't hell and even is supposed to be nice.

Hazbin Hotel

So Lucifer is Charlie's dad, and this image is the best way I can describe his portrayal. He was emotionally neglectful of Charlie's (Fuck you to anyone who says neglecting isn't abuse it's a form of abuse) and he does not get held accountable. He doesn't even apologize for neglecting his daughter for years on end. He also makes it very clear that he does not support her dream in the slightest and allows angels to kill his own people because he considers then beyond saving, and he does this despite knowing that his daughter hates it. All he does is say "Oh wait I support your dream now" then he gets portrayed as some amazing person. He clearly still sees Charlie as a child he literally says "I'll shelter and adore you more than anything" while hugging her. And he only called her when he was bored. He didnt even improve after his shitty half-assed rushed "redemption" being dismissive after she was feeling extremely upset about the amount of casualties in a war instead of trying to understand her. What an amazing father.

Rick and Morty

Rick Sanchez is a really amazing portrayal in my opinion. The gif I'm showing above shows his trauma with someone named Rick Prime. Showing that abusers are normally the way they are due to something horrible happening to them in their past, and while it makes a lot of what he did make sense, he's still held accountable because he's still a VERY horrible person. He constantly emotionally abused his grandson (Morty) there were even times where the abuse got physically (4 times if I'm correct) and has done awful things to keep him codependent. He's very codependent on Morty and relies on him for various things, like keeping him emotionally stable when thats a ridiculous and unfair thing to depend on someone for, especially your 14 year old grandson. But Rick isnt shown as being in the right for this and is called out mainly by Morty and some of the other family members when he's being a piece of shit. But he's shown to feel guilt for the shitty things he done at times and hates himself because of it. He's also shown mutiple times that he does truly lover and care about Morty mutiple times throughout the series, being very protective over him and even willing to die for him on one occasion. It still shows him as being human without glorifying him or demonizing him. Like it or not, abusers are still people. They aren't good people, but they are people nonetheless. And I love how Rick and Morty shows that. They have 2 neglectful parents here but I'm only covering one abuser per show so maybe I'll cover them in another post.

[woozapooza]

Of all the opinions I’ve seen on The Sopranos since I started watching it last year, one of the ones I hate the most is the idea that Richard and Elliot are ultimately proven “right” about Tony. Richard and Elliot do not know Tony! They have never talked to him! And they are literally, factually, not right about him, especially Richard. In “Tennessee Moltisanti,” Richard—who knows nothing about Tony except that you shouldn’t use anti-Italian slurs around him—tells Melfi that eventually she’ll get past “moral relativism” and reach “good and evil. And he’s evil.” Later in that episode, in the family therapy scene, he says that Melfi acknowledged that, in her last encounter with Tony, she saw his “subhuman” side, a word I am 100% sure Melfi herself did not use because come on. Elliot at least doesn’t use these words, but he doesn’t see any good in Tony and consistently acts like Melfi is deluding herself by holding out hope for him. (I’m not going to get into The Blue Comet in this post for the sake of keeping it concise.) But Melfi has seen that Tony has compassion and a conscience, and so have we in the audience. We know more than Richard and Elliot, and so does she!

Now, Tony is obviously not a good person by any means. I think even Melfi would agree with that. But he is a person who, despite his harsh upbringing, despite the machismo and brutality his position demands, still has a tiny spark of tenderness and compassion inside him. That's what makes him so compelling! Of course he was never going to change for the better, because that’s not the kind of show this is. But that is a statement about The Sopranos, a fictional show made by writers who have a certain artistic vision in mind. It does not mean that Tony as a person—i.e., viewed from in-universe—had no choices, that he could never have changed for the better at all, that he was a destined to be a waste of Melfi's time. It's fair to disagree with Melfi's approach to treating Tony, but the idea that both she and the audience are fools for thinking that a human being who has been shaped into a villain by forces beyond his control is still a human being, with all the value and responsibilities that entails, is so fucking r/im14andthisisdeep it makes my skin crawl.

I realize this post is kind of dramatic, and partly that’s because, well, I’ve just always been the sort of person who gets really dramatic about her blorbos, but it’s also because I hate the brutally cynical, weirdly black-and-white worldview that’s implicit in this reading of the show. I hate it so much!!! The Sopranos is very realistic about the limits of what willpower can do, but it’s also very realistic about portraying its protagonist as someone deeply human: someone with a capacity for both evil and good, who does bad things and justifies them by pretending he didn’t have a choice, but I never bought it, and neither did Melfi. Tony cannot simply stop being a mob boss and start being a saint any more than he can simply stop being depressed, but he does have good in him, and he does have the capacity to make better choices, otherwise the story is utterly pointless!!! 

This has been on my mind because I read Emily Nussbaum’s article about the finale, in which she describes Richard and Elliot as “hard to listen to but essentially correct,” and sorry Emily, I think you’re very smart and a good writer, but my god, I hate this article. To me, it boils down to “the finale was Chase scolding us for empathizing with and caring about Tony” which is not at all how I see the show, and thank goodness, because I think it would be pretty ridiculous to spend eight years telling the story of a deeply human, deeply relatable character and then be like “lol wait, you guys related to him? Cringe! Hashtag society” or whatever. She says that in the final half season, Tony “was becoming his real self: the empty golem.” Seriously? The version of Tony who’s had most of his humanity sapped from him is his “real self”? SERIOUSLY? Okay. I’m gonna go calm down now. I promise. (I actually have one other point I want to make related to the Richard-and-Elliot thing, but I’ll save that for another post because this one is looooong.) I'd just like to close this post with this comment that I've posted here before and will probably post again because I love it so much and it makes me tear up whenever I think of it:

[rawliverandgoronspice]

Hello!! I'm back for: more whining about TotK Quest Design Philosophy

I can't reblog a really great post I just saw for some reason (tumblrrrr *shakes my fist*), but hmmmm yeah not only do I completely agree, but I think I might expand on why I feel so much annoyance towards TotK's quest design philosophy at some point, because it does extend past the fundamentally broken setup of trying to punch a pseudo-mystery game on top of BotW's bones, where the core objective was always explicit and centered and stapled the entire world together; or the convoluted and inefficient way it tells its story through the Tears, the somehow single linear exploration-driven quest in the entire game.

Basically: I'm talking about the pointless back-and-forths. There were a lot of them, a lot that acted against the open world philosophy, and almost none of them ever recontextualized the environment through neither gameplay abilities nor worldbuilding nor character work.

I'll take two examples: the initial run to Hyrule Castle (before you get your paraglider), and then the billion back-and-forths in the Zora questline.

I think?? the goal of that initial quest to Hyrule Castle is to familiarize you with the landmark, introduce the notion that weapons rot, tell you about the gloom pits, and also tell you that Zelda sightings are a thing? But to force any of these ideas on you before giving you a paraglider is, in my opinion, pretty unnecessary. I think the reason it happens in that order is to prevent Link from simply pummeling down to the gloom pit under Hyrule Castle and fight Ganondorf immediately while still introducing ideas surrounding the location; but genuinely, the Zelda sighting makes the next events even more confusing? Why wouldn't you focus all your priorities in reaching the castle if you just saw her there? Why lose time investigating anything else? Genuinely: what is stopping you from getting your paraglider and immediately getting yourself back there, plunging into the depths to try and get to the literal bottom of this? (beyond player literacy assuming this is where the final boss would be, and so not to immediately spoil yourself --which, in an open world game, you should never be able to spoil yourself by engaging with the mechanics normally, and if you can that's a genuine failure of design)

I think, personally, that you should not have been pointed to go there at all. That anything it brings to the table, you could have learned more organically by investigating yourself, or by exploring in that direction on your own accord --or, maybe you think Zelda is up there in the castle, and then the region objectives become explicitely about helping you reaching that castle (maybe by building up troops to help you in a big assault, or through the Sages granting you abilities to move past level-design oriented hurdles in your way, etc). Either way: no need to actually make you walk the distance and back, because the tediousness doesn't teach you anything you haven't already learned about traversal in the (extremely long, btw, needlessly so I would say) tutorial area.

But to take another example, I'll nitpick at a very specific moment in the Zora Questline, that is honestly full of these back-and-forth paddings that recontextualize absolutely nothing and teach you nothing you didn't already know. The most egregious example, in my opinion, is the moment where you are trying to find the king, and you have to learn by listening in to the zora children who do not let you listening in.

So okay. I think Zelda is great when it does whimsy, and children doing children things guiding you is a staple of the series, and a great one at that. But here? It does not work for me on any level. Any tension that could arise from the situation flattens because nobody seems to care enough about their king disappearing in the middle of a major ecological crisis, except for children who are conveniently dumb enough not to graps the severity of the situation, but not stressed out enough that it could be construed as a way for them to cope about it and make anything feel more serious or pressing. It feels like a completely arbitrary blocker that isn't informed by the state of the world, doesn't do anything interesting gameplay-wise with this idea, doesn't build up the mood, and genuinely feels like busywork for its own sake.

This is especially tragic when the inherent concept of "the zora king has been wounded by what most zoras would believe to be Zelda and is hiding from his own people so the two factions do not go to war over it" has such tension and interest and spark that the game absolutely refuse to explore --instead having you collect carved stones who do not tell you anything new, splatter water in a floating island, thrud through mud who feel more like an inconvenience than a threat or, hey, listen to children playing about their missing king less than a couple of years after being freed from Calamity Ganon's menace. It feels like level designers/system designers having vague technical systems that are hard-coded in the game now, and we need to put them to use even if it's not that interesting, not that fun or not that compelling. It's the sort of attitude that a lot of western RPGs get eviscerated for; but here, for some reason, it's just a case of "gameplay before story", instead of, quite simply, a case of poorly thought-out gameplay.

Not every quest in the game is like this! I think the tone worked much better in the sidequests overall, that are self-contained and disconnected from the extremely messy main storyline, and so can tell a compelling little tale from start to finish without the budget to make you waddle in a puddle of nothing for hours at a time. It's the only place where you actually get character arcs that are allowed to feel anything that isn't a variation on "very determined" or "curious about the zonai/ruins", and where you get to feel life as it tries to blossom back into a new tomorrow for Hyrule.

But if I'm this harsh about the main storyline, it really is because I find it hard to accept that we do not criticize a structure that is at times so half-assed that you can almost taste employees' burnout seeping through the cracks --the lack of thematic ambition and self-reflection and ingeniosity outside of system design and, arguably at times, level design-- simply because it's Hyrule and we're happy to be there.

There's something in the industry that is called the "wow effect", which is their way to say "cool" without saying "cool". It's basically the money shots, but for games: it's what makes you go "ohhhh" when you play. And it's great! The ascension to the top of the Ark was one of them --breathtaking, just an absolute high point of systems working together to weave an epic tale. You plummeting from the skies to the absolute depths of hell is another one; most of the dungeons rely on that factor to keep your attention; the entire Zelda is a dragon storyline is nothing but "wow effect" (and yeah, the moment where you do remove the Master Sword did give me shivers, I'll admit to this willingly) and so is Ganondorf's presence and presentation in the game --he's here to be cool, non-specifically mean, hateable in a non-threatening way and to give us a good sexy time, do not think about it too hard. What bothers me is that TotK's world has basically nothing to offer but "wow effect"; that if you bother to dig at anything it presents you for more than a second, everything crumbles into incoherence --not only in story, but in mood, in themes, in identity. This is a wonderfully fun game with absolutely nothing to say, relying on the cultural osmosis and aura of excellency surrounding Zelda to pass itself off as meatier than it really is. This is what I say when I criticize it as self-referential to a fault; half of the story makes no sense if this is your first Zelda game, and what little of that world there is tends to be deeply unconcerned and uncurious about itself.

And no, Breath of the Wild wasn't like this. Breath of the Wild was deeply curious about itself; the entire game was built off curiosity and discovery, experimentation and challenge (and I say this while fully admitting I had more fun with the loop of TotK, which I found more forgiving overall). The traversal in Tears of the Kingdom is centered around: how do I skip those large expanses of land in the most efficient and fun way possible. How do I automate these fights. How do I find resources to automate both traversal and fights better. It's a game that asks questions (who are the zonais, who is Rauru and what is his deal, what is the Imprisoning War about, where is Zelda), and then kind of doesn't really care about the answers (yeah the zonais are like... guys, they did a cool kingdom, Rauru used to run it, the Imprisoning War is literally whatever all you have to care about is who to feel sad for and who to kill about it and you don't get a choice and certainly cannot feel any ambiguous feelings about any of that, and Zelda is a dragon but we will never expand on how it felt for her to make such a drastic and violent choice and also nobody cares that's a plot point you could *remove* from the game without changing the golden path at all).

I'm so aggravated by the argument "in Zelda, it's gameplay before story" because gameplay is story. That's the literal point of my work as a narrative designer: trying to breach the impossibly large gap between what the game designers want to do, and what the writers are thinking the game will be about (it's never the same game). And in TotK, the game systems are all about automation and fusion. It's about practicality and efficiency. It's also about disconnecting stuff from their original purpose as you optimize yourself out of danger, fear, or curiosity --except for the way you can become even more efficient. And sure, BotW was about this too; but you were rewarded because you had explored the world in the first place, experimented enough, put yourself in danger, went to find out the story of who you used to be and why you should care about Hyrule. I'm not here to argue BotW was a well-written game; I think it was pretty tropey at large to be honest, safe for a couple of moments of brilliance, but it had a coherent design vision that rewarded your curiosity while never getting in the way of the clarity of your objective. There is a convolutedness to TotK that, to me, reveals some extremely deep-seated issues with the direction the series is heading towards; one that, at its core, cares more about looking the part of a Zelda game than having any deeper conversation about what a Zelda game should be.

[citrus-writing]

Hi!! I’ve got some thoughts about yandere!Neon x nen-user + bodyguard!Y/N that I wanna share with you

It all started with something like: "She’s pretty, I want her to be my bodyguard!" Yeah, she liked Y/N just as a "decoration" that’d look good next to her.

Later, she wanted Y/N to be her friend. Moreover, it was important for her that it was Y/N who first suggested that she go beyond the relationship of “bodyguard and boss”.

Neon is spoiled by her father. She gets everything she wants, so maybe she’d think that Y/N's favor can be bought with expensive gifts. Her first gift was new clothes, because according to her, Y/N's old clothes didn't fit her at all! One of Neon’s last gifts was a ring with beautiful pink gemstone (Neon’s got the same, but with gemstone of Y/N’s eye color).

After some time, her sympathy grew into an obsession and a desire to be the only one who owns Y/N's heart and mind. Neon's father burdened Y/N with more and more responsibilities, which led to Y/N starting to feel like a maid(wife) rather than a bodyguard.

At this point, it's too late to try to get rid of Neon. Now she will never let go of her beloved Y/N!

If Y/N already have got a lover, Neon’ll ask her father to kill them.

Also, I think Neon is romantic. I'm 100% sure that if she falls in love, she'll be like Illumi in some way—it'll be important to Neon that Y/N acts according to her vanilla fantasies. However, the punishments for long-term "disobedience" will be her tantrums and scandals. (Also Neon's wishes are much more obvious than Illumi's XD).

I’m sorry for mistakes, eng isn’t my first language and I was a little nervous while writing this

Thank you so much for sending this in, it was a joy to read! I was so inspired I had to sit down and write something out immediately before my thoughts got away. Please don't be nervous to send me things! 

You’re 100% right about neon, her spoiled and bratty nature makes her a doting and controlling yandere who needs constant attention from her beloved darling.

 I may actually write some more stuff for yandere neon, because I think she’s perfect for it. 

------------------ 

I’ve always loved the idea of neon falling for someone who works for her, either as a bodyguard or a maid, it feels natural that someone like neon- who is always surrounded by people she could be considered above- would fall for someone who works for her and who is paid to put up with her. Because she has so few friends, or even people who care about her, I can imagine her getting attached fairly easily. 

Afterall, you’re a breath of fresh air to her, as you're likely not involved in crime or the mafia, and you're brand new to her life. She sees you as somewhat innocent, not unlike herself, and she wants to protect you, no matter how strong or capable you are. To neon, you're a kind person, and people like that need to be protected and looked after. 

I imagine working for neon would be draining; she totes you around like your her newest handbag, showing you off to anyone who will listen, eagerly dressing you up in outfits to match hers, eagerly buying you gifts, even when you say you don't want them. She insists you be with her constantly, throwing tantrums if you try to take days off. 

Her presence is suffocating- but some part of you still feels bad for her. Neon is a girl who is treated like an object by everyone around her, and because of that, you feel sympathy for her. Sure, she’s spoiled and bratty, but deep down she’s a nice girl with a big heart- you’ve seen firsthand how loving she can be towards those she cares about-- even though you haven't seen the half of it yet. 

Despite neon being your boss, it’s possible you may actually start to see her as a friend- even with her obsessive tendencies, neon can be very sweet and endearing, and it’s possible she may win you over by being friendly with you. She buys you gifts, expensive things she knows will impress you, but you're more impressed with how she always seems to know what sort of thing you’d like- it’s like she knows you better than you know yourself. It’d be creepy if the gesture wasn't so kind. 

The ring neon gets for you is beautiful- pink gemstones that glitter in the light, but you feel you can't accept it, afterall, this must have been expensive, and it was more so the kind of thing you would buy a lover than a friend. But neon insists it’s fine, that she bought it just for you and she wants you to have it. How can you say no? It takes a couple days before you notice she wears a matching ring on her hand as well. 

Neon is a lot like illumi, in several ways. 

First, they’re home lives are a little bit similar- both coming from families involved in crime, both possessing nen abilities, and both being rather wealthy. 

Another way they’re similar is the desire to make you a part of their family- both neon and illumi would desperately want you to like and get along with their families. They both share a fixation on the idea of marriage, neon’s gifts of matching rings is the first hint that she desires to be your wife. 

Neon craves a domestic life with you, one where you can truly love her as she’s come to love you, one where your days are filled with nothing but each other, as are your nights. She wants to spoil you and dote on you, and any refusal of her wishes is met with tantrums and fits. 

So just play along with her, it’s easier that way, and deep down, you know that. 

[the-guilty-writer]

Criminal Minds x BAU!autistic!reader Headcanons

I got this request in and I want to do so much more with this than just headcanons but here are some to get us started! These are rather vuage since autism presents differently in everyone.

Hotch and Rossi knew from the hiring process that you were autistic because it was listed in your file, but no one else on the team knew.

The first day when Hotch is talking you, he tells you that if you need anything you can always come to him and that what you tell the team about your personal life is always up to you.

He's the first boss that's ever told that to you.

But you insisted that you were okay.

You're super nervous when meeting the rest of the team and spend a lot of time trying to analyze their microexpressions while controlling your own.

For the first while you spend a lot of time masking, but that's really hard to do around a bunch of profilers.

After a really hard case on the jet everything starts to become too much- you lock yourself in the bathroom to try to calm yourself down.

Most of the team was asleep, but Reid noticed your absence and went to check on you.

He had always suspected that you were autistic but he never said anything, so he was super careful when knocking on the bathroom door, approaching you, and helping make your meltdown not so intense.

"Accommodations exist for a reason. Hotch is really good at making sure the paperwork goes through smoothly and the rest of the team is very understanding."

The next day you talked to Hotch about what work accommodations would help you.

You slowly began to open up to the team about your needs.

All of them were beyond suppotive.

Garcia makes sure to have your safe foods for you when you get home from a hard case. She made a box of sensory toys for your desk and your go bag. Even though she's a very affection person, she makes sure to ask you before initating any sort of physical contact.

Morgan is protective of you when away on cases- always making sure that the locals treat you with respect. If the precinct/station doesn't have the ability to provide you with accomodations he gets creative to make sure you have what you need.

Prentiss is also a protector, but she isn't quite as loud. It's in the way that she always asks to sit in the quiet corner of resturant when the team is out for dinner, or sits outside the station with you in silence so you can have a break but not have to be alone.

JJ knows a meltdown is coming before it even happens and she's so good at helping you through it. She also has a few sensory tools in her bag just for good measure.

Rossi making sure you drink your water, eat food, and explaining sarcasm or jokes in a way you can understand.

Hotch always makes sure your voice is heard in your job and reassures you about how valuble you are to the team. If you need an accommodation and HR doesn't aprove it he finds a way to make sure you get it anyway.

Spencer Reid is the special interest king. He gladly listens to you talk, learns about your special interest so you can discuss it together, if there is an event that has to do with your special interest he goes with you, etc.

All of them make sure you know how much you mean to them and that you never have to hide who you are <3

[givethemsmut]

Dom Mysterio x Reader

Chapter Fifteen | Where It All Started…

Dominik’s suspension had flown by. We spent half of it avoiding each other and the other half in bed. Somehow we resolved everything without resolving anything and I could be okay with that. We both made mistakes. If we could just stop sabotaging things we would be fine.

WWE didn’t stop calling or texting Dom. I wanted to be with him so badly I didn’t care what that looked like, if it meant I was involved or used as a pawn.

“Can we talk about it?” Dom was picking up shoes and doing some mini interview downtown that I tagged along to.

“There’s nothing to talk about. We aren’t using our personal lives as viewer bait.” He scuffed while snatching another pair of Nikes.

“But you can pretend to be other people’s boyfriends as viewer bait?” I retorted with my voice a little too loud when I realized people glanced over at me. Trailing behind him closely I whispered, “I want an excuse to go with you.”

“So I don’t fuck up again?” Twisting into me he purposely got so close it hurt just to breeze by me.

Still following his lead, “No, because I’m tired of being apart. I’m tired of hurting each other in general. I’m not going for a story line - you know I have zero interest in that shit. I did the living alone in our new house, missing you and masterbating to death thing. It’s old.”

Crowding me at the mere crude words, Dominik stepped into me until my back was against a poorly placed mirror. “Shhh. No one needs to know that. You can come but if I know my bosses they’re gonna hound us until we say yes. They want this storyline and you being on the road with me is a tease. They’ll never let it go.”

“Why are you so against it? What do they want from us?” I asked him, unsure of why he was so angry over nothing.

Looking down at me, I could feel his tense body against mine. I wasn’t showing yet but all of me felt more filled out. His fist pressed against the mirror as he leaned further in. “You would be with Randy. By his side. The whole point is to break Rhea and I up.”

“Can’t hide behind her forever, right?” I said it and regretted it. They were close beyond work partners, they were best friends and nothing would change that. Not my jealous or snarky attitude.

I had triggered him entirely when his mouth tightened and his eyes rested down into slants. “I’m not hiding. I’m protecting you. I’m not watching the replay of his hands on you.”

His words felt like gasoline to the fire my body felt. My entire body ached for him. “We can make the rules. It doesn’t have to be how they want. I just want to be there when you come to bed.”

“Don’t you remember how much you hated it last time?” He scolded, leaving me there to sulk while he cashed out.

Gaining composure I followed him, “We were kids. I didn’t hate it…”

Dom’s mouth was wide and his eyes matched. All of him trying not to laugh as he chewed his gum. “All day training, endless meetings, shows at night, and exhausted afterwards. When I got back to the bus every night I could tell how much you hated it.”

“It was like being at your parents but worse. We shared a bed, Dom, but we weren’t having sex. There was zero privacy with your dad there and because I was with you two I had all eyes on me. I was afraid to even be myself.” Taking the bags we left the store behind and headed for his car.

Opening the door for me I slipped inside when he leaned down, his face mere inches from mine, “Selective memory, huh? That tiny ass shower, walking in on each other. We had some privacy.”

“It’s not just that, Dom. I was a ghost and no one expected any different. I was invisible all day until you dragged yourself to bed where we’d fool around but nothing else because your dad was on the same bus. I didn’t want to be reduced to some shitty orgasms, I wanted to be someone you shared your world with.”

The car ride back home was silent and I forced myself to look out the windows. I spent three weeks on the road with Dom and his dad before Dom was even signed with WWE. He was still training but they used him for storylines and Dom got to keep his dad company.

It was torture. I spent my days bored, my nights unbearable without touching Dom, and everything in-between had his dad close by. Enough to behave.

I didn’t want to repeat that, I just wanted to be close by Dom while I was pregnant.

“That’s bullshit. I was busy but you weren’t reduced to a fucking orgasm. We had plenty of firsts on the bus. Plenty… When you came on the road that was the first time we got drunk and fucked..” Behind the wheel, his hand found my inner thigh and gave it a squeeze.

“That was not the first time we got drunk…” my knees fell in his direction and I felt him hand only slid further up my thigh.

His cheeky smile couldn’t have had a better effect when he flashed his pearly whites at me. “No, but it was first time we fucked drunk, babe.”

[ flashback ]

Everyday felt like groundhogs day. Only I became more invisible as time went on. 

From the moment we woke up Dom would train, rehearse, do media, have meetings, and do a show. I would be left to my own devices, making friends with the crew or exploring outside the venue until I got restless. 

Every night Dom would crawl into the bed we shared, expecting me to want him when nothing had changed. I was still sabotaging every reason or feeling pointing to him. I still kept telling him we couldn’t and he would get frustrated enough to hate me each night I said no.

It wasn’t until I was venturing the venue I realized my backstage pass eliminated anyone asking me for ID when I added an alcoholic beverage to my order of fries. Dom and I were twenty, close of enough and had gotten drunk plenty of times while his parents were gone. Something felt especially dangerous about being invisible and drunk.

Not realizing how quickly I was slurping these drinks down I headed back to the dressing rooms, trying to find Dom before I missed bus call. Pushing the door open I saw a few wrestlers spread out and Dom getting undressed himself. “How did it go?” I said while sitting down on the bench behind him.

Looking around he almost panicked, “You can’t be in here. What are you doing?”

Granted it was the guys locker room but we were all adults. They all knew I was here for Dom. Standing up I felt my legs doing what they were suppose to but the floor kept moving, like an earthquake. “Okay, I’ll just go to the bus.”

His hand wrapped around my arm and pulled me back to his locked. Crowding me, almost hiding me, his low voice whispered, “Are you drunk?”

Laughing I responded, “Not yet.”

His hand smoothed down my back, stabilizing me, and cupping my ass like he knew I couldn’t stop. “Let’s get drunk and fuck… I have nothing tomorrow. No work. I miss you. I crawl into bed and miss you when you’re right here. I need you.”

His face was so close to mine I could feel his hot breath tickle my lips. Everything around us seemed to disappear and I didn’t care who was around to witness our tug of war of a relationship. 

“We share a bus with your dad…” I whispered so lightly it felt like a mistake as the words came out.

Dom’s lips brushed mine, pinning against his locker, and his hands trialing up my body. His hands stopped once he got to my breasts, hesitant, suddenly unfamiliar. We had been living in Miami on our own but we had given up teasing each other the way we did in high school. 

“I don’t care who sees or hears. I fucking need you. Every night for the past month I’ve been begging you to let me touch you… every night you say no. Sharing a bed with you in torture. I can feel you against me every night in barely fucking anything.” His voice shook, his hands shook, and his eyes begged me to understand. Dom was hurting for it and I was reason.

“It’s that bad?” I asked knowing the answer. My nipples responded the exact way he wanted when his hand squeezed my tits. 

“It’s you or someone else, mi amore.” He said sternly, clearly tired of our games.

My hands against his chest, I pushed him away, “Or someone else? Are you serious?”

“I’m not jacking off again. I fucking can’t. I need pussy. There’s a local bar, we’re all going to blow off steam and almost everyone is off tomorrow. I’ll meet you at the bus in half hour. I gotta shower.”

I could feel the buzz wearing off when I left the locker room only to bump into Randy. “Shit. You scared me.”

Smiling down at me from his staggering height and insane muscles he stopped, looking over his shoulder. “You going to the bar?”

“If Dom does.” 

“That’s your problem, you do everything for Dom. Is he doing enough for you?” Randy only paused for a second before heading into the locker room, not waiting for a response.

I went back to the bus, riffling through my suitcase to find a little black mini dress and some cute heels to wear. I could see Dom heading towards me in his off white shirt, black joggers and Vans looking sexier than I was prepared for. 

“Mi amore. You ain’t gonna take it easy on me at all.” Opening the bus door he pushed his back inside and put his arm around my shoulders before guiding us to some rental car. Slipping inside the back, someone else was driving, someone I didn’t know. 

The bar was busy, almost crowded, and the music was the perfect mix of 2000s and 90s. Waiting for our drinks next to the bar, Dom pressed himself against me, his hand on my waistline. Whispering into the shelf of my ear, “Are you going to let me fuck you or am I looking for someone else?”

It was crude, stern and I could feel his muscles etch into stone while he asked. He was hurting and now of that changed that I didn’t want to date. I couldn’t have us fail and lose him so it was easier to reject him.

“Dom…” 

“So you got all sexy for someone else? Cool. Don’t be mad later. Text me when you leave.” Grabbing his beer from behind me I wanted to explain but he didn’t give me the chance. 

I don’t know when Randy walked in or how long he was standing behind me when I twisted around hoping it was Dom again. “You know-” I cut myself off realizing it wasn’t him at all. “Sorry, thought you were Dom.”

“For you? I could be.” His crotch brushed my ass making me stand up straighter. “Is that all it takes to get you into bed? You’re too beautiful for such low standards.”

“Real smooth. Sorry if I don’t faint or spread my legs. I’ve been dealing with guys like you since fourth grade when my boobs came in.” I shoot back down the rest of my mixed drink.

Even more pressed against my back, his head dropped, speaking into my neck after pushing my hair away. “I’m not Dom, babe. I’m not begging. If I want something I take it. Look around, sweetheart, he’s moved on and you’re the one sulking at the bar alone.”

Twisting around to face him I glanced around the bar to see Dom flirting with some blonde. She was laughing and touching his arms. “It’s complicated.”

“You want him but keep rejecting him. He wants you and keeps begging. Sounds pretty simple. Do you want my help or not?”

I shook my head up and down ignoring the wedding band on his finger. 

“Order another drink. Relax. I’m gonna stand next to you like this and I’m gonna touch you, let me. He’s gonna notice and get jealous.” Randy’s hand smoothed down my ass, cupping and grabbing.

“Childs play. We tortured each other in high school with other people.” I sipped on my drink trying to imagine it was Dom instead. 

“Are you wearing panties?” He asked and I looked at him wildly like whatever he was about to say crossed some invisible line. “Sit down. Let me take them off, I’m gonna put them in my pocket.”

I down my drink and the shots Randy order, facing Dom flirting with some random girl I didn’t know. She straddled his lap and Dom let her. He wasn’t even looking in my direction. 

Pushing Randy aside I strutted over to him pissed off and drunk. “What are you doing. We sleep in the same bed every night and now you’re letting some slut violate your lap?”

Licking his lips he whispered to the petite blonde before saying loud enough to hear. “Let me handle this.” Following Dom to a quieter part of the bar he pinned me against the wall, his fists balled up and boxing me in.

“I told you. I need pussy. Don’t act like Randy wasn’t just touching your ass, Mami. Don’t act innocent.”

Pushing my hands against his chest, he didn’t move, smirking at me. “Fuck you.”

“Happily babe. I’d fuck that tight little pussy anytime,” his husky voice hit me harder than any amount of liquor. 

“You know we can’t.” I begged, exhausted and drunk all over again. “You think it’s not hard for me? The texts, the photos, watching you wrestle every night? It’s torture but I can’t ruin our friendship.”

“Years of avoiding us. Years of telling me we can’t even when we fucking do. What’s the point? Liv wants me. I don’t have to beg.” Lingering before walking away I felt every part of me hate him. Dom was cruel without having to be cruel and tonight was different. He meant it.

I watched Dom get drunk and handsy with Liv until it was unbearable. I knew I had to play the same game.

I stood between Randy’s legs letting his hands defile me in way I only wanted Dom to. Kissing my neck I giggled at how much it tickled while I watched Liv slowly convince him to go home with her.

This time felt different. We weren’t hurting each other but actually being selfish. Dom had needs and he wasn’t going to argue with me about it.

Forced to watch from afar I decided maybe this was the time to actually move on, stop playing games, stop waiting for me to stop being scared.

Feeling tipsy board-line drunk I couldn’t drink another sip of liquor when I watched Liv’s hand trail down his abs.

I mumbled to myself before letting Randy’s hand smooth up my thigh until it felt wrong. Nothing about Randy felt right.

“Just ignore them. Let’s get out of here…” My eyes kept glancing at Dominik and Liv pawing at each other like they were in heat when I couldn’t find Dom without putting my head on a swivel.

Appearing like I had summoned him with his arms crossed and a devilish scold. “Can I speak to you in private?”

Pushing Randy’s hands off of me I stood up and followed Dom, excusing myself quietly. Dom’s eyes bore into me until I felt like whatever disappointed speech he was about to give wasn’t even necessary anymore. By the bathrooms, the only quiet and private spot I waited for his cruelty.

“Are you fucking serious? Randy? Maybe you two belong together after all, you run to him every time.” Dom’s voice was ice cold when it skated down my spine.

I was too shocked to say anything. I couldn’t argue, if it wasn’t Dom somehow Randy was there to pick up the broken pieces. It wasn’t on purpose, not by me at least. “Why did you stomp over here, Dom? You don’t have to beg her, remember?”

His body was so close to mine I felt my chest labor every new breath. His eyes looked me over and hie tongue swiped along his bottom lip. “I know what you’re trying to do. You never had a hard time making me jealous. He’s not me, mi amore, he’s not gonna let wait for you to finally give it up.”

“Maybe I won’t make him,” I retorted.

I watched Dom’s hands ball up into fists and his mouth got tight. “You’re a fucking bitch. We’ve had sex, sweetheart, I know every fucking turn on because I gave them to you. I know when you’re about to come you close your eyes and bite your lip because we had to be quiet in my parent’s house. I know you like it from the back most because that’s how you fucked that toy when you wouldn’t fuck me. I know every scar you forgot how you got. I know every freckle. I know you’re ticklish on the inside of your right thigh, that you liked your nipples pinched not sucked, and you prefer my cock without a condom because it feels better. I fucking know you. We’ve had sex enough to know what we like. Why do you make this difficult?”

“Because I’ll hurt you eventually and I’ll lose you. I can’t lose you.” I pushed my hands against his chest, ready to run away again.

“Don’t make me do something I regret. Don’t make me fuck her because you won’t. I’m hurting, baby. I can’t sleep next you and not touch you anymore.” Dom voice shook and his eyes fell to the floor. Dom was really ever even hurt but the way his hands were shaking felt too real.

“I can feel your heart racing,” my palm laid even flatter. “Let’s go sit down, come with me.” I felt bad already but Dom was hurting in a way that was my fault without me realizing it. I should have found a new bed to sleep in, I should have had boundaries, anything to stop torturing him.

A dark corner of booths were vacant when I pushed Dom subtly to sit down. Climbing onto his lap I straddled him. “No one will see.”

His head rolled back and his knuckles swiped his nose. “Fuck. No, baby, I don’t want some quick fuck like you’re some rat. I wanna fucking touch you. I wanna see what’s under this dress. Fuck, I wanna taste you. You aren’t some cheap fuck.”

“Please, Dominik. You’re hurting, I’m gonna help.” Rolling my hips so lightly I tried to keep my breathing steady.

His eyes went wide and I watched him shift under me, creating space. “Wow. A pity fuck. I’m not drunk enough for that.” He exhaled a long drawn out breath before pushing me down beside him.

I felt defeated, stuck, trying to not ruin our friendship had became my sole focus and right now I hated it. I abandoned Randy, paid the bar tab and took an Uber back to the bus. Dom’s parents were big wine drinkers and his dad was fast asleep when I snagged the rest of his open bottle. Getting comfortable in our giant bed at the back of the bus I rewatched a show I had seen too many times to count.

Each glass of wine only made me more paranoid. I was checking socials, jumping at every sound, and praying he didn’t fuck her the way I knew he needed. The unmistakable sound of the bus door opened and closing forced me still, as still as I could be drunker than I was at the bar. Wine hit me more than any mixed drink did.

I didn’t bother to look sober when Dominik came through the bedroom door. Walking to his side I didn’t dare look but I could hear him getting undressed. I wanted to look so badly, it felt like it had been days since I’d seen Dom shirtless.

Laughing and struggling with his pants I realized he was as drunk as I was but yet I kept my eyes forward.

“How about that pity fuck now, baby?” In just a shirt and pair of boxer briefs he forced me to look at him.

“Dom… I was just trying to protect myself. It wasn’t a pity fuck, how is riding you in public pity?” The wine hit me even hard with every word as I shifted to sit up higher, closer to him standing at the edge.

“It was cheap, you didn’t want me to see you or touch you. Fuck, you didn’t even want it. I can’t fuck you like that, you aren’t some rat.” Taking off his shirt I took in every tattoo, every muscle, every way he was perfect.

“We're both drunk and your dad is sleeping in a bunk. I can get a hotel if the bed is a problem. I don’t want to torture you.” On my knees in the middle of the bed in his shirt and a thong I almost whimpered at the logic. I wanted to be reckless. I wanted to fuck Dom until I couldn’t anymore. I just couldn’t break his heart in the process.

“You’re sitting here in my shirt and a fucking thong, putting my feelings first when we both know you’re just as turned on as I am. You’re fucking made for me. I need you to take off those panties, mi amore.” Kneeling on the bed his mouth found mine and I couldn’t help kiss back. Dom’s warm tongue rolled against mine and I whimpered.

His fingers laced with the thin band of my thong, dragging it down my legs and tossing them to the side before stumbling back down to me. “Shhh, your dad.”

Dragging me down to the edge he stepped off enough to push his designer box briefs off. “I don’t care who hears as long as it’s my name you’re saying. Everyone knows we’re in love, you just refuse to admit it.”

My shirt lifted up while Dom’s hands cupped my tits. He said what I refused to, all in one sentence, not three words. “Dom,” I whimpered when he looked down between my legs.

“I know, it’s just a pity fuck so I don’t have to fuck my hand.”

On my knees I dragged him down as he sloppily fell on the bed. Straddling him again I looked down at him, still wearing his cross, looking up at me like I already broke his heart.

Sitting up I waited for him to guide himself inside me when I whispered, “Promise this doesn’t change anything?”

I sat down slowly, every inch stretching me out and sobering me. I moaned out the second our bodies were flush and every inch was buried inside me. 

“Why would it?” The disdain on his face was hard to ignore. None of this was going to be a good memory. “Nothing ever changes between us.”

Rolling my hips softly I felt his hands travel up the front of my shirt, squeezing gently. 

“We don’t have to do this if you don’t want to. I ruined it with feelings.” I stilled over him, not moving an inch when he fell back down to the bed, exhaling in this annoyed way.

Under me I watched him grow more and more unforgiving. “I left the bar alone. I pushed Liv away. I came home to you like I always do.” Pushing me off his lap he b-lined it to my cup of wine before continuing. “Like a good little boy. I’m always thinking of us when you don’t even want to be an us.”

“We are an us - just a different kind of us. Every time we fuck you pressure me into feeling guilty about not wanting to add feelings into the equation.” I was pleading with Dom to keep it simple: just sex. 

Sitting on my side of the bed he poured me a glass and drank straight from the bottle. “Because it’s never gonna be just fucking for me. I’ve had girlfriends and I’ve had sex, none of them are what happens between us.”

Taking another sip I wrapped my arms around him from behind, my body pressed against his back. “That’s why I avoid it, I keep saying no. Torture is easier.”

With my chin on his shoulder I looked down at his body and wished I was someone else. Someone who wasn’t broken the way I was. Taking my wine I pulled away from him, laying down and ignoring the still playing television on the wall. Instead I scrolled through socials. 

Without even trying I had drank my entire oversized glass of wine and scrolled to a video of Dom and Liv making out in a dark bar. I watched it more than a dozen times before Dom got my attention. “I’m gonna get some air. I’ll be back in an hour.”

Sitting up, more drunk, I asked him. “Are you going to fuck Liv?” The video was still looping on my screen in my hand. 

He stopped getting dressed and turned around to face me. “Do you want me to lie or tell the truth?”

“Lie,” my lip shook and I got up on my knees like his answer had power over me. 

“I’m getting some air. I’ll be back, you don’t have to wait up.” Dom looked me in the eye and I felt my heart panic. 

Taking off the only item of clothing, his shirt, off I sat back down on my heels. “Tell me the truth, Dom.”

Pulling down his shirt he stood there in front of the bed in the small room taking up the end of the bus. “Liv texted me. I’m gonna go over to her hotel room.”

“And fuck her because I ruined it.” 

Closing his eyes just a little long then needed as he paused. “You don’t get it, I’ve never needed pussy the way I do right now. I don’t know if it’s being pushed up against you at night, finding your fucking toy, I don’t know. All I know is I’m losing it. I can’t think straight. I can’t fucking rehearse or train. I can’t fucking sleep next you. I need pussy.”

“Don’t go. Don’t fuck her.” I pleaded with my hands clutching onto his shirt and pulling him closer.

Our mouths collided and our tongues immediately found heaven inside each other’s mouths. “Take these off. Take it all off.”

Dom pulled his shirt off effortlessly before pushing me back on the bed. Our mouths found each other again while my legs wrapped around him.

My hands pulled on the waistband of his joggers forcing him to push them down between our bodies. I forgot we weren’t alone when I moaned at loud at his knuckles brushing my clit while he lined himself up.

Dom was so hard it felt all too much when he pushed inside me. Every husky breath fell on my chest cause my back to arch for him. I always wanted Dom but this time felt rushed, no long let desire but a need. 

Dom’s thrusts were punishing, hard and pausing at the end just long enough to torture me back. “Jesus. Fucking. How can you feel this good.”

His phone on the nightstand buzzed and buzzed until he rolled his eyes and reached for his phone. Switching positions I sat on his lap while he laid against the pillows. Riding him, I rolled my hips and arched my back forcing my tits in his face when he answered. 

His finger over his mouth he silently told me to not moan even though his voice sounded labored at hello. 

I couldn’t hear it until he put it on speaker and dropped in on the pillow next to him. Relaxing more, he laid back, his hands working my tits. 

“Are you still coming? I’m wearing something you’ll love taking off of me..” the girly voice was easy to name. Liv.

Grabbing my hips, Dom forced me to pick up the pace when he hurried his face in my neck. We were both breathing heavily and the moans we were hiding wasn’t working. 

“I’m a little busy right now… Fuck… just like that baby.” Placing my hand over his mouth I muffled his moans. 

“You’re fucking that bitch? Are you serious?”

She started talking but Dom ended the call before I could register any real thoughts. All I could focus on was Dom jerking inside me and my legs shaking. 

Whispering against my lips, “Let me come inside you.”

I let him, just like I did before. There was something about the way he held onto me when he groaned his way to his orgasm that I couldn’t say no to. His arms around my waist he held me still, groaning into my chest, before he came inside me. 

He knew I loved him; he just didn’t know why I couldn’t.

“First time I realized we would always have separate lives to some degree.” I choked out knowing it was true. I would always be a guest when it came to his work and he would feel like a guest in our lives at home. There was no winning. No amount of me being by his side was going to change that fact.

“What does that mean?” I could feel his wrinkled brows glance at me with his hand strangled the steering wheel of his BMW.

I fixed my eyes out the window, “I’ll never be apart of that part of your life. Work takes up more of your life than anything else and I’m forced to piece it together Monday nights. I didn’t even know you were going to carry on some fake relationship with Rhea. I’m stuck at home watching.”

Starring at me instead of the road he snickered, “And I don’t feel the same about you being home? Getting to live the life I want to be living with you? You went on the road and hated it. Now they want you to partner with Randy and suddenly you want to travel with me?”

“Fuck you. This has nothing to do with him.” I argued. I couldn’t say I need to be there so you don’t cheat. That was only part of the reason, really.

The rest of the drive was quiet, so silent it almost felt heavy and when he pulled into the driveway I barely waited for him to turn the car off before I headed inside.

Last time I was on the road was torture and I was willing to give it another shot for our relationship. We weren’t kids, we couldn’t get drunk and fuck our problems away.

[carefulfears]

top 5 (or 10 if you have em) scully taking care of mulder moments <3

she said IF i have 10 😭😭😭

1/ sein und zeit

i fear i have talked about this television scene more times than anyone has ever talked about a television scene....like. one, two, three, four, i was even foolishly invited onto a podcast to talk about it more...

my tags here:

she gets down on the Ground. there's something so primal about it. there's such a lack of pretense and sense of desperation about it. the way he hits the table. we so Rarely see him lash out like that. but it's just too much to Bear. like everything in him is just Breaking the only thing that he's even remotely been able to hold onto amidst all of the unbearable loss and trauma in his life has failed. he's fumbling around for anything that might make it better. that audries fic describing him in this moment as an 'addict out of a fix' with 'newborn anger.' “this is the world? this is it?” it's the way that he spends this whole ep cooking up some elaborate mythology about missing children and how they can be found and then the last shot of the episode is that wide shot of all of the children's graves. sometimes he's just wrong. the world is so much fucking darker and uglier sometimes than the way he sees it. and that's what is crashing down around him in this moment. and she's sitting in the wreckage holding him tight.

this is such brave, brave love. i keep thinking about CSM in the following episode, standing in scully's apartment, warning her. "allow him his ignorance, it's what gives him hope."

she doesn't know what will happen to him, to her, to them, when she breaks down the only method of coping that he has. his mother lost her bedrock too, and she didn't survive. from the moment scully enters, you can watch it break her. she does it anyway. she gets down on the ground, and she cries, and she holds him. god, it all just would've been so different, if there'd been just 1 person, 27 years ago.

(thinking about mulder reaching up to hold scully when missy died, and these tags asking: did anyone hold him, when it was his sister?)

i love the show's message on grief (and trauma), in that this is all that is necessary for "closure." there is no "Truth," (and there really isn't any closure, there's no "beyond" the sea). but it matters that someone knows. it matters that someone bears witness. it matters that someone tells you the truth, even when it fucking breaks their heart. sits in the destruction with you.

the exhaustion in her voice the next morning, when she tells skinner, "it's been a hard night for him." she's still wearing her work clothes from the day before. she was up all night. she's tired, and she's scared, and she's sad. it's been a hard 7 years. it's been a hard 27 years.

it makes me tear up every time i see it, the way she blocks him in the doorway. she's not moving. this is just so scully. it's not even starbuck, it's just so scully. she would keep him in that apartment where she could cover him and control what touches him forever, if she could. (she can't, so you're not taking him anywhere without her. the way she looks her boss in the eye and tells him he better book her a flight too. brave love.)

2/ demons

god, this one just makes me sad. this might be the one that makes me saddest. she's dying. she doesn't have it in her, anymore. i talked about this in my newsletter (and i wrote a fic about it once) but this is like...the only time where she never calls him out on what he's doing. she never yells. she never rolls her eyes. she never gets frustrated with him. she doesn't have it in her. she's dying. he will be alone. she won't be here the next time. what can she even do about it?

i always think about this post:

and you know she is thinking about how if she hadn’t been there he would’ve died. and how the next time he does something like this, she won’t have enough life left in her to keep them both alive. she might not even have enough left for herself. and she’ll give whatever she does have left to him, but it won’t be enough to save either of them. she’ll die cold and pale and he’ll burn himself out. and what can she do but hold him? who will he have when she’s gone? what will he do to himself? who will he call?

and these tags:

this is so cautious and tender and apologetic. sorry for all the pain he feels constantly. and sorry that nothing can ease it. and sorry that she is dying and leaving him like this.

she started writing to him as soon as she was diagnosed, begging. begging forgiveness, begging courage, begging grace. begging for him to not feel there was anything more he could've done, to not become the next cause he is lost in. for him to keep going, as she needs to know he's "out there."

but she's seen him hold a gun to himself too many times, and she knows he's coming down with her. and it's such a loss? this is a person she gave up everything, including her life, to follow, because she believed in him and what he wanted to do in the world that much. but things are different now. he won't survive this. he won't be "out there" saving the world.

what can she do? go to rhode island at 5am, wrap him up. stay quiet, stay still, but scream and thrash at anyone who's careless with him. sink down next to him, cover him, hold him. "maybe we need every answer in the world to survive a single question: how long do we have each other?" (x)

(also, her memento mori journal, in general. she sat in that hospital alone, for days, knowing she was going to die. and she wrote letter, after letter, after letter, to him. so that he would have something. so that he wouldn’t be left alone with nothing, again.)

3/ the end

"as mulder appears. the look on his face is of a man who's seeing, smelling, and tasting the loss of everything he has worked for. it's the look of utter defeat. angle on scully at the door. she sees only mulder right now...she moves to him now. putting her arms around him, holding on to keep him from breaking. off this, we fade out. the end." (script)

i think so often about the script notes of this scene. the description of mulder, as absorbed in destruction. everything that he's worked for, literally reduced to (cigarette) ash. scully only focused on him.

in the final angle of the season, you can really see how she's standing in front of him. her fingers clutching him. but when she first grabs him, it's so tentative. it almost feels like she's trying to see if he's still there, if he exists, if his work doesn't.

this is...the whole thing! there's a reason why this was "the end." the final image of this iteration of the series, before everything changes. this is what it is all about. it's mulder walking headfirst into the devastation of the world. drenched in loss. seeing it. smelling it. tasting it. surrounded by it. and it's scully knowing what he'll find even as he's still moving (this script note, from the hallway: "reverse on scully. returning the look. knowing what mulder is going to find. and what it will mean.")

following behind. eyes on him, while he takes in the ash. just holding on for dear life; trying to keep him close, whole.

(also, i love the moment before the fire, at his apartment, after diana was shot. the way scully tells skinner that he can reach her at mulder's if he needs her, because that's where she'll be. he doesn't even have a bed, or anywhere for her to stay!! she's not leaving him.)

4/ paper hearts

oh, starbuck. we are really in it now.

paper hearts is an ahab and starbuck episode, yes. but mostly it's about grief. mostly it's about harsh awakenings. mostly it's about confrontation with fear, scully's included.

one of the most haunting moments of the series, to me, is when they speak to the father of the 14th victim, twenty-one years after his daughter went missing. and through tears, the father says, "i used to think...that missing was worse than dead, because...you never knew what happened. now that i know, i'm glad my wife's not here. she got luckier."

in that moment, as mulder looks over at the photos on the mantle, missing is not worse than dead. it is not worse than knowing. and later that day, in his first scene, roche calls it exactly as it is: "i understand you take this very personally, mulder."

i've written about this scene in the hallway so many times, because it's truly the crux of this episode (my favorite episode).

from my newsletter:

There’s something so viscerally deep about this episode that’s hard to put into words, but to me, it is most palpable in the moment in the hallway when Mulder asks Scully if she believes that his sister was abducted by aliens. And you can see in his face that he knows the answer, and he’s challenging her to come out and say it. You can see in Scully’s that she would rather admit to anything else.

he's challenging her. he's taking their entire dynamic, and throwing it in her face. not to be cruel. not to disrupt. but just to say...so what now? isn't this what you believe?

i don't think that they've ever been so fragile, as in this hallway, honestly. they rarely threaten to break it all down. their entire lives are built on him walking up to tragedy and saying: it was aliens. it was XYZ. and her following behind saying: no. it was a killer, it was a man.

what does that mean? what is she really saying?

this episode is hard on scully. mulder has never been more haunted. there has never been a bigger reminder of what they are actually doing. they are not just chasing little green men, having adventures, studying sewer worms. they are trying to make sense of something that will never make sense. they are trying to find a "truth" that they do not want to know. they are living their lives in mourning, in bereavement, in remembrance, of a missing little girl, and scully is terrified that they'll find her. that it will be exactly like roche threatens. that missing is not worse than dead.

and there is no one else. there is no one else that even knows how haunted he is. how stuck he is, in that childhood bedroom, like he said all those years ago. how deeply sad it is.

it's all of the little things. it's the "you did good work, mulder" in the beginning. it's the way she asks if he's okay to go tell the 14th victim's family. it's way she exclaims "oh my god" when roche says that he just wants to see mulder's face, when he finds samantha's body. one of the few times that we ever see scully lose control, but she just stands up and screams, opens the door and wordlessly waits for mulder to get up and get out of there.

it's the way that she hears "help me, scully" and digs in the dirt, with her bare hands.

(you can tell in his eyes here that he's been crying, and it really gets to me. there's so much that we don't see.)

in the end, they're back in the basement. nothing left but one scrap of tattered fabric, one more lost failure. it's over. she just comes down to check on him.

the progression of scully's face in this last scene is just unbelievably gut-wrenching to me. her smile, when she tells him to get some sleep, and he laughs. the way it disappears when he holds her, and can't see her anymore. with his mother, flashing that smile and hugging her was all that it took to convince her not to worry. when he repeats the same actions with scully, she looks like she could break.

this post:

Episodes like this make me think how alone - not just lonely, but truly alone - Mulder was before her. Nobody lost sleep over him falling apart under the fist of decades old trauma. Nobody grappled with him, let him wrestle his grief against them, and still stayed. Nobody visited him in the hospital, flew to Alaska, lied for him, stayed by his bed for days straight without an extra change of clothes. Nobody else knew he was suffering or wanted to, knew it more than he knew. That end of Paper hearts where she tells him to get some sleep, he laughs at the ridiculousness of it, but also out of incredulity at having someone to wish for better on his behalf. The heartbroken look on her face as he’s laughing into her waist seems to be her coming to the same realisation; “Who looked after you before? How long did you feel like this on your own?”

she is heartbroken. there is so much grief, in being starbuck. there's grief in being needed. there's grief in following ghosts. there's grief in loving someone who is so encased in pain, in loss. he will not go home and get some sleep. a well-placed joke, that smile, a hug, does not convince her that he's okay. he hurts so much, for so long, and he has one person who knows it. and all they do is keep moving: closer and closer to that breaking point that she is so afraid of, and they can't stop.

5/ redux ii

remember when dana scully lied on her death bed and looked up at mulder as he told her that he was not willing to jeopardize skinner to save himself, and she replied, "well, then, you have to lay it on me."

the way he smiles and shakes his head, chokes out "i can't...i can't do that." through tears...they are so kind to each other. all that she has left in the world is her reputation, and she says: take it. take it all. take everything.

she cries when he won't do it.

6/ herrenvolk

okay, i wanna get into some slightly lighter ones, so y'all remember when she nearly fully knocked skinner into the wall, because mulder came in with a (checks notes) scratch on his face?

this is just so scully.

she is so panicked. she just wants to slow him down, to stand between him and the world for even one moment longer.

these tags:

she's almost begging him not to go in. the extent of her worry is heartbreaking. she loves him. it frightens her to know what awaits him.

one of the biggest conflicts of scully's character is that she just cannot stop him, she cannot shield him, she cannot protect him. the way she leans up here, and pulls him to her shoulder. covers him with a blanket. this is what she can do.

there is so much grief in being starbuck!! in loving someone who walks blindly into a world that you do not trust. in following someone into the worst night of their life: over, over, over. years, years, years. in being first mate, holding the responsibility on your shoulders of having to steer in a safe direction, only having one to choose from.

(i also think it's really special, all of the little moments where she checks in. in the previous episode, in the hospital hallway, the way she says "are you okay?" so softly.

in paper clip, when she makes him stop, and says "no, wait, hold on a second...i don't think you've had time to process everything that you've been through."

remnants of the girl who told him she'll cover for him and he should just go get a beer, take some time for himself, after jersey. who suggested he talk to someone, when jerry lamana died. she's always wanted so much for him, but she understands more now. there's still room to pause, for a moment, before he carries on.)

7/ anasazi

ladies, would you shoot your man with a gun, to keep him from endangering himself, while he was being laced with LSD, and then drag him across the country singlehandedly, while he was unconscious, despite him being twice your size? and this, too, is taking care.

the way she says, "i was certain they would have killed you, mulder." and the fear in her voice, his hand on her knee. (she is so young. she really doesn't know what to do, not as often as she seems like she does). the way he says, "thank you. thank you for taking care of me." they are so kind to each other. it'll break your fucking heart.

(i remember asking y'all a few weeks ago, if mulder and scully ever say "i'm sorry," if they ever apologize to each other. and we came up with a couple of times. i'll tell you what, though: not as often as they say "thank you.")

8/ fire

girlbosses when they singlehandedly solve serial murders, to get their best friend's shitty ex away from them!!! okay, i put this one on here because we were talking about it yesterday, but scully really does handle the entire situation with phoebe so perfectly, and that's hard to do, when you're dealing with friends and abusers.

trish, i loved this part of your post yesterday:

scully gives him the space to talk about it, never says too much but she says enough. her phrasing is SO important. she repeats what he just told her in a way that frames it as wrong.

she's a little rabid, lol. we can see it on her face when she's alone, or when mulder's not looking. but around him (around phoebe too) she's calm. she listens, she addresses what he tells her as bad, without pressing. when he tells her that she's off the case, that he doesn't want to expose her to what phoebe is doing, she asks one time: are you sure you don't want help?

he says yes, and she does it anyway. she catches that fucking murderer so that this woman can go home. just, like, an inspiration to us all.

trish's tweet:

really, truly, genuinely. scully solving the case in fire was the absolute best course of action she could have taken. get that woman out of here, an ocean away from mulder. (give him freedom, let him heal, teach him what real love feels like)

(her eyes locked in on him here, phoebe behind her. the way that when phoebe leaves the room, scully says, "you alright?" instantly.)

meeting phoebe just a few months into their partnership made her so fucking crazy like...i make fun of her for being sick in the head in regards to everyone he meets (men and women alike) and never wanting anyone around him other than her but like, my god, can you blame her!!! he's such a gentle person and people are so cruel and it makes her eyes bug out of her head.

yeah, i really don't have much else to say here, you guys. she solved a murder herself, a case that she wasn't even supposed to be working, so that his old gf would go away and stop being mean to him. she doesn't play!!

(also! while we're on the subject of abusive exes, honorable mention to scully cornering diana into an empty room and telling her to "just think" about who mulder is, who he was when she met him, compared to where he is now. "and then try and stand there in front of me. look me in the eye. and tell me mulder wouldn't bust his ass trying to save you.")

9/ deadalive

oh, you guys remember that time she raised him from the dead, right?

scully at 8 months pregnant, sitting in that hospital chair, holding his hand, for days. knowing he can’t feel it, knowing that there’s nothing that says he’ll ever wake up. that it’s impossible. that there is no science…yeah. she just sits there and holds his hand.

i love the moment when she finds out, and she comes barreling through that hallway. she hits skinner first, and starts yelling, “i want to see him. no, i need to see him,” slams her fists into his chest.

then she moves onto doggett. repeats, “i need to see him” through tears. and the way doggett says… “i know. but i wish you wouldn’t.”

she’s loved. they want to protect her, protect her image of mulder as she knew him. but they also both know she will fucking plow them down.

i always think of this fic and feel so ill:

“I pulled you six feet out of the ground,” she whispers, dangerously low. “Because I couldn’t live without you. I gave birth to your child.”

she fed his fish while he was in a casket. she planned a funeral and decorated a nursery alone, at the same time. she ran herself ragged all over the country, trying to keep his work going. she raised him from the dead.

(i also feel that i can throw in here, as related, the time that she busted him out of prison and then abandoned everything in her entire life including her career, her family, and everything she owns, to go on the run from the law and live secretly in seedy motels for years to be with him.)

10/ fight the future

there are too many contenders for my last spot, so i’m gonna keep it simple, and go with the most special movie moment. (of all movies).

from my newsletter:

“Mulder watches the spaceship as it flies overhead, his face glows with a heart-melting grin of childlike wonder and awe.”(x)

That’s exactly what it feels like to me, it’s an innocence and excitement that was so present in season one, that was all over him when he told Scully to come look in the second episode, but that’s rare to see in the later seasons. It’s rare to see at this point in their story, after all that’s happened. They are stranded in Antarctica, both of them injured, both of them freezing in the cold, and they are holding each other and gazing up at the sky. What a perfect thing in their big momentous feature, to bring it all back to what it started with.

there’s such a reverent sentimentality to it, in the simplicity. she had stopped breathing, a few minutes earlier. but when he passes out, she pulls herself up, and grabs onto him. keeps him alive, keeps them both alive, just by holding him close. that’s really the heart of it.

(also, i find it so moving that this film is the only time in the franchise that scully considers leaving, not working with him anymore, and it’s because she thinks she’s not good for him. that she’s holding him back. she never considers him as anything other than wanted, something worth believing in.)

some honorable mentions to: little green men, which i’ve written about here. (especially her secret-signaling him to their secret meet-up place, just to ask if he’s okay). the erlenmeyer flask, which i’ve talked about here. (she literally stops him in the street to tell him that she should have listened to him, and she’s sorry, because she should have trusted his instincts. that means so much, you guys). her telling colton she hopes he falls on his ass after he was making rude comments about mulder in squeeze, screaming at a serial killer that she’ll gas him into hell herself and no one will stop her, if mulder isn’t okay, in beyond the sea….she has threatened and shouted at and smacked around so many people for fucking with him, and this too is care!! (anger meaning you’re worth being angry over, etc etc)

how desperately she became frantic to find their son, after 17 years resigned to never ever looking for him, never ever endangering him that way…because she became convinced that it’s the only thing that would help mulder.

and how important samantha is to her. it matters. it matters, that sam is remembered. that someone else in the world knows. someone knows that they played baseball in the summers, that they fought over the television, that he’s looked for her in every room he’s ever been in. someone else cares about her; not as a white whale, not as a photo on a desk, as a little girl who broke her collarbone because she played on swings too hard. scully listened to her journal, and cried. listened to how much she suffered. how much she just wanted to see her big brother. (scully kept a journal like that, too, once. underwent those same tests. almost died at the hands of those same men. wrote her testimony to that same person.) it’s taking care of mulder, to love samantha. and she does.

[yuseirra]

Onk spoilers*****

I had people contact me about 159 and GUYS...you have to trust this guy who Ai's loved with all her heart. Think about the songs...he doesn't regard his own life very high. He'd do ANYTHING, he'd lie with all his might, he's a liar... If that means he can bring her back. That's what he's trying to do and Aqua is there trying to prevent him from doing so.

Hehe more in the read more: I will have to see the actual chapter in full but here's what I think from what I picked up:

And it really DOES seem like.. Kamiki didn't play a part in Ai's murder. It REALLY was nino and ryosuke and they were the ones who collaborated. This means, Kamiki really could have just had the address slip out by pure mistake and that had a butterfly effect, making him feel guilty about everything. I honestly wouldn't take it any other way if I were to ship Ai and him together and I'd been drawing things all along with that as the basis. He's just like Aqua who's trapped in guilt for things he isn't so responsible for.

Yesterday I wrote a soft, tender and melancholic post as an analysis and what I picked up today (I honestly still have no clear idea of what the heck is going on lol, I could vaguely make out the words people tell me-I may be missing out BIG chunks and I NEED to see the facial expressions and stuff) made me burst out laughing, it's ridiculous and hilarious, even.. But it does make sense if it's this way.

The fact that Ai wants to HELP him and how Aqua mentions he has to HELP him now all connects so nicely together. I think there IS a reason why there were scenes where Kamiki called himself a liar as a child. He's still lying, but this time, as the bad guy who deserves to die because he doesn't want anyone to worry or care about him at all. He's really good at it in a meta sense, I bet people are going wild anticipating him as the true villian and the final boss but think about it, what is there for him to even lie about?? The lie, I think, is the fact that he told Aqua he's a psychopathic murderer who tried to scare Ai for having dumped him, leading to her death. He didn't do any of it, and only said those because he wanted to be avenged.. He can't forgive himself for having caused Ai to be attacked even if it's not really his fault. He doesn't want his children to feel bad about getting back at him for it. Aqua's saying he's insane for lying about stuff like this for this reason to his OWN SON.

Aqua should not approach Kamiki like this if he's the guy that's hurt Ai. He's weirdly lenient with him. And he says he's going to help him. You can't "help" a terrible murderer, especially the one that's killed your lovely mother.

As someone who's been drawing the hikaai ship w passion, I have a responsibility to grab kamiki by the collar and kick his butt really strong if he turns out to be a maniac 😊 no worries. But I don't think it's going to be that way, actually. He's lying in desperation because he's found Ai really loved him back; he can really cross lines now if it means she'll live. He wants to die in her place, that's what I'm guessing. He's really similar to aqua in some aspects. He's okay about being regarded as a terrible person as long as he can protect the ones he loves.

This is perfect in my opinion. If it goes in the direction I anticipate, it makes full sense. There must be some way to exchange a life for another. Kamiki wants to go through with it for Ai but Ai stops him with the help of her children even beyond death.

And you know what? I was beginning to think wait.. Did nino and ryosuke date? After the latest chapter but I didn' t write that because there was no solid basis but like, that turned out to be true,

I'm... Starting to get really confident about character analyses when it comes to this comic, everything escalates SO FAST and I can't predict what actions they take, but I feel like I can sense what kind of emotions they have when they do something.

So if this isn't it, I'll be. Then I'll actually feel more relaxed since I'll be able to watch without getting so attached to what they will be feeling, it'd be unpredictable for me and I'll just watch it for pure entertainment, there won't be any more analysis I make that will...be right.

I'll still be glad I've read this even if it ends up like that, though, it's made me think about a lot of things. I really come to love Ai so much as a character, and from what I see, everything will be as she wishes in the story of onk in the very end. I'd like to see it happen and I will root for it!

[queenshelby]

Yes! Mr Murphy (Rewritten)

PART 40: BACKFLASH

Pairing: Cillian Murphy x Reader

Warning: Lots of Angst, Age Gap, Teacher x Student, Pregnancy Loss, Infertility

PLEASE COMMENT AND ENGAGE!

Backflash - Cillian's & Kit's Pov

It was the evening before your impending trip to London when Kit arrived at Cillian's apartment. They were going to discuss Cillian's schedule for June and July but, when Kit arrived, he noticed that she seemed distressed and somewhat sad.

Sensing that something was wrong, Cillian decided to see whether Kit was feeling alright first before getting to the nitty gritty of his promotional activities.

He led towards the sofa and gave her a moment to compose herself. Once settled, he took a seat next to her, careful to retain his distance before, finally, he asked her what happened. 

"You seem upset. Are you alright?" he queried, his brow furrowed with concern. His compassionate nature made it impossible for him to remain indifferent while observing Kit's obvious struggle.

Her eyes misted over towards him, and she confessed, "To be completely honest, yes, I am fine physically. It's just... my mental state is struggling a bit lately."

She hesitated slightly, gathering courage to share another aspect of her troubled soul with Cillian. And so, she explained further, "Remember my friend, Catherine?"  

Cillian nodded in acknowledgment.

"Well, she passed away one year ago today, and... I...don't know. I have just thinking about it a lot lately," Kit stammered while Cillian saw the pain etched upon her features, and without consciously thinking about it, his hand instinctively reached out to hers in a comforting manner.

"I am sorry Kit. It must be hard dealing with that loss," Cillian offered sympathy, understanding the depth of pain she carried.

Kit felt grateful for Cillian's presence, appreciative of his unwavering support during these difficult times as he squeezed her hand.

"Thanks, Cillian," she murmured, brushing her thumb across his knuckle, finding solace in physical contact with him, seeking comfort beyond words and, whilst this situation was somewhat awkward now, Cillian did not think anything about it.

"You know we can discuss work another day and if you don't want to come to London tomorrow, I understand," he offered, his tone light-hearted yet considerate. He understood the gravity of the loss, its effects on one's psyche. He himself had dealt with immense tragedies in his personal life too - those experiences taught him well.

"No, I am going to be fine Cillian. Thank you," Kit reassured him earnestly. "Despite, I really am looking forward to the BAFTAs" she told her boss, hiding her true intentions from him, adding an extra layer of subterfuge to her plan. 

"That makes at least one of us then," Cillian chuckled, trying to lighten the mood with humor. 

"You really hate publicity events, don't you?" Kit laughed momentarily and, although Cillian knew that her question was rhetoric, he answered it.

"True, indeed!" he smiled while Kit took advantage of this momentary lapse of vigilance to change the subject onto more familiar grounds, knowing full well that this might be her chance.

"Do you remember when we met, at this publicity event in Paris. You were promoting Peaky Blinders and were totally out of depth with the interviewer's questions," Kit recalled while steering the conversation closer to the darker corners of their relationship. 

Cillian winced slightly, recalling that interview vividly – he had found himself flustered, unable to find the right answers to some probing questions. 

"The questions were pretty inappropriate, to be fair," he countered, his voice laced with faint irony.

"Oh, sure they were! But still, your charm got you through it and it also got you a new admirer, namely Kim McGhee!" Kit grinned playfully, flashing her pearl white teeth in a teasing manner.

"Kim McGhee is one of the interviewers tomorrow and she still has a massive crush on you!" she stated casually. This time, instead of simply replying, Cillian looked up sharply and fixed his intense, blue-colored eyes on Kit. 

"And I will try to avoid her at all costs!" Cillian exclaimed half-joking. 

"Smart, especially since you are bringing your girlfriend to the event," Kit continued, maintaining eye contact with him. Cillian's face turned serious as he realized where this line of conversation was heading.

"You really don't approve of her, do you?" Cillian observed warily, choosing his words carefully.

"Y/N? Not exactly. She seems lovely but, let's be frank, there's quite a gap in terms of age between you two," Kit responded diplomatically, tactfully pointing out the elephant in the room. She didn't wish to offend Cillian unnecessarily, nor stir up conflicts. Instead, she sought to create cracks within your bond, sowing seeds of doubt.

"Your agency is concerned about your image and your publicity team wonders about why you would you choose to date someone so much younger than you?" she ventured, attempting to undermine Cillian's decision to be with you.

Feeling slight annoyance creep in, Cillian tried his best to defend his choices. "Look, Kit, I appreciate your concerns, but I don't care about what the press has to say about me. I am entitled to be with whomever I want to be and, quite frankly, love isn't measured based on age," Cillian defended his choice passionately, refusing to allow anyone to dictate whom he could fall in love with.

"Yes, but what about your career?" Kit persisted, determined to plant seeds of doubt in Cillian's head. "The agency thinks that you should keep your relationship on the low-down until the end of the year so that the Oppenheimer promotion will not be impacted negatively". She paused briefly, giving Cillian enough space to process her argument before proceeding with greater force. "We shouldn't ignore how people perceive you," she urged persuasively, making certain points with deliberation, keen to influence his perspective.

Cillian grew increasingly frustrated, but couldn't shake the nagging doubts raised by Kit who, firmly, reached for his hands again.

"This is the most important year of your career, Cillian," she pleaded softly, hoping that he would recognize the importance of managing his image. "You owe it to yourself to secure your future," she reasoned calmly, her brown eyes piercing deeply into his own.

"Kit, I...," he began to say but his words were interrupted abruptly as Kit leaned toward him, pressing her lips against his, her fingers clasping his neck tightly. It wasn't entirely planned; neither was it completely spontaneous either. The air between them hung heavy as Cillian was caught by surprise. 

Kit's actions were not what he had expected and, quickly, he pulled away from her, leaving no doubt about his stance.

"Kit, stop," he uttered sternly, drawing back from her. Her heart raced wildly, having taken a risk which she hadn't anticipated failing so rapidly. 

"What happened between us a few months ago was a mistake and I don't want to repeat that mistake, ever again," Cillian clarified adamantly, setting clear boundaries regarding his unwillingness to get romantically involved with Kit. "Please respect that boundary," he added solemnly, his expression betraying both his resolve and his disappointment.

Stunned by his reaction, Kit stood up reluctantly, her cheeks burning red with embarrassment and humiliation. 

"I am sorry. Today was tough and I am feeling overwhelmed," Kit apologized sincerely, recognizing her misstep. "It won't happen again," she reassured him. 

"It better not because, if it does, we cannot work together anymore. I hope you understand that," Cillian replied coldly, turning his attention elsewhere to escape any lingering awkwardness.

"I understand and I probably should go. We can talk about your schedule on the plane tomorrow 

since I'm traveling with you anyway," Kit suggested, averting her gaze and avoiding direct eye contact with Cillian, feeling the weight of guilt settling heavily upon her shoulders after crossing the boundaries she herself set earlier. With a heavy heart, she bid farewell to her employer, mentor, and long-desired lover, only to leave behind confusion, hurt, and desire imprinted on her once composed facade.

Meanwhile, Cillian sat alone in his living room, replaying the confrontational moments shared with Kit in his mind. He wondered whether allowing her to continue working with him may have been a grave error in judgment and, though he resisted her advances, the strain has mounted now, causing a considerable amount of stress within his usually peaceful life. 

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[cal-daisies-and-briars]

☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️☠️

Okay giving you a bit less than 171 because I am almost done this and a few more people have asks for it so I'm trying to spread the love <3

---

Date: August 10th, 2024

To: vincentgerrard@lacity.com

From: r.pinkman@lainvestigator.net 

Subject: Re: Fire Captain Story

Gerrard,

Okay. I’ll bite. Tell me about your captain story. Should we set up time for a call? 

Best,

Rex

The next two emails are them setting up time for a call. It looks to have happened mid-August, if it happened at all. So, there could very well be a reporter out there with a lot of dirt on Bobby. Athena is so mad her teeth might crack from the tension in her jaw. 

Then it gets interesting. 

Still horrific. But interesting. 

Date: August 13th

To: marcusimpson@lacity.com 

From: vincentgerrard@lacity.com

Subject: Position at 118

Simpson,

I’ve thought a lot about our conversation the other day. I understand that you take the word of my subordinates here at the 118 as meaningful, given their perceived heroics and status in the LAFD. I’d want to keep them happy, too. Even if, like you said, Wilson doesn’t know her damn place. 

So I get why you think transitioning Nash back is for the best. Really, I do. Easier to do the thing that appeases the brats than is for the good of the Department, overall. Right? Kind of like when your predecessor Alonzo took Nash back in the first place, after that bombing situation. I see why it was done. But it was wrong. 

I’m gonna make it simple. You can bring Nash back. I’ll walk away. But I have a call scheduled with a reporter at a sizeable paper. He’s interested in the story of the medal-winning fire captain with a history of arson. A history the city knew about and let slide. 

Or you can let me keep my old station. Find something else for Nash. Hell, transfer Wilson and her gaggle of girlfriends out of here. I don’t care. And the Department doesn’t have to look bad publicly. 

All due regards,

Vince

So that’s why he was going after Bobby. Blackmail. It doesn’t look like Simpson replied to this email. Athena understands. It was probably a call or a meeting. If she were Simpson, she’d want to say things off the record, too. 

Well, this was over a month ago. Clearly he got his way. Why kill him? Not that Athena wouldn’t like to strangle him herself right now. She would. But why actually go through with it? The story never got published. In their mind, was just him knowing and being willing enough? Because plenty of people who aren’t chummy with Bobby know. 

She keeps reading. 

Date: August 19th, 2024

To: vincentgerrard@lacity.com

From: r.pinkman@lainvestigator.net 

Subject: Re: Fire Captain Story

Hi Vince,

Thanks again for our call yesterday. 

After some reflection and speaking with the boss, I don’t think we’ll be pursuing this story. Doesn’t feel right to dump on a recovering alcoholic, you know? Not like the guy was malicious or predatory. That’s more what we focus on here. Fire thing is sad but that’s mostly just it. Sad. 

Anyway, good luck with the job. 

Best,

Rex

So, he got his way with the chief… But not from the paper. Athena thinks about this. Despite getting what he wanted technically, it sounds like no one was giving Gerrard what he wanted emotionally. To feel like a better captain than Bobby. More validated in having the 118. The station he lost, because - in his sick mind - of Hen. Someone who respected Bobby, but not him. What would having Simpson’s disdain and the rejection of all the papers do? 

It would probably make him pretty angry. 

And angry at who? Everyone, really. Simpson, Hen, Rex, Taylor Kelly. But beyond that? The person who seemed to get all the praise, when Gerrard just couldn’t find any respect at all. 

Bobby.

[theriverbeyond]

do u care to elaborate on why tlt would be worse as a visual adaptation? the issue that comes to my mind would be that the unreliable narration and the sense that the main character has no clue what is going on would be way harder to get across on film, but i'm curious if there would be other problems

sure! also sorry this ended up being rlly long lmao.

the unreliable narrator part of the books is a big reason why I think the series would be worse as a visual adaption. overall, GtN as a standalone would probably adapt okay, but you would still lose Gideon's unreliable narration and all of her gorgeous & funny prose. NtN would probably be just okay as well, but again you would still lose her subjective narrative voice and the specific way she perceives the world. like..... at their best, a visual adaption (animated or live action) of NtN or GtN would still be less-than the book because both are stories that so heavily rely on their specific narrator's internal subjective experience.

and that's not even getting started on HtN -- I have no idea how one would adapt HtN into a 3rd person narration in any way without drastically changing it. and in changing the format, you lose the backbone of the story (Gideon Telling Harrow a story about herself), and you lose the disorientation of Harrow's lobotomy. you lose the viewer experience of confusion/self doubt/etc that just makes HtN what it is. I just can't see a visual adaptation succeeding without making massive sacrifices that I just don't think are worth it. like.... these books are good because of things that don't translate to video. video isn't the pinnacle of media. if something was designed to be a book/audiobook and it does an amazing job as that, I just do not see any reason to sacrifice a bunch of what made it good just to see it on a screen.

Secondly, I do not think a visual adaption would be able to retain fidelity to the source material, because everyone in tlt is gross all of the time. I love fan artists having fun with the designs but IMO that's not the same as an official adaption. like, not only is necromancy gross, a lot of the characters are described with traits what would probably not survive the transition to camera or animation. Such as: bloodsweat, Harrow being a wet rat constantly covered in vomit or blood or both, Silas looking jaundice/like mayo, Issac & Jeannemary looking like they are going through all the terrible parts of puberty etc. Gideon has a pimple problem and a crooked smile and Ianthe is gross and constantly wearing clothing that absolutely does not fit her. Mercymorn has a resting bitchface, G1deon looks like a skeleton with skin, etc etc. Anime or arcane-style animation would probably be better, at least with stuff like necromantic gore and bloodsweat, but they would probably still end up being like. conventionally attractive! idk maybe this is more of a personal preference but it's kind of important to me that they are not.

I have 3 personal exceptions:

Stage musical adaption. I think a stage musical could capture the drama, the emotion, and the camp needed. for GtN at least, but maybe even beyond. everyone is seen from a minimum of 50 feet away so they can use exaggerated makeup and really lean into all the ugly. practical effects for necromancy, musical numbers for the marta/cam duel and initial gideon/harrow fight.... palamades' explosion happening offstage as gideon stands frozen in the middle, her and us helpless and unable to do anything but wait. massive puppets for the lab 2/final boss construct. dramatic lighting to signify eye change/lyctorhood.... gideon falls on a rail and then everything goes totally black. silence, or maybe crying. harrow screams gideon's name. then lights up on gideon standing behind harrow, holding the sword together, under a narrow beam light. it could be good. and i think a stage musical could bring in enough of a meta-level awareness to make up for the lack of narration. for example, when she's trying to do her big speech, ianthe keeps trying to sing a song but the music refuses to start for her. & before lyctorhood, she stands literally in corona's spotlight shadow. gideon makes harrow out to be this big scary witch but she is just very tiny under a big spotlight. "dulcinea" could have her face covered on stage until the reveal, leaving the audience to realize they were had. while a stage musical would lose some parts, it could enhance the story in its own way. GtN but to the left. it could be fun. i have put a lot of thought into this.

a comedy short film, shot rom com style (or animated like a shoujo), of Ianthe's POV of HtN.

a comedy short film, shot like the office/parks and recreation, of Ianthe's POV of Antioch

[sasubaeuchithot]

Thoughts on naruto antis? I've seen a lot of sasuke stans hate on naruto, saying that he's barely better than sakura, and it always leaves me with such a bad taste in my mouth?

I'd never say that naruto and his ideals are beyond criticism, as dear as he is to me. That'd be foolish.

But it just. Rubs me the wrong way when naruto is made out to be some sort of horrible selfish bad guy that wanted to control sasuke

(im ignoring anything beyond chapter 699 for my sanity because both naruto and sasuke got seriously messed up after that im still horrified 😮‍💨😮‍💨)

i mean, people are allowed to anti as long as they anti away from the character tags and shit, so for antis themselves I don't really mind them lol. i do think they very badly misjudge his character, but i can understand them calling him a bootlicker and whatnot- especially with how they concluded the series. but naruto at his core has shown me that he's too ready to break rules for his own morals to truly be a konoha bootlicker.

from day one we see naruto undermining authority and rejecting the notion of leaving the people he loves behind for his village. when he chooses to side with the village, it's because he sees the village as all individual people that he cares about. he wants what's best for everyone, and he's determined to always find an outcome to make everyone happy, even if that notion is inherently idealistic and impossible to actually achieve in nature. but goddammit is he going to strive for it anyway, because that's what he views as right.

in the end, naruto's radical idealism is the perfect balance to sasuke's radical realism. I believe they both need each other to find the answer to the shinobi world's problems. sasuke had given up hope on the good in people while naruto is blind to the bad in them. both are one-dimensional ways to think of a person and lack the depth that people need to be truly understood.

i think the problem with naruto that i would agree with from antis lies in that last sentence's use of past and present tenses. sasuke HAD given up while naruto IS blind. we don't get to see naruto truly be balanced back out the way we saw happen with sasuke. that is a narrative mistake with the way kishimoto ended the series (and the way the sequel continued without acknowledging needed to happen). the series ends with sasuke realizing that ✨🦋🌸humanity is worth saving and even people who did bad things can still be good🌸🦋✨ without letting naruto truly see that some people are beyond saving and the ideals they hold should be eradicated before they infect more people. kishi chose to redeem nearly every single antagonist, choosing the final big boss to be some random bitch we weren't introduced to until the story's fucking eleventh hour. that he made an alien. so naruto didn't have to face his own morality because she wasn't human so like it's fine to lock her away for all eternity in a big fucking rock. so i get people who don't like naruto for being upset that we got to see sasuke's views be swayed by him without getting a truly satisfying parallel from naruto in turn that would justify sasuke's morals shifting.

anyways, as always, i blame shippuden's ending