#instead of thinking about my problems I Will just project them onto characters thank you

[methcheese]

me when things get Bad but i can only think abt that fuckin dad podcast

[fleshwerks]

Thank you for your rant posts on DAV. They’ve been cathartic to read as they echo so many of my own issues with the game and how it treats its own lore and insults its fanbase. I feel stupid for caring about the oppression of mages and elves given how they sanitized and wrote out these cornerstones of the Thedas setting and it sucks! Im glad I’m not alone.

I had very little hope for this game given its mess of a dev cycle and how the company has bled talent, I thought it would be a very messy narrative as a result. And it is! But it’s worse, because it’s not just messy, it commits the greatest cardinal sin of writing: it’s boring.

I think you nailed it. I'm at the same point as you, especially as someone who's huge into DA lore and the intrauniverse sociopolitics, as well as the expected (foolishly) aspect of your deeds mattering, either positively or negatively.

I have a whole ass Inquisitor who can now stop feeling bad in his steppe-sky burial about his indecisiveness during his tenure as an Inquisitor: BECAUSE NONE OF IT MATTERED ANYWAY. 'Oh, you delayed some suffering for like, what, 7 years? 7 years is nothing when you're doomed anyway. I can already hear the argument "but what you do even in short term matters, too."

Yes, in real life. But I don't do RPGs for real life. I play RPGs to be able to fantasise about doing a bit more than I can do in real life.

On top of it just about everybody being so blasé about what's going on. This is the worst blight ever, two actual gods are loose, but here we are at the dinner table, arguing about Taash' mom being a strict, traditional jerkass and Bellara joining the list of people who hate themselves for having ADHD, and holding her hand through it. Boring.

Veilguard commits another sin: everybody blames themselves for everything, but it either gets fixed for them, or they're feeling sorry and do the thing they feel so sorry about anyway.

My kingdom for a character who can go 'it is what it is, I'm not perfect, but I'm not sorry for existing and having an impact on this world, especially if the impact is caused by something I couldn't really control; all that matters is what we do next.' Which would open up the world at wide: tackling things that make your personal issues microbial in comparison. These people don't have the luxury of crying into their chicken soup. Not to say these things can't be addressed, but in Dragon Age, characters are supposed to support the overarching plot and the worldbuilding. Instead, the world puts itself on hold until you've solved Lucanis' granny issues or whatever.

If you've ever watched campaign 3 of Critical Role, that series has the same issue. The cast is made up of people who by and large have no real connection to the world or the overarching plot, and a large part of the viewerbase has come down onto the same idea: if the characters don't really care and only keep reacting, and reacting with quippiness and laughs and occasional 'oh no, that's bad, right? Anyway,'... why should we care?

Why should I care? Because everything I cared about as a player has been deleted, and the cast of Veilguard is mostly just dicking around until the plot reminds them that hey: we have the worst apocalypse going on since Solas deleted Elvhenan. Can we like... react more to it? We can do the therapy sessions later when people have stopped dying.

Disclaimer: I fully acknowledge that I'm going off on a tangent and I'm most likely projecting and reading into it too much/not reading into it enough. But that's the problem. Most players will play it once. You can't rely on subsequent playthroughs to make someone care.

Worst part is, companions aren't even boring. They're just miscast for this particular plot, exacerbated by what BW did to all the established lore. The tonality of the game itself and its place in DA canon is just wack.

I'm likely being incredibly unfair, but there's something to investigate here, because if you've failed to bring players into the lore and invest themselves in such numbers, it isn't just Mari here talking shit, it's a wider problem. Lest we forget, your fiction, your work stops being 'only yours' the moment you publish it and allow people play with your toys. The author is king, but the author is only the king of their own version of their story. The moment it's read and played by many, it's not just your story anymore, it's everybody's, who's engaging with it.

God dammit my English literature and language degree is catching up with me, I've turned into That Guy. Uck.

[kafus]

SO... do you headcannon anyone in horizons as autistic?

OH BOY DO I

so dot is the most obvious choice. there is no universe in which she is not autistic to me. this is one of my strongest dot headcanons actually and one of the main reasons i enjoy her as a character. there are so many reasons for this i could go on endlessly but i'll just list a few big ones here

her extreme passion for her interests at a disregard for almost everything else & her ability to self teach those topics (not to mention her interests have to do with computing)

her difficulties with food overlap a lot with food sensitivities autistic people often have, also her latching onto donuts as a sort of samefood after finally trying them once

the tendency to wear loose, comfortable clothes and more recently she has complained while wearing tighter clothes (the orange academy school uniform) so it's not just that she prefers loose fabric, she also is put off by the alternative. girl your sensory problems

irritable outbursts when struggling to articulate herself/make herself understood

her connection with kanuchan (tinkatink) felt really neurodivergent to me. she wasn't offput by her behavior, even after stealing her prop mic, and was immediately able to understand her when no one else could or was willing to. not sure how to articulate this one right now but i hope you see what i mean

her tendency to sit cross legged and lean over herself reminds me a lot of my personal autistic tendency to need a pressure/weighted feeling while i sit or have body parts touching

social exhaustion, the need to be alone sometimes even when she cares

the list genuinely goes on i have to stop myself LOL

as for other characters,

so for liko i'm more loose about the headcanon, it's definitely more of me projecting than her being overtly autistic in canon but i still think it lines up if u wanna view her that way. i'm autistic and i personally relate to liko a lot becauseee

she is giving hyperempathy autism to me. the way she is overly empathetic and compassionate to her own detriment and yet still has to have her hand held through articulating & dealing with that or putting the logical parts of empathy together

the way she absolutely fucking Explodes with excitement sometimes

the way in which she relates to cats, and her whole thing about having a hard time getting other people to understand her. these two things go hand in hand

there's something neurodivergent about her trying to connect with sprigatito by studying her and writing notes about her behavior lol

while this is kind of just on the account of her being an anime character and a protagonist at that, liko's facial expressions and body language can be pretty exaggerated sometimes which reminds me of my own body language, i'm cartoonishly animated in real life often LOL

so like basically dot is so obviously autistic to me it's like breathing but for liko it's kind of a hc i apply to her for projection purposes & fun but i think it's reasonable

and lastly so i'm not just talking about solely liko and dot for the millionth time,

ORIO!! honestly we don't even know that much about orio but the one episode where she was helping pokeball lady i forget the name of fix her machine. the really narrow attention to detail/seeing the smaller parts instead of the bigger picture. also her expertise in engineering contrasted with her struggling with tasks outside of that (like when she was trying to sew holes in the brave asagi and for the life of her could not do it so she called murdock for help lol)

and actually one more - while i don't necessarily headcanon amethio as autistic, i think it's a fun headcanon/au idea to not only give him a redemption arc but an autism unmasking arc at the same time. representation for all my repressed autistics out there. in my mind

thanks for asking i'm so autistic about horizons so of course i headcanon them with autism too JOISJOIFD

[kagoutiss]

I kind of love how you have all these interesting hcs for Ganondorf like animals loving him, his weird dynamic with Sheik, the approval he seeks from his mothers etc. while at the same time being like “he’s a horrible gremlin and bloodthirsty and no one would want to stay near him”. I feel like it really captures how absurd and chaotic he is. Thank you for your service.

oh…im holding this ask very gently…..this means a lot to me because like!! yeah all these things are sort of true to me and i feel like he’s one of those characters where the more you dissect him, the more discordant things you find, and yet they all somehow intertwine in a way that makes him compelling and whole :-) retroactively putting a warning here that i ended up talking a lot and going pretty off-track but. like,,, one of the main roots of his absurdity to me is that he just has these fundamental problems with connecting with people (outside of clever manipulation, which he is good at), which are very effective at driving people away, even when he genuinely loves them, and i think he does this thing constantly where he wants people to despise him and he wants people to think the worst of him, because he is so much more comfortable with that than just? learning how to actually differentiate between love & hatred? and to not immediately feel threatened by gestures of love as some kind of deception, because he probably can’t quite make out the difference? despite having such a high level of emotional intelligence otherwise? and this primarily ties in with the idea that the biggest most terrifying enemy he has ever known in his entire life has been the neighboring kingdom, which professes to be the epitome of love & light & benevolence while at the same time committing the most egregious hateful bloody acts of cruelty in the darkest recesses of kakariko’s catacombs

and like. i think all of his formative experiences have still led to him being fully capable of things like feeling love, but also consequently not having the faintest idea of what the definition of that actually is, or how it works, or how to relate to someone you care about without just projecting all your own experiences onto them, or communicating your affection in ways other than just. being mean. and him purposely antagonizing people who do love him and are kind to him is a kneejerk reaction that he might not even realize is nonsensical, just a way of avoiding the most fundamentally disconcerting thing he knows, which is the ambiguity of something that claims to be kind or good. and so i think he‘d find a weird comfort in things that either don’t have that ambiguity, or subvert it entirely

like animals! who are far less capable of deception, or monsters, who like him, are deemed inherently evil. or spirits, who shouldn’t technically even be bound by the concepts of good & evil, even less applicable to wayward souls than to living beings. above all other humans though, he is definitely closest to his surrogate mothers, who supposedly are the true highest authorities of the gerudo tribe, and who treat him more like a deity than a son, and might moreso love the idea of what they want him to be, rather than the person he is. and he is in fact mortal, and a human being, and extremely flawed, and prone to recklessness under stress, and makes silly mistakes, and is emotionally unstable, with an attention span that doesn’t actually seem particularly well-suited to politics or government. and i accidentally wrote way too much in one sitting again, but.

but yeah, he’s like. my point is he is so full of things. he is completely absurd and chaotic and yet also i think there are recognizable patterns in what he does, if you think about him way too hard for way too long. he’s an infuriating swiss watch of a person that functions with seemingly inexplicable precision, but is made to say rude things to you instead of showing you the time, and yet you can’t really judge him too harshly after making the difficult effort of trying to understand him, because it becomes more & more evident that. that’s just. the way he is. that that’s the inevitable way that he came together, entirely due to circumstance. he’s a reflection of the completely nonsensical universe that he lives in, an antagonist since the day he was born, defined as such by the world’s Inherently Good Authorities, who are themselves objectively guilty of mass kidnapping, torture, murder, displacement and genocide, and yet are still, by the immutable definitions of these words as they’ve established them, Good. and i NEED to go to bed but yeah i love him for being a horrible insufferable bitch, actually, because it’s meaningful in and of itself, and i love him for not being normal, and having unmanageable fears of inadequacy, and mommy issues, and ADHD and autism, and for bullying teenagers, and being more fond of monsters & parasites than people, and literally using his emotions as a weapon, and referring to himself as king of every evil thing in existence, and almost never bothering to explain his actual motivations to people who he knows have already decided that he is the crux of all the world’s problems, because he’s fully internalized that trying to be understood by anyone at all is completely pointless. wife material

[robintherobiner]

Thoughts, explanations, and all that shit i had while writing my latest oneshot

Stand up comedians do NOT make good kidnappers - Robin_The_Robiner - Batman - All Media Types [Archive of Our Own]

SO first up the name. Where did it come from? God knows. I started this fic like ages ago, wrote Steph's first section, and then promptly forgot about it for three months only to come back and scribble the rest out. I dont remember how i came up with the name, but i still think its hilarious so,,

Who is Cassowary? This universes Robin, duh! Since Damian was the first, i thought he'd go for a more intimidating bird. These birds have really sharp claws, and leave wounds similar to those of a blade. Huh. Who do we know who is really good with a sword? Exactly 😎

Writing Steph was hard because I don't know her very well, so I may have projected onto her a little bit (hence the excessive death jokes 😅). I hope it came across that Steph is a detective, like Bruce, but that she's doesn't lazer-focus on that stuff like him. Thats why she focuses on describing Junior at first, not the room she's in or the fact she's chained up. She knows these things, but she only brings them up when relevant. What good is wallowing over being chained up when you could be making fun of your kidnapper, huh?

I'm a bit worried that i didn't make it obvious enough that there is time between Steph's and Bruce's sections. Thats why when we finish Steph's third bit, she's shitting on Junior for dressing like the Joker, but then in the final bit, she's aware that it's Tim. The parts aren't happening at the same time, or right after the other. I hope that was obvious, but im not sure.

BRUCE'S BIT!!! I saw a post once saying that Bruce separates his personas very hard, and i really liked that. When he's talking about Batman, it's only referred to as Batman. When he's having more emotional thoughts, it's Bruce. And, of course, when he's dealing with Crystal (who i don't know very well so probably wasn't well written MY BAD YALL), he's Brucie. The guilt is in all of them, though. Fun stuff!

A big part of Stephanie and Bruce's relationship in canon is, from what i can tell, tense because of the way he treated her when he first met her. BUT in this fic, it's a bit lessened because Steph chalks his shittyness to the fact that he recently lost a son. Also, i think in canon a big part of why Bruce refused to get close to Steph was because of how she reminded him of Jason, which obviously isn't a problem in this universe. Bruce and Steph are still tense, but this time she has the eldest kid on her side pretty easily, cuz Damian feels guilt over Tim LOL

The death!! It's not overly explained, but I do have Tim's death all planned out and shit. It's a mix of the Joker Junior scene from Batman Beyond : Return of The Joker, and then also a little bit of canon. Instead of Bruce being out of Gotham, like in the film, it's that they have an argument. Similar to Jason and Garzonas situation, in how Bruce is angry at the thought of his partner killing, but more so using the Boomerang arc from canon (Tim wanting to kill his Dad's murderer)

Junior's mental state is wild. I'm not writing him with any particular mental illness, mostly because I'm not at all knowledgeable enough to portray something correctly. Instead I'm basing him off of Joker Junior's intro scene, and also me during some of my darkest moments! It's not Pit Rage (i don't lie how much the fandom pushes that onto Jason, similar to the Tim-Doesn't-Sleep idea in which it wasn't canon but then it got popular and was made so, i think) and instead just a extremely traumatised 17 year old!

The teaparty scene was put in there because I wanted Tim to have a hobby that he could share with his mom (because god knows everyone hates Janet because they mess up her character and only look at fanon) and that also can be used to show his mental state. Hence, collecting figurines, and playing with them! Yippee! Thanks to my pal Leo over on discord for suggesting this hobby!! (it was originally stuffed animals but I thought Batburger toys would work better)

Damian and Duke both were the first kids, instead of Dick and Barbara. Instead of Batgirl, we have Batkid, and then instead of Oracle, we have Signal. Damian is Shrike, because that is the most common hero name I see for him and I couldn't think of another. I may go back and change it to Nightwing, because I like the meaning of the name, but it would come from Superboy (Jon) instead of Superman in this universe, so maybe it comes later on? Not sure. need to think on that!!

Drake Manor was, in canon, only bought after Jack woke up from the coma. But, i decided to take the fandom route in which the Drakes always lived there, simply because timeline wise it works better for me. Also in canon, Jack doesn't need the wheelchair by the end, but for my fic, he's not out of the coma long enough for that. I also added a fun basement which defo doesn't exist in canon, so just turn a blind eye to that!

If you saw the original post, you'd know that Bruce was supposed to find Steph through a series of taunting clues. I changed my mind though, because I'm not good at clues, mysteries, or cases. So, a gift with the address is sort of dissapointing, but who cares?

Steph's feelings about Tim are sort of iffy. A really popular headcanon is that Jason was Tim's robin, and thats not true. I'm pretty sure Tim just,, didn't care about Jason? Idk exactly how he felt, but whatever. Steph doesn't hate Tim, in this fic, she just sort of hates how he was as Cassowary. Bruce is full of guilt and won't say a bad word about him, but has plenty of criticism for Steph, which leads to a sort of resentment. He was Cassowary though, so there is also some adoration in her heart. Basically, she switches how she feels about him depending on the situation.

Jack and Robin. In this universe, Jack doesn't know Tim is a superhero. Tim does still take a break, but it's to spend time with his dad after he awakens, not because he's threatened. Dana also (unfortunately) isn't around in this fic, so Jack has more time to spend with Tim. It's sort of a win-lose situation though. More time with Tim so they get closer, but without Dana to calm him, Jack's little bouts of fury are stronger (remember how he fucking ripped out a TV??) so their relationship is more strained, which is why Tim does go back to being Cassowary, just for a bit, before his dad dies.

Hints are sprinkled in Steph's bits that tell on Tim's identity. Not many, because I'm really bad at hints and subtlety, but there are a few. Mentions of shock burns (the electrocution duh), Zesti instead of tea (which is Tim's canon favourite drink, not coffee!!), and his wish that Steph stops being a hero.

Tims motivations are a reverse of Jasons canon ones. Jason forgives Bruce for not saving him, but is mad he wasn't avenged. Tim forgives Bruce for not avenging him, but is mad he wasn't saved. Aint that fun? Thats why instead of beating her up, Tim kidnaps Steph for three days to resemble the three weeks he was held captive before he died. Yippee, allegories! (i think that word isn't right, but i can't think of the right one??!! english is HARD)

WOW i had a lot of thoughts and explanations and shit for that oneshot, huh? 🤭

[writingquestionsanswered]

I have this problem that finally showed up after many years, I'm a few chapters away from completing my book. After almost 5 years writing this through happy times and sad times, I'm finally done! Yet, I can't move on. Instead of being happy to finally complete my passion project, I feel myself grieving the eventuality. I spent years building my world, story, characters etc... and now I don't want it to end, I don't want to complete it. Suffering from success if you will.

Do you have any tips on this fear of completion? My book is set up as a stand-alone, so making a sequel wouldn't work.

Have you ever had this "completion grief" and if so, how did you move on from it?

Thank you

Dealing with Creative Grief When Story is Done

It's normal to feel grief upon completion of a story, especially one that you've been working on a long time and/or has been emotionally demanding. Here are some things you can do to help work through this feeling:

1 - Be Proud of Your "Baby Bird" - Your baby bird has flown your now empty nest, but take a moment to recognize the beauty of this moment... this project you've worked so hard on is now complete and ready to fly away. You've done everything you can for it, so now it's time to let it spread its wings and live a life of its own. As much as it's sad, it's exciting, too. And it's a huge accomplishment!

2 - Find Closure with Celebration - Many creatives find celebration a helpful way to find closure when a project is finished. This can be something small, like ordering pizza or enjoying a glass of champagne, or it could be something bigger, like having a nice dinner out with friends, or even throwing a little party. Having any sort of event to mark the occasion can help it to feel more final, but in a way that is happy and comforting.

3 - Start a New Project - With one project finished and out in the world, you may find it helpful to start planning a new project, or at least start thinking about one. Throwing that leftover creative energy into something new helps with that sense of emptiness, distracts you from creative grief due to the finished project, and heals your heart with enthusiasm for a new world, new characters, and new plot.

4 - Schedule a Future Visit - Sometimes it helps to plan to revisit the completed project in some way at a future date. That could be reading it at some point, if you're able to read through finished projects and enjoy them. It could be creating a collection of mood boards for the story and characters and sharing them with your readers. It might be doing a reading of the first chapter on an Instagram live, or--hear me out on this--writing a companion story. Now, I don't mean writing a sequel or even a story that you'd share necessarily, but more something for yourself, kind of like fan-fiction of your own work, just as a way to get into your story and revisit the characters and world. And truth be told, if you plan to do this--say on the six-month anniversary of when your story was finished--it will give you a sense of the story living on that will help you get through your grief now, but by the time you get to that point, you probably won't need to do it anymore.

5 - Wait for It To Pass - Of course the hard thing about any kind of grief is there's not a whole lot you can do to make it go away. For the most part, you just have to acknowledge that it's there and give yourself the grace needed to get through it. Most of the time, it passes more quickly than you might expect, and you'll be onto something new in now time.

I hope that helps!

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[jackoshadows]

Sorry to send you a sansa ask lol I was just wondering if you could help me out. I'm trying to understand why people say sansa is a literal child right now but they also want her to be queen in the end. Are they assuming we will have a big time skip? I mean, if she should be excused for being dumb because she is a child then why do they want her to be queen, wouldn't that make her situation worse?

Welcome to Schrodinger's Sansa!! It's an asoiaf fandom phenomenon where the character of Sansa Stark is simultaneously many things at the same time.

No, they are not expecting time skips. They are arguing that Sansa is simultaneously both very smart and also she's a little child unable to understand when adults tell her things.

Exhibit A:

Linking to this essay because it's often send to me in discussions about Sansa being very smart.

But there’s no reason the readership should share those views. Sansa is a very clever individual who makes increasingly good use of several skills she started the series with, and develops greatly as an observer and an actor over the course of the story.

Same person then writing about Sansa pushing the Maester to drug SweetRobin with the dangerous SweetSleep despite the Maester warning her that it has long term consequences for SweetRobin's health:

I’ve said before that I don’t think Maester Colemon is doing nearly enough to actually explain the problem with sweetsleep to Sansa, so I’ll have none of that either, thank you. She’s thirteen with no grounding in any sort of natural science whatsoever;

More broadly, do we expect thirteen-year-olds to be able to take full responsibility for another’s medical care? Do we expect them to have a sophisticated understanding of, say, heavy metal poisoning, or prescription drug abuse? Even with modern resources? Sansa, who cannot head off to wikipedia and start researching for herself, is in a situation where she doesn’t know what she doesn’t know.

Sansa does not have wikipedia and therefore cannot double check on what a doctor is telling her about a drug is still one of the funniest things I have read on here about the character 🤣, right up there with Sansa being the 'embodiment of hope for the future' and 'flames coming off the side of the face' for a bnf when a blogger called out Sansa for bullying and mocking Arya's appearance.

Again, keep in mind that Maester Coleman is Westeros' version of a physician, a doctor who treats the sick. This doctor is telling Sansa all this in the text:

Give his lordship a cup of sweetmilk,” she told the maester. “That will stop him from shaking on the journey down.”

“He had a cup not three days past,” Colemon objected.

“And wanted another last night, which you refused him.”

“It was too soon. My lady, you do not understand. As I’ve told the Lord Protector, a pinch of sweetsleep will prevent the shaking, but it does not leave the flesh, and in time …”

I try, my lady, yet his fits grow ever more violent, and his blood is so thin I dare not leech him any more. Sweetsleep… you are certain he was not bleeding from the nose? I must speak to the Lord Protector. This feast… is that wise, I wonder, after the strain of the descent? Lord Robert mislikes strangers, you know that, and there will be drinking, noise… music. Music frightens him”

“This descent… my lady, it might be safest if I mixed his lordship some milk of the poppy.

And then when he gives her a final warning, she threatens him with Littlefinger because 'father and I have larger concerns' than SR's health and well being.

Very well.” They paused at the foot of the stairs. “But this must be the last. For half a year, or longer.”

“You had best take that up with the Lord Protector.” Maester Colemon cares only for the boy, though. Father and I have larger concerns” - Alayne, AFfC

This is what happens when fans self-insert and project onto a character and rely on fan made headcanons instead of actually interacting with the canonical text. They want her to be flawless, therefore she's a naive, innocent little baby. The same consideration is never afforded to the other children, even Arya who is two years younger to Sansa. And yet if one looks at their character endgames, Arya is always an assistant to Sansa, there to give her the information while clever Sansa puts together and uses the information to rule.

They want Ned Stark and Maester Coleman to explain stuff to Sansa like this for her to understand what they are telling her:

And yet she is also the smartest, most cleverest character in the series - smarter than Jon, Dany, Arya, Bran, Tyrion, LF etc.

One of the reasons for why we get so many of these bnfs thinking that 'Sansa Smart' will be queen/lady of WF and at the same time arguing that Sansa is naive/innocent/a little child is because they see her as this flawless symbol of kindness and compassion.

I already wrote about this here that in fandoms like asoiaf, virtues like compassion and kindness is seen through the lens of white, western liberalism and traditional femininity. I wrote that long ago and now with the rise of tradwives, it's even more relevant to this discussion.

It has always baffled me that the character trait most often highlighted in fandom for classist and sexist Sansa is kindness and compassion simply because fandom thinks that being polite and having good manners = being kind and compassionate.

This results in posts like this where they argue that Sansa is actually being kind to Jon Snow by treating him like a bastard when the author through Jon Snow is actually being critical of the character!!

Remember this is the quote from the books!

He missed his true brothers: little Rickon, bright eyes shining as he begged for a sweet; Robb, his rival and best friend and constant companion; Bran, stubborn and curious, always wanting to follow and join in whatever Jon and Robb were doing. He missed the girls too, even Sansa, who never called him anything but “my half brother” since she was old enough to understand what bastard meant. And Arya … he missed her even more than Robb, skinny little thing that she was, all scraped knees and tangled hair and torn clothes, so fierce and willful. - Jon, AGoT

We also have a bnf chiming in and agreeing that yes, Sansa was indeed being considerate of Jon's feelings here!

Even Jaime Lannister has had moments of kindness, where he tries to help Pia. And yet the only character in the series on whom these character traits are constantly pushed onto is Sansa Stark.

Sansa can actually be an interesting character if her fans let her be one. She's not a little child who does not understand what Ned and Maester Coleman tell her. She does understand and chooses to ignore it for her own selfish reasons - marrying Joffrey, whom she loved, and becoming queen or wanting LF's plans in the Vale to succeed. That's why she feels 'as wicked as Arya' when she goes and tattles all of Ned's plans to Cersei. That's why she thinks that while the Maester cared for the boy, she and LF had larger (more important) concerns.

Sansa is interesting in the way she deflects and refuses to acknowledge the unpleasant truths before her and lives in this alternate reality where everything is fine. She ignores Joff's sadism because it clashes with her idea of noble, beautiful princes. She ignores what is being done to poor SweetRobin because she thinks it is essential to her own survival that LF's plans succeed.

The reason her stans refuse to dig deeper into the character other than extremes of naive, innocent child and smartest character ever is because Sansa would then be as flawed as Jon, Arya, Dany, Bran etc. and they don't want that for her. They want her to be special in some way and this is it.

Arya killed the guard to survive - and she's portrayed as too damaged to ever live happily with her family. Jon and Dany face hard choices of doing the pragmatic or the morally right thing and are often called out on those choices, especially Dany. Pretty much most of our protagonists engage in morally grey actions.

And yet Sansa fans insist on her being this flawless character- it's everyone else' fault except hers. It's Ned's fault, it's Coleman's fault - they didn't explain properly. It's Arya's fault for trying to help Mycah, Arya should have tried to build a relationship with Sansa. Suddenly it's Sansa who is the outcast in Winterfell and Arya the favorite. Suddenly Sansa is Ned like and Arya 'bites people like Catelyn'.

This leads to her being interpreted as this idiot who cannot understand when a doctor is telling her a drug is dangerous. Which then clashes with their essays about 'Sansa Smart' and how she is going to be the best queen ever and change the system and bring about women's rights and all that.

It's the same with this 'pawn to player' stuff they write for the character. They expect her to be this smart player of the game and at the same time remain this good, idealistic, 'kind and compassionate' leader... How?! LF and Varys did not get to where they are by being good people. Sansa has to get her hands dirty, be ruthless and often times not be concerned about the well being of others - just as she does with poor SweetRobin. And yet her fans think she will become LF level of game player and do it while being kind.

Especially baffling because GRRM is deconstructing all these tropes of good knights and kind ladies. Brienne of Tarth is the embodiment of the perfect knight and yet she is not what one would expect a knight to be. This was part of Sansa's arc of growth - where she sees and experiences up close the brutality and lack of morals of these knights in KL.

The Northerners are loyal to Ned Stark, not because he was some beacon of kindness and compassion or because he had good manners and said please and thank you but because he ruled according to the laws of the land and enforced those laws in a just manner and was therefore an honorable Lord. He beheaded those who committed crimes, he put down rebellions, he took child hostages and he also kept the peace of the land.

And Ned Stark was as flawed as all the other characters. So this insistence that Sansa has to remain this caricature of 'kindness and compassion' - even if it's canonically untrue considering bigotry is not kind - is bizarre and one of the main reasons for why we have Schrodinger's Sansa. I can't wait to see all the excuses and justifications bnfs will come up with if we get TWoW and Sansa is doing all sorts of morally grey shite and going along with LF's plans.

[poisonedspider]

I saw in the tags of one of your post, you said your version of angel duat is intersex & has both parts.

(This is not a hate ask btw)

Intersex does not mean "both parts". Intersex people with ambiguous genitalia have a single set that is somewhere between male & female, but they do not have a fully male and a fully female set. Reproductive organs have a lot of homologous features (clitoris/penis, labia/scrotum, teates/ovaries), in general intersex genitalia do not have duplicate features as what would be required to "have both".

This is all just fanfic, but it's important imo because the "both parts" stereotype is really prevalent, and it's very inaccurate and causes us a lot of problems medically and socially. I'm an intersex person with a phallus instead of a clitoris, and labia instead of a scrotum. I personally refer to myself as "between male & female", because it's more accurate. I have no problems with people writing intersex characters in NSFW contexts, just please do so in a way that is respectful to us! If you do want to write a character with a fully male & fully female set of genitalia, I would recommend referring to them as salmacian, and not intersex. Try to avoid the word futa, as this is the shortened version of a slur for us. Same with herm.

Have a nice day!

I want to start this off by saying thank you, immensely, for starting by saying this isn't a hate anon. Based on past fandom trauma, I always panic when I see a big block of text, especially from an anon.

I'm also going to say that I can be really bad with words (I'm also at work right now shhh) so I hope this doesn't come off as bad/attacky either, because it isn't meant to be! I'm just going to kick it off by saying, I'm specifically a gender and sexuality counselor. So I work with all sorts under the sun. And I think that what can be the biggest struggle is that there are different variations of everything (if that makes sense?) A majority of my clients that are intersex do just say 'I have both parts' because I think that's what makes them most comfortable? I can't speak for them. But that's how a lot of them speak. Since I'm personally not intersex, that's just what I know. I do have one friend who is intersex who has completely male genitalia, but female internalized sex organs (ovaries, etc.) I have a client who has, per their very blunt words, 'a dick and a vag' (tmi here but like in place of clit they clearly have full phallus, but then a vaginal hole? slit? I'm so weird with genitals). I should also point out this is very similar to my Angel.

THAT BEING SAID. Again, everyone's experience is very different, and I am incredibly aware that this experience is not mine. I would never want to upset anyone, especially in an area that I don't personally endure. The best thing I can relate this to (and I'm aware this is a terrible comparison) is being trans and how people all view it very differently (I'm loud and proud about being trans, versus my ex refused to let anyone know and thought I was a 'performative trans' person for doing so.) This is definitely something I'm going to keep in mind, because this is really helpful information, and I can't project only the experiences that I have witnessed onto the experience of the whole. So I'll be mindful of that, and thank you for this. <3

Also haaaaa yeah no way would I use those last two words. Fun fact, I punched a kid in high school for using the herm word. I don't tolerate that shit. So don't worry. <3

But I definitely think moving forward I'm going to just say 'both parts' rather than intersex. I was just trying to drive it as straight forward to people in a way I figured they could understand, especially as things are starting to get smutty on this blog. But hey, demon anatomy is weird af, and probably dissimilar to most humans anyways so there's nothing wrong with having to explain it in depth in a way that might confuse people.

I appreciate your kindness about this, and willingness to educate. I know a lot about this stuff due to my job and personal life, but we are all always needing to grow and learn.

[lotus-tower]

i really liked "unwilling hole" gin-san in the ouroboros essay, do you have any other thoughts about it/what a willing hole would be?

thank you! this is a great question.

"reluctant hole" is a term taken from tshirt's scatological gintama essay, eat shit and die. gintoki's status as a reluctant hole in this original context is quite literal. tshirt talks about how the Central Joke in gintama is the inversion of power in the desiring-pair, and how gintama's dirty jokes get imbued with meaning due to the conflation and elision between sex and shit, both being "dirty things"--with the anal naturally becoming the potent symbol of this. the key point made by tshirt that i take up in my ouroboros essay is "gintama, of course, is about preferring dirty things."

in my ouroboros framework, the Hole looms like an antagonist of sorts. but as i specify in my second essay (the one published in yaoizine vol2), the problem with the "hole-sided" gintama villains isn't that they have a hole in them (everyone has a hole. it comes free), but in their response to it. the problem with gintama's villains isn't that their holes are somehow worse than the heroes', but that their hole lacks "dirt." because the shame of being alive, the pain of their human relationships, and the misery of their failures are too much for them to bear.

what i meant by gintoki as a reluctant hole isn't exactly the same thing that tshirt meant, but in the end it's relatively similar. tshirt used the "sword stuck in ass" arc as an example of the sort of punchline that gintama is obsessed with, the way it draws humour from playing with the pole-hole/sword-scabbard binary. yes, he's quite literally a reluctant hole in that arc, but tshirt is talking about the underlying ideas that gintama uses to structures its jokes and its portrayal of a hero who's meant to be incredibly cool, but very carefully designed to be lame and have the opposite qualities of a traditional protagonist.

this "inversion" in his characteristics isn't unique or anything, it's part of a very common type of power fantasy in shounen, and you can also see it in surface-level imagination exercises on tumblr. but either way, it's projected into the gags that gintoki interacts with, and because gintama is obsessed with toilet humour, that means another "binary" ripe for flipping is the pole/hole. quoting tshirt quoting sougo in that arc: “He really is a fucked up samurai. Instead of using the sword to protect his own body, he’s using himself as a scabbard for his friggin’ sword.”

similarly, in my framework, the (deceptive) binary that looms large is the head/tail--which i've mapped the hole/phallus onto as well. i'm not going to go into detail about what my framework is actually about because i assume you've read all that already. but essentially gintoki is a "reluctant hole" not only because he's struggling to not be hole-sided, but because he's also struggling with not being hole-sided. he struggles to fill his hole with the things it needs to be filled with: he struggles to learn how to live, and then he struggles with living. he's reluctant because he never wanted to be the main character, subject to the kind of indignities, tragedies, and ironies expressed through both gintama's gags and serious writing--always oriented towards him being that kind of "anti-hero", and thus inextricably tying him to dirt.

so i think in the end, there really is no such thing as a "willing hole" without changing the meaning of the words used. because it would be easy to describe an antagonist with no more regrets as a willing hole, but would that antagonist be interesting in a gintama context? or you could use it to describe someone who doesn't struggle with what gintoki struggles with--but then they would just be an inhumanly perfect being without struggle, and that wouldn't be interesting either. so in the end, it's a little bit misleading, because there is no real dichotomy here. there are only reluctant holes in the sense that i used it in my essay--and gintoki is the microcosm of the entire series, so he's The reluctant hole, and in describing him this way i was just really describing what gintama is about.

i think the closest thing to an interesting and valuable "willing hole" in gintama is actually shouyou, owing to his dead anime mentor status. he isn't a flawless being, but he knew he would die to utsuro one day, and he embraced it. but this response has already gone on long enough. i hope it satisfies your curiosity!

[sunwukongssuccessor]

You have a very good understanding of Sun Wukong and Macaque, I can tell by how amazing your writing is! Have your ever thought about doing a character analysis of those two? I’m asking because I have ideas for LMK fics and wanted to try and keep them as in character as possible and something like that would help me and a lot of other writers out there!

Anonymous asked: Sorry for not being specific! If my request is too intimidating please don’t push yourself to do it! As for specifics in the character analysis of the monkeys I guess maybe a dive into their surface level personality versus true personalities, their relationship with each other and MK, and their moral compasses? I hope that helps! You can take those as you will. If you don’t want to do all of that just do what you do want to do. Thank you!

It's no problem, I'm sorry that I took so long to answer and even then it still feels kind of vague.

I think the first way of getting to understand a character is getting a grasp of how they speak, both Wukong and Macaque speak pretty casually (one of the first things that Macaque says is "Your staff kind of gives you away, dude."), as well as clear and confident. I think it helps that I can memorize and hear voices in my head so that helps in me finding a way for them to stay in character and pick what sounds most accurate, but I know that doesn't apply to everyone.

Wukong, despite how he tries to play the role of retired goofball in the beginning, being somewhat indifferent about stuff like MK's training, but he actually cares to the point it's almost self-destructive. He doesn't want MK to worry about the Lady Bone Demon, so he lies about searching for a way to defeat her as a vacation of all things. He doesn't want people to get hurt from his mistakes and such so he wants to take the brunt of it but because he didn't try asking for help/support it kind of blows up in his face and makes it worse in the long run.

Macaque is opportunistic, something of a snark about it too. ("Also, side-note: How did you not know it was me? Shadows, kinda my gimmick isn't it?") He's not just dramatic, he's downright theatrical given the shadow play episode, he didn't have to keep doing more than one show after capturing MK's friends and even points out that MK went to multiple shows with saying "Ah, you again. You must be my biggest fan." but he still took it as a chance for the attention as well as be heard in his past as indirectly as he tried to play it off before the reveal. He craves the acknowledgement and probably more.

An interesting thing I noticed with Wukong in his interactions with MK is that he's the one usually initiating physical contact with him. (Sure, some of it is a bit of invading his space but that's just kind of how he is considering he's a monkey.)

Anyone else is kind of unwelcomed(?) in the space if he doesn't really like them or know them that well, he's even surprised by the affection from MK in the episode "Destiny Fulfilled" for a hot second until it settles.

With Macaque and his interactions with people from conversation to touch, something I noticed in the split second he meets MK, he sees him up close with admiration of all things as if shocked by it before settling back. After agreeing to mentor MK, he's starts initiating physical contact as a way to seem all buddy-buddy with him, almost like they're on equal ground despite the newly formed mentorship.

After what's probably a few weeks into the training, the physical contact is less soft, almost holding MK down instead of being a support to pushing MK into a losing battle until literally punching the Monkey King's powers out of him. Physical touch was used on his terms and for his gain.

When he does a similar arm hold on Tang in "Benched" when trying to appeal to Tang in giving up and letting him get a Ring of Samadhi, he even projects his relationship with Wukong onto the whole group before acting out when it doesn't work.

Their moral compasses are pretty different, Wukong trying hard in helping MK as well as the world with it, Macaque being that he looks out for himself since that's all he has. Wukong has many enemies but that doesn't mean the world is and tries to act sweet with Ao Guang like he's a bud and totally didn't steal the pillar to his palace and made it a staff.

Macaque has to look out for himself, sees himself as the only one he can trust, all others be damned. ("Look out for number one, because if you don't, no one will.") Even if Macaque has a soft spot for someone (see MK) ("This is the thanks I get for checking in on my favorite student?" and "Hey kiddo, ya miss me?") he doesn't even see him as a potential ally, closer to amusement at best and enemy at worst. Macaque has far more enemies than allies (probably since he doesn't have any) and that reflects in how he practically hisses at the Mayor for giving him off vibes before even getting caught in the Lady Bone Demon's lackey's hold then taken hostage.

I'm sorry if this isn't the best analysis since it feels kind of all over the place but I hope it helps you in someway.

[jpeg-dot-jpeg]

💞 & 🕯️

💞what's the most important part of a story for you? the plot, the characters, the worldbuilding, the technical stuff (grammar etc), the figurative language

Character work! To me, exploring the characters is the foundation of fanfiction; you have a preestablished person and now you get to do the fun part of giving them extra thoughts and putting them in scenarios like barbie dolls <]:)

Also, I love using fanfiction as a medium to explore different styles of writing! Like, in my fic Karyogamy, I used research logs in one of the chapters to provide context instead of a more traditional third person pov, and it was super fun! The format of a story is super important to me because there's so many possibilities!!

🕯️was there a fic that was really hard on you to write, or took you to a place you didn't think it would take you?

This question is interesting. I had to sit on it for a while. Writing fanfiction is a source of joy for me and that's largely because I only write fanfiction I enjoy lol.

I don't think I've ever struggled a ton on a fic because if I'm not feeling it I just shelf it. But there was one piece I wrote towards the end of last year that was just a vent fic/projection of my own problems onto a fictional character. It was aimless and melancholy because that was how I felt.

My mental health is in a significantly better place now (woo!) so I don't think I could get back into the headspace I was in when I started writing that fic, which is good but provides a challenge in keeping the tone consistent. I might go back to it someday and post it as some Tim angst, but in the mean time, please enjoy a little snipet!

Tim’s life was, as of late, defined by the absence of wanting. Not necessarily an aversion to various aspects of his fatiguing and arduous existence, just a quiet, numb neutrality. When Tim thought about all the things he could, should, or would be doing, the usual brand of combination obligation and low-level anxiety was instead replaced by lukewarm indifference.

He was going on month 4 of doing nothing. And it wasn’t that he wanted to not do anything, he just didn’t want to do anything. There was no wanting left in him. At some point, without his awareness or permission, the last dregs of wanting in his soul had disintegrated and been blown away by the gentle winds of lethargy.

Tim was tired. 

Thank you so much for the ask! This was very fun!

[phantomrose96]

Fenton Fact

Danny leaned back against the red brick chimney of the Casper High roof, and he looked across the stretch of land rolling far off from the building top. For a place so off-limits, so hidden-away from the normal bustle of the school, the view really wasn’t anything special. Sure, the school was decently tall, but it overlooked the staff parking lot, and the empty Casper High tennis courts, and the back of a strip mall two blocks over with the recently-haunted laundromat.

Not that it mattered. It took more than tall-building-views to impress Danny anyway, even the nice ones. And he wasn’t up here for the view.

Danny let his eyes drift shut.

“Sup loner, room for one more?”

Danny startled, and it wasn’t Sam’s voice specifically that startled him. (He’d grown used to her bursting from his Fenton Phone earpiece during most nightly patrols.) He’d just lulled himself a bit too comfortably into the idea that no other human could follow him to the top of the locked rooftop of the Casper High building.

“Did I just surprise a ghost?” Sam asked. “Should I do it again with a ‘boo’?”

“Haha,” Danny answered with a fake chuckle. He blinked himself back to prickly awareness, drowsiness batted away like dust bunnies, and stared up at Sam. “I’m not surprised. I just wasn’t expecting anyone else to be on the roof. How did you even—”

Sam was a few steps ahead of him. In explanation, she waggled the Fenton-branded grappling hook gripped in hand.

Danny leaned back with a faux-exasperated sigh. “Since when do you even have a grappling hook?”

“Since I told your mom it would be a wildly cool line of gear to add to the Fenton brand.”

“Does this mean my mom now has a grappling hook too?”

“Yes. And your dad. And Jazz. And Tucker.”

“Great. When I go home and all the ceiling fans are torn down I’ll know why.”

A gentle silence lapsed over them, punctuated with the swell of fall wind.

“So…” Sam continued. “Can I sit here?”

“Huh?” Danny looked at her, anchoring his drifting thoughts once more. “Oh, yeah. I thought the ‘yeah’ was implied.” Danny shuffled a bit to the side, back still resting against the chimney. He patted the spot he cleared. “What am I gonna tell you? No?”

“Just making sure.” Sam stowed the grappling hook to the side of her belt and settled into the spot beside Danny, feet outstretched. “In case maybe you wanted some alone time.”

“’Alone time’ isn’t really something I get anymore. I’ve had about a hundred-too-many ghosts crash through my bedroom for that.”

“So why the roof?”

“Roof is more for uh…” Danny twirled his hand, “‘less adoring crowds’ time. ‘Less classmates ogling me’ time. You can stay so long as you don’t ask me to sign anything.”

“I was never interested in the parasocial or capitalistic value of celebrity signatures. Besides, you cross your ‘t’s weird.”

Danny replied with a half-hearted chuckle. His line of sight drifted into the middle-distance again, unfocused.

“Is it getting to be too much?” Sam asked.

“Hmm?” Danny answered, eyes shifting back to her.

Sam gestured broadly, hands and arms outstretched. “You know just. All this. Everything.”

“…Nah.”

Another small silence grew from the cracks in the concrete between them.

“Paulina and Star are looking for you. You know that, right?”

“Oh, are they?”

“Danny. You knew that.”

“Maybe.”

“…And you’re not interested in seeing what they want?”

“I figure Tucker is keeping them busy.”

“You’re unfortunately right.”

“Phantom Phacts?”

“Phantom Phacts.” Sam nodded. “I made him promise to leave out any embarrassing trivia from the trivia section.”

“Thanks for that,” Danny answered. “Is his presentation any good?”

“You think I’ve ever stuck around to hear it?”

“Fair.”

Sam pulled her knees up to her chest, wrapped her arms around her legs and set her chin to her knees, staring forward.

“You’re really not interested in sitting with Star and Paulina for lunch?”

“Not really. Why? Is that bad?”

“No, it’s absolutely great. But I’m…” Sam shrugged, “surprised, I guess. I feel like usually you’d jump at the opportunity. And I kinda don’t think you’re refusing because you’ve suddenly recognized the banality of A-lister status.”

“Maybe that is what happened, you don’t know that. Down with capitalism, Sam.”

“Danny.” Sam tilted a fraction to face him. “I’m worried that this is all too much for you, and you just won’t admit it.”

Danny sat with the silence that followed. “I don’t think it’s too much. I’m just—I dunno. I mean. I’m just not feeling it.”

“…You can admit if it’s overwhelming, Danny. I’ll be the first to shut down ‘Phantom Phacts’ if it is.”

“Nah, nah let Tucker have his fun. He’s not the problem. It’s… I dunno.” Danny pushed himself taller against the chimney, upright now and unslumped. “It’s a little bit overwhelming, I guess, maybe. But it’s kind of what I expected. Maybe even a little easier than I was expecting. I thought I’d be dealing with a lot of Phantom-hate once everyone knew but, I guess that kind of died down a long time before everyone knew.”

“Valerie holding you at gunpoint in the cafeteria wasn’t Phantom-hate?”

“We’ve had a lot of good talks since then, okay?”

Sam let out a quiet laugh. “So then… why aren’t you sitting with the popular kids right now?”

“I just didn’t want to, I guess?”

“And why didn’t you want to?”

“It just didn’t really feel right.”

“Is it because of me?” Sam asked, another side-long glance cast to Danny. “Because you can sit with them. I’ll still make fun of you if you do, but you don’t have to… not sit with them because of me.”

“What? Huh—no. Nah, nah I mean I do care what you think Sam. But I mean if I wanted to be sitting with them then I would so. I mean. You don’t have to worry that it’s you.”

“So then what is it?”

Danny took a moment to answer.

“It’s just… it’s a feeling. I dunno. Like.” Danny spread his arms out. “The invitation is wrong? Or the invitation isn’t actually for me?”

“…The invitation is for Phantom instead?”

Pensive indecision set into Danny’s eyes. “That’s not totally it. Because I mean I AM Phantom. I’m not not me when I’m Phantom. Maybe I trash-talk a little more in ghost form but I’m not… not me. That’s still just me. You know that.”

“Right, yeah, no Danny. It just sounded like that’s what you were saying.” Sam let her legs slide out a few inches. “So what are you saying?”

Danny sat with the question. “When the news first picked up on Phantom, way back when—Inviso-Bill?—that wasn’t really anyone, you know? They made up some spooky icon to make the news about. Which was just like, whatever, not me. I didn’t even take ‘Inviso-Bill’ too personally because that just wasn’t me. And even when I stopped being an enemy and started actually being ‘Danny Phantom’… no one actually got it right, you know? They kind of came up with a character for me. Just some hero. I listen to the news and how they talk about me and I think, even now, I think ‘That isn’t me.’”

Danny pulled his knees in, a mirror to Sam, and stared down into his tattered jean fabric. “And when everyone learned I’m Phantom I guess I kind of expected them to be like ‘Oh it’s Fenton’ and then that fake version of Phantom would go away.” Danny raised his eyes to Sam, far more bothered than before. “…I think the opposite happened. They don’t look at Phantom and think ‘oh it’s Fenton’. They look at Fenton and think ‘oh it’s Phantom.’ I think Danny Fenton got put away. I think the person I was for 14 years doesn’t exist to them anymore. Whoever they invited to lunch isn’t me. He doesn’t exist. But I’m suddenly responsible for him. And it’s not even me.”

Danny paused. “And now I’ve been wondering like… how long until I disappoint them? You know? How long until I do something that makes them angry because I’m not doing the thing they expect ‘Phantom’ to do? How long until they start seeing there’s too much ‘Fenton’ in me and they start to hate me for it all over again? For them to really like me, I don’t think I can be me, and I don’t know how to do that. I don’t know how to be someone who doesn’t just disappoint everyone in the end.”

A long gust of wind swept between them, stealing away the seconds.

“…So now you’re hiding on the roof.”

“It was the easiest solution to my problem.”

“But not a lasting one, if you ever want to get down.” The wind settled, and Sam swept a lock of hair behind her ear. “…Do you care if you disappoint them?”

Danny shrugged. “I. Yeah. I think. I don’t—I don’t think I totally know for certain, but I don’t want to disappoint anyone.”

“Well, you’re not going to disappoint me, or Jazz, or Tucker—and if Tucker does act disappointed over any lost Phantom Phacts ventures I’ll whap him over the head. But I mean, we know who you are. We’re not going to be disappointed realizing you’re not ‘Phantom.’ The worst you can do is land right back where you started.”

“And what if I started acting like ‘Phantom’ instead. Would that disappoint you guys?”

“Do you want to act like ‘Phantom’?”

Danny paused. “…No. Not at all.”

“Then don’t. It’s that simple.” Sam stood, and she stretched until her back popped. “It’s not your responsibility to uphold whatever delusions people project onto you. I won’t hesitate to call them out on it. You know I’m good at being direct, and you know I’m even better at making enemies.”

“I don’t wanna be mean to them though when they’re finally being nice.”

“They’re not being nice, they’re projecting. If their niceness to you is conditional on you fitting to the box they created for you, that’s not nice, that’s manipulation, and it’s exactly the root of my ever-frothing disdain for popularity. It’s always some element about popular people that people latch on to, and they can fit the box that people give them, or they can reject it and find themselves wallowing amongst us outcasts. Don’t do that to yourself, Danny. Don’t live in their chains.” Sam tilted her head to Danny. “You spend all day trapping ghosts into tight little boxes and you can’t even recognize when it’s happening to you. I think you’d be better at spotting this.”

“It’s a cylinder, really. The thermos. It’s a cylinder. And don’t say ‘box’ so much. You might summon company.”

“You just said ‘box’ though.”

“I did say ‘box’.”

“Box.”

“Box.”

Sam laughed, noise trailing light on her lips. “…Feeling any better?”

“A little, I think… I still… I still think I... it's not as easy to just say 'I don't care if I disappoint them.' It's still scary. I don’t want to end up proving them right that they were right to hate me all along.”

“Are the opinions of Dash Baxter really the ones to be holding on a pedestal? Is his opinion of you really more important than what you think of yourself? You’ve been through this with the A-listers already. Don’t torture yourself again just because the door is wide open. I promise you Danny, it won’t make you happy.”

“So I should just do whatever makes me happy?”

“Every time.” Sam nodded.

"Even if I'm a total disappointing loser?"

"All the better."

"Even if I blow any chance I have with Paulina out the window?"

“Wouldn't have it any other way. Got any idea what you intend to say to her when she finds you?”

Danny paused. He pushed himself standing. “Maybe I could talk her ear off about NASA until she gets bored of me?”

“Excellent. Can I join? I have a lot to say about SpaceX and private capital encroaching on space exploration.”

“Does that apply to me? I’ve been to space. Am I private capital?”

“You’re not private capital.”

“Then what am I?”

“Annoying.” Sam locked arms with Danny, and dragged him along forward, her combat boots clunking against the rooftop. “And my friend. Come on. I’ll brief you on everything wrong with privately-owned space exploration while we’re rappelling down the side of the building with my sick and cool as hell grappling hook.”

“I can fly.”

���And I have a sick grappling hook. What’s your point.”

“It’s probably called a ‘Fenton Hook.’”

“Is that a Phantom Phact?”

Danny shook his head, and a smile pulled on his lips. “Nah. I think it’s a Fenton Fact.”

[luna-rainbow]

I always wonder why the mcu keeps trying to push their peggy carter oc,like I understand characters aren't always going to be comic accurate and can be changed for better or worse. But what the mcu did with peggy is so weird to me

Staring off with the fact that she takes inspiration from a nazi spy , they even said so themselves she just doesn't take inspiration form Cynthia tho most of he likable traits are from other characters as well.

Going back to the Cynthia glass thing it's also uncomfortable that this peggy is also an alternate version of captain america even though they call her captain carter you can't escape the fact that she's supposed to be an alternate version of captain america.

I can understand wanting to make an alternate version of cap but why would you use the character that you've stated has taken inspiration from a nazi spy to represent a Jewish symbol who was made to fight nazis and for the oppressed it just leaves a bad taste in my mouth.

Thanks for the ask and sorry for the late reply!

I think the superhero genre, much like the Japanese equivalent of the shounen genre, is about power fantasies. That doesn't necessarily make them inherently trite or egocentric, though. A sensitive and knowledgeable writer can construct a power fantasy for marginalised folks, even those they are not a part of, and that's what people are asking for when they talk about "representation". People from all walks of life deserve an inspirational story and a power fantasy to project onto, to say that despite the barriers placed by society, it is still possible to fight against the restrictions and carve out a special identity for yourself. In a lot of the better written superhero stories, their powers are presented as something that is both a blessing and a curse/threat, and the story is about them accepting that difference and turning that into something good - as opposed to, often, their villains, who turn that into something used for bad.

And I think that's the key difference. Comics/manga are written for kids/adults who feel like they don't fit in (maybe manga especially, because of how suffocating Japanese society can be about fitting the norm). The fantasy lies in social odd-balls embracing their own uniqueness and doing good in spite of the world shunning them.

Once super-powered concepts hit Hollywood, the meaning changes. The writers are now (in general) people in positions of influence and affluence. They are confident in who they are, and in fact, they yearn to stand above the ilk. The power fantasy completely changes flavour - instead of an outcast learning to be happy with who they are, it is now about how a "normal" person gains something special that elevates them above the boring average folk.

The problem is - the former is usually sensitive to the struggles of marginalised folk ("we are different but we can be amazing"), while the latter is ignorant and self-serving ("I am amazing because I am not like other girls"). And because of the type of fantasy it is, it is not interested in exploring power as a potential flaw or a burden, it is simply about the celebration of strength.

This is all a long-winded way of saying, yes, PC is a power fantasy for a particular group of women - the middle-classed, primarily White, well-educated women, who do not want to be like other girls. She had to be made special at all costs - the private school/college education, the brother in MI6, the Howlies, the boxing champion, the directorship, and now finally the serum and the shield.

The implications didn't matter because the writers didn't care. She's their hero, this is a fantasy, and who cares if she recruited Nazis on her way to the top or that she wears a colonial symbol on her chest. Who knows, they (the writers) may even think of that as representation of her strength.

Remember how I said earlier how the heroes take their powers and make it into something good, while the villains use their strength and use it to do something bad? Welp.

[lokiondisneyplus]

'Loki' takes over: Tom Hiddleston on his new TV series and a decade in the MCU

Ten years after Hiddleston first chose chaos in Thor, Marvel’s fan favorite God of Mischief is going even bigger with his time-bending Disney+ show.

Tom Hiddleston is Loki, and he is burdened with glorious purpose: After playing Thor's puckish brother for over a decade in the Marvel Cinematic Universe, no one understands the mercurial Asgardian God of Mischief as well as the actor. He can teach an entire seminar on Loki if given the opportunity — which he actually did during pre-production on his forthcoming Disney+ show. In conversation, Hiddleston quotes lines from his MCU debut, 2011's Thor, almost verbatim, and will playfully correct you if you mistakenly refer to Asgard's Rainbow Bridge as the Bifrost, which is the portal that connects Loki and Thor's homeworld to the Nine Realms, including Midgard, a.k.a. Earth. "Well, the Bifrost technically is the energy that runs through the bridge," he says with a smile. "But nine points to Gryffindor!" And when he shows up to the photo shoot for this very digital cover, he hops on a call with our photo editor to pitch ways the concept could be even more Loki, like incorporating the flourish the trickster does whenever magically conjuring something. The lasting impression is that playing Loki isn't just a paycheck.

"Rather than ownership, it's a sense of responsibility I feel to give my best every time and do the best I can because I feel so grateful to be a part of what Marvel Studios has created," the 40-year-old Brit tells EW over Zoom a few days after the shoot and a week out from Thor's 10th anniversary. "I just want to make sure I've honored that responsibility with the best that I can give and the most care and thought and energy."

After appearing in three Thor movies and three Avengers, Hiddleston is bringing that passion to his first solo Marvel project, Loki, the House of Ideas' third Disney+ series following the sitcom pastiche WandaVision and the topical The Falcon and the Winter Soldier. Led by head writer Michael Waldron (Doctor Strange in the Multiverse of Madness, Heels), the six-episode drama sees Hiddleston's shapeshifting agent of chaos step out from behind his brother's shadow and into the spotlight for a timey-wimey, sci-fi adventure that aims to get to the bottom of who Loki really is. "I wanted to explore slightly more complex character questions," says Waldron. "It's not just good versus bad. Is anybody all good? Is anybody all bad? What makes a hero, a hero? A villain, a villain?"  

Even though Loki — who loves sowing mayhem with his illusion magic and shapeshifting, all with a major chip on his shoulder — has never been one for introspection, the idea of building an entire show around him was a no-brainer for Marvel. When asked why Loki was one of the studio's first Disney+ shows, Marvel president Kevin Feige replies matter-of-factly, "More Hiddleston, more Loki." First introduced as Thor's (Chris Hemsworth) envious brother in Kenneth Branagh's Thor, Loki went full Big Bad in 2012's The Avengers. That film cemented the impish rogue as one of the shared universe's fan favorites, thanks to Hiddleston's ability to make him deliciously villainous yet charismatic and, most importantly, empathetic. The character's popularity is one of the reasons he's managed to avoid death many times.

"He's been around for thousands of years. He had all sorts of adventures," says Feige. "Wanting to fill in the blanks and see much more of Loki's story [was] the initial desire [for the series]."

The Loki we meet on the show is not the one who fought the Avengers in 2012 and evolved into an antihero in Thor: The Dark World and Thor: Ragnarok before meeting his demise at the hands of the mad titan Thanos (Josh Brolin) in 2018's Avengers: Infinity War. Instead, we'll be following a Loki from a branched timeline (a variant, if you will) after he stole the Tesseract following his thwarted New York invasion and escaped S.H.I.E.L.D. custody during the time heist featured in Avengers: Endgame. In other words, this Loki hasn't gone through any sort of redemption arc. He's still the charming yet petulant god who firmly believes he's destined to rule and has never gotten his due.

Premiering June 9, Loki begins with the Time Variance Authority — a bureaucratic organization tasked with safeguarding the proper flow of time — arresting the Loki Variant seen in Endgame because they want his help fixing all of the timeline problems he caused while on the run with the Tesseract. So there will be time travel, and a lot more of it than in Endgame. As Loki makes his way through his own procedural, he'll match wits with new characters including Owen Wilson's Agent Mobius, a brilliant TVA analyst, and Gugu Mbatha-Raw's Judge Renslayer. The question in early episodes is whether Loki will help them or take over.

"One of the things Kevin Feige led on was, 'I think we should find a way of exploring the parts of Loki that are independent of his relationship with Thor,' or see him in a duality or in relationship with others, which I thought was very exciting," says Hiddleston, who also serves as an executive producer on the show. "So the Odinson saga, that trilogy of films, still has its integrity, and we don't have to reopen it and retell it."

Yet, in order to understand where Loki is going, it's important to see where he came from.

Hiddleston can't believe how long he and Loki have been connected. "I've been playing this character for 11 years," he says. "Which is the first time I have said that sentence, I realize, and it [blows] my mind. I don't know what percentage that is exactly of my 40 years of being alive, but it's substantial."

His time as Loki actually goes a bit further back, to 2009 — a year after Robert Downey Jr. big banged the MCU into existence with Iron Man — when he auditioned for Thor. It's no secret that Hiddleston initially went in for the role of the titular God of Thunder, but Feige and director Kenneth Branagh thought his natural charm and flexibility as an actor made him better suited for the movie's damaged antagonist. "Tom gave you an impression that he could be ready for anything, performance-wise," says Branagh, who had previously worked with him on a West End revival of Checkov's Ivanov and the BBC series Wallander. "Tom has a wild imagination, so does Loki. He's got a mischievous sense of humor and he was ready to play. It felt like he had a star personality, but he was a team player."

Hiddleston fully immersed himself in the character. Outside of studying Loki's history in the Marvel Comics, he also researched how Loki and the Trickster God archetype appeared across mythology and different cultures. "He understood that he was already in something special [and] it was a special character in a special part of that early moment in the life of the Marvel universe where [he] also needed to step up in other ways," says Branagh, who was impressed by the emotional depth Hiddleston brought to the part, especially when it came to how isolated Loki felt in the Asgardian royal family.  

There was a lot riding on that first Thor feature. For one, no one knew if audiences would immediately latch onto a Shakespearean superhero movie partially set on an alien planet populated by the Norse Gods of legend. Second, it was integral to Feige's plans for the shared universe. Loki was supposed to be the main villain in The Avengers, which would not only mirror how Earth's mightiest heroes joined forces in 1963's Avengers #1 but also give Thor a believable reason for teaming up with Iron Man, Captain America (Chris Evans), and the rest of the capes. Feige first clued Hiddleston into those larger plans when the actor was in L.A. before Thor started shooting.

"I was like, 'Excuse me?' Because he was already three, four steps ahead," says Hiddleston. "That took me a few minutes to process, because I didn't quite realize how it just suddenly had a scope. And being cast as Loki, I realized, was a very significant moment for me in my life, and was going to remain. The creative journey was going to be so exciting."

Hiddleston relished the opportunity to go full villain in Avengers, like in the scene where Loki ordered a crowd to kneel before him outside a German opera house: "It's the unspoken truth of humanity, that you crave subjugation," says the Machiavellian god. "The bright lure of freedom diminishes your life's joy in a mad scramble for power, for identity. You were made to be ruled. In the end, you will always kneel."

"I just knew that in the structure of that film, I had to lean into his role as a pure antagonist," Hiddleston recalls. "What I always found curious and complex about the way Loki is written in Avengers, is that his status as an antagonist comes from the same well of not belonging and being marginalized and isolated in the first Thor film. Loki now knows he has no place in Asgard."

Loki did find a place within the audience's hearts, though. Feige was "all in" on Hiddleston as his Loki from the beginning, but even he couldn't predict how much fans would love him. Feige recalls the reaction at the 2013 San Diego Comic-Con: "Did we know that after he was the villain in two movies, he would be bringing thousands of people to their feet in Hall H, in costume, chanting his name? No, that was above and beyond the plan that we were hoping for and dreaming of." It was a dream Feige first got an inkling of a year earlier during the Avengers press tour when a Russian fan slipped past security, snuck into Mark Ruffalo's car, and asked the Hulk actor to give Hiddleston a piece of fan art she created. "That was one of the early signs there was much more happening with this quote-unquote villain."  

Despite that popularity, the plan was to kill Loki off in 2013's Thor: The Dark World, but the studio reversed course after test audiences refused to believe he actually died fighting the Dark Elves. Alas, he couldn't out-illusion death forever. After returning in Taika Waititi's colorful and idiosyncratic Thor: Ragnarok, Hiddleston's character perished for real in the opening moments of Infinity War. In typical Loki fashion, before Thanos crushed his windpipe, he delivered a defiant speech that indicated he'd finally made peace with the anger he felt toward his family.  

"It felt very, very final, and I thought, 'Okay, that's it. This is Loki's final bow and a conclusive end to the Odinson saga,'" says Hiddleston, who shot that well-earned death scene in 2017.  

But, though he didn't know it yet, the actor's MCU story was far from over.

Credit: Charlie Gray for EW

When Hiddleston returned to film two scenes in Avengers: Endgame in 2017, he had no idea where Loki portaled off to after snatching the Tesseract. "Where'd he go? When does he go? How does he get there? These are all questions I remember asking on the day, and then not being given any answers," Hiddleston recalls. To be fair, it's likely the Powers That Be didn't necessarily have answers then. While Feige can't exactly recall when the writers' room for Endgame first devised Loki's escape sequence, he does know that setting up a future show wasn't the primary goal — because a Loki series wasn't on the horizon just yet.

"[That scene] was really more of a wrinkle so that one of the missions that the Avengers went on in Endgame could get screwed up and not go well, which is what required Cap and Tony to go further back in time to the '70s," says Feige. Soon after that, though, former Disney CEO Bob Iger approached Feige about producing content for the studio's forthcoming streaming service. "I think the notion that we had left this hanging loose end with Loki gave us the in for what a Loki series could be. So by the time [Endgame] came out, we did know where it was going."

As for Hiddleston, he didn't find out about the plans for a Loki show until spring 2018, a few weeks before Infinity War hit theaters. "I probably should not have been surprised, but I was," says the actor. "But only because Infinity War had felt so final."

Nevertheless, Hiddleston was excited about returning for his show. He was eager to explore Loki's powers, especially the shapeshifting, and what it meant that this disruptive figure still managed to find a seat beside the gods in mythology. "I love this idea [of] Loki's chaotic energy somehow being something we need. Even though, for all sorts of reasons, you don't know whether you can trust him. You don't know whether he's going to betray you. You don't why he's doing what he's doing," says Hiddleston. "If he's shapeshifting so often, does he even know who he is? And is he even interested in understanding who he is? Underneath all those masks, underneath the charm and the wit, which is kind of a defense anyway, does Loki have an authentic self? Is he introspective enough or brave enough to find out? I think all of those ideas are all in the series — ideas about identity, ideas about self-knowledge, self-acceptance, and the difficulty of it."

“The series will explore Loki's powers in a way they have not yet been explored, which is very, very exciting.”

The thing that truly sold Hiddleston on the show was Marvel's decision to include the Time Variance Authority, a move he describes as "the best idea that anybody had pertaining to the series." Feige and Loki executive producer Stephen Broussard had hoped to find a place for the TVA — an organization that debuted in 1986's Thor #372 and has appeared in She-Hulk and Fantastic Four stories — in the MCU for years, but the right opportunity never presented itself until Loki came along. "Putting Loki into his own procedural series became the eureka moment for the show," says Feige.  

The TVA's perspective on time and reality also tied into the themes that Waldron, Loki's head writer, was hoping to explore. "Loki is a character that's always reckoning with his own identity, and the TVA, by virtue of what they do, is uniquely suited to hold up a mirror to Loki and make him really confront who he is and who he was supposed to be," says Waldron. Hiddleston adds: "[That] was very exciting because in the other films, there was always something about Loki that was very controlled. He seemed to know exactly what the cards in his hand were and how he was going to play them…. And Loki versus the TVA is Loki out of control immediately, and in an environment in which he's completely behind the pace, out of his comfort zone, destabilized, and acting out."

To truly dig into who Loki is, the creative team had to learn from the man who knows him best: Hiddleston. "I got him to do a thing called Loki School when we first started," says director Kate Herron. "I asked him to basically talk through his 10 years of the MCU — from costumes to stunts, to emotionally how he felt in each movie. It was fantastic."

Hiddleston got something out of the Loki school, too. Owen Wilson both attended the class and interviewed Hiddleston afterward so that he could better understand Loki, as his character Mobius is supposed to be an expert on him. During their conversation, Wilson pointedly asked Hiddleston what he loved about playing the character.

"And I said, 'I think it's because he has so much range,'" says Hiddleston. "I remember saying this to him: 'On the 88 keys on the piano, he can play the twinkly light keys at the top. He can keep it witty and light, and he's the God of Mischief, but he can also go down to the other side and play the heavy keys. And he can play some really profound chords down there, which are about grief and betrayal and loss and heartbreak and jealousy and pride.'" Hiddleston recalls Wilson being moved by the description: "He said, 'I think I might say that in the show.' And it was such a brilliant insight for me into how open Owen is as an artist and a performer.'"

Owen Wilson as Mobius and Tom Hiddleston as Loki in 'Loki.'| Credit: Chuck Zlotnick/Marvel Studios

Everyone involved is particularly excited for audiences to see Hiddleston and Wilson's on-screen chemistry. "Mobius is not unlike Owen Wilson in that he's sort of nonplussed by the MCU," says Feige. "[Loki] is used to getting a reaction out of people, whether it's his brother or his father, or the other Avengers. He likes to be very flamboyant and theatrical. Mobius doesn't give him the reaction he's looking for. That leads to a very unique relationship that Loki's not used to."

As for the rest of the series, we know that Loki will be jumping around time and reality, but the creative team isn't keen on revealing when and where. "Every episode, we tried to take inspiration from different things," says Waldron, citing Blade Runner's noir aesthetic as one example.

"Part of the fun of the multiverse and playing with time is seeing other versions of characters, and other versions of the titular character in particular," says Feige, who also declined to confirm if Loki ties into Doctor Strange in the Multiverse of Madness and/or other upcoming projects.

Making Loki was especially meaningful to Hiddleston because they shot most of it during the pandemic, in late 2020. "It will remain one of the absolute most intense, most rewarding experiences of my life," he says. "It's a series about time, and the value of time, and what time is worth, and I suppose what the experience of being alive is worth. And I don't quite know yet, and maybe I don't have perspective on it, if all the thinking and the reflecting that we did during the lockdown ended up in the series. But in some way, it must have because everything we make is a snapshot of where we were in our lives at that time."

While it remains to be seen what the future holds for Loki beyond this initial season, Hiddleston isn't preparing to put the character to bed yet. "I'm open to everything," he says. "I have said goodbye to the character. I've said hello to the character. I said goodbye to the character [again]. I've learned not to make assumptions, I suppose. I'm just grateful that I'm still here, and there are still new roads to explore."

[sandbees]

Yuu and the House of Mouse; The...Great Seven?

It’s been three weeks since Yuu has worked at the House of Mouse.

Headmaster Crowley decided that going would be a great experience! He graciously gave you permission to work there! (Just don’t forget to do your homework and get a good rest after; he doesn’t want you to be lagging behind your classes after all!)

At the House of Mouse, you eventually learned the ins and outs; and you’ve gained everyone’s attention. They like you a lot! You have this, “If I talk to you about my problems you’ll listen kindly and either give me advice or continue to let me vent out my feelings” vibe.

Being a (sort of) therapist must have helped, huh?

You yourself have a few favorite guests that you can always look forward to seeing;

Tiana and Naveen: You hit it off when you first met. Something about their dynamic and allowing you to vent about back at Twisted Wonderland gave you good vibes about them. They’re polite guests, and they have given you advice on how to improve your work. Tiana has (once) invited you to work for them if you wanted to work at another job, but you tell them that you have school. They’re immediately concerned, because someone going to school working at a job with very demanding and colorful characters? You assure them that you’ve manage to balance school and work, however they seem less than convinced. Though nothing big changed, they occasionally remind you to take breaks and to have fun watching the cartoons on screen when you’re not busy waiting tables. (They also give you candy from their time! Butterfingers, anyone?)

Hades: He’s a frequent guest at the House of Mouse. You had lent an ear to his complaints, and then again, and then again, and soon enough you’re his personal therapist. You’re the go-to waiter whenever Hades shows up; much to the delight of the staff (The penguin waiters are...a little scared of Hades). It’s surprising how little he seems to reflect Ignihyde. He’s like a shut in extrovert. However, when you tell Hades this, he becomes very interested in your world. He’ll let you ramble about what you know about Twisted Wonderland, and he’s going to make smug comments about it. After that encounter, Hades starts conversations with you that isn’t just complaining about his siblings. In fact, he’s one of your pep talkers when you’re feeling stressed or down.

The Darling Siblings: If you don’t recognize them, they’re the siblings from Peter Pan! (Wendy, John, and Michael) When you first met them, they acted very polite. And they gave “children, protect them” vibes. As you continue to work, you discover that the children had a more playful side to them. You could easily joke with them and in exchange Wendy would tell you stories or John and Michael would tell you about their recent adventures.

Scrooge McDuck: Donald introduced him to you, actually. He mentioned, “Since you sound like you’ve been on a lot of adventures, I think you might like to share stories.” How right he was. Scrooge’s stories were captivating and enchanting, you’d always be on the edge of your seat hearing them. Whenever he swung by and you were on break, you two would be swapping stories of your lives. He was most interested in your first day story; about the magical chandelier specifically. You always look forward to a new story he would have.

Of course there were others, but the ones listed above were the people you loved seeing.

Today was a typical night in the House of Mouse, though everyone seemed...a little agitated?

You ask Mickey, and he explains that there was a reservation for a villain get together...and last time, it went poorly.

You offer to serve them as a waiter, since you’re sure that you can handle it.

“Are you sure?” “I’ve dealt with worse characters...I think. By the way, can I get the list of who’s going?”

You find out Hades was the one who reserved it (oh thank goodness, someone you’re already familiar with. And he likes you)

He’s also bringing - “I’m sorry, can you repeat that?” “The Queen of Hearts, Scar, Ursula, Jafar, The Evil Queen, and Maleficent.” “I-“

Imagine your shock when you find out Hades is bringing all of the Great Seven. You’ve already met Maleficent, but someone like the Queen of Hearts, or the Beautiful Queen??? You’re ready to walk to your doom right now.

When the doors open, you go about your night as usual, though your on edge as you anxiously wait for the Great Seven to arrive. This would be the first time you would be interacting with most of them.

When they arrive, you greet them and take them to their table, doing normal procedure.

However, things go south when Hades asks Yuu to come and have a chat with them when they go on break.

“yeAH suuurrreee-“ “Great! They have a lot of questions and I think they’d like to hear what you have to say!”

Yuu is making high pitch dying screams when she gets to the kitchen.

“Oohhhh my god, they want to talk to me. What if I mess up? What if they dislike me and then try to kill me? Oh no oh no-“

Yuu is trying not to scream in excitement and stress as Mickey excuses her to talk with the Great Seven.

The meeting? It goes well.

When they ask about their world, Yuu describes their time at NRC, and how the villains were praised as good people, and were known as the “Great Seven”.

They were very intrigued about this, and would always puff up when Yuu praised them. They also ask questions about Yuu as well!

What? They’re villains, but they’re not rude.

They listen to your tales, and are sympathetic to the idiots that you surround yourself with. They get it, they are also surrounded by idiotic, self centered heroes who think they’re in the right- (projecting much?)

The Queen of Hearts is a lot more than you expected; she’s strict, but she also has good humor (as long as you don’t mock her). When you ask what kind of tarts she likes, she responded with “Any kind of tart, however jam filled tarts are one of my favorites.”. You wonder if she’d like the tarts Trey would make.

Scar...isn’t talkative, though he seems very pleased when you talk about what NRC thinks of him. He’s actually kinder to you - you’ve heard stories from Goofy and the penguins waiters that Scar is hard to please.

Ursula is what you would call a sweet talker. Kind of like Hades, but you can tell that she wants something. You indulge her, answering any questions about your world. She seems particularly interested in the rivalry between NCR and RSA, however.

Jafar wants to know everything about Scarabia. From it’s current standing to it’s history. You try your best to explain as much as you know about the dorm; but you mention that your information is limited since it wasn’t your dorm. He’s satisfied with what you give, but Jafar tells you that next time, he’d like to know more. You better go study up on Scarabia now :) (Or ask Kalim or Jamil about Scarabia)

The Beautiful (Evil?) Queen acts smug, and she seems relaxed around your presence. Maybe it’s because you told her that she’s known as the Beautiful Queen? She wants to know who is housed in her dorm, and like Jafar, she wants to know everything about Pomfiore. When she heard about the VDC, she asks multiple questions about it. (“When the VDC comes around, maybe I shall grace everyone with my presence...hmm, or should I help NRC’s team? I mean, they would represent me, of course.”

I’ve actually mentioned that you have met Hades and Maleficent in this ask

Hades and Maleficent consider you as friends (maybe not close friends, but friends nonetheless)

The rest of the Great Seven also have positive opinions on you; and they try their best to live up to your expectations! They can’t have you turn your back on them after you openly praise them!

You’re dragged away from your job - instead you focus on entertaining the Great Seven! (Which was fine, Pete was at it again by trying to drive out the guests; you kept the Great Seven in so they could still run the show!)

As the night went on, you felt yourself getting less and less nervous about being with the Great Seven. You had loads of fun!

Of course the show ended sooner than you liked; and it was closing time.

“It was really wonderful to meet you! Maybe we’ll see each other again when the House of Mouse opens again?”

“Why would we wait for nighttime? I have a magic portal to travel to Twisted Wonderland whenever we’d like.”

“I’m sorry, what?”

Turns out Maleficent had an easier way to travel to Twisted Wonderland; but she gave you a sparkling gem. She told you that when she gave everyone (The Great Seven) a way to travel to Twisted Wonderland, they’d surely visit you. With the gem, it will sparkle and shine a certain color when they do.

The color? Well, of course it would be the dorm colors! It would be easier that way, would it not?

So, in the near future, the Great Seven would be able to visit you.

What do you think? You’re not against the idea; but the idea of one of them showing up during class is going to be a nightmare.

Oh well, future you will worry about that.

You thank Maleficent and go about returning to your world.

Before you get to the mirror, Mickey stops you.

“Hey, I just wanted to thank you for making sure the villains stay, it was a lifesaver and you saved our show.” “No...problem?” “Haha, our club would’ve been toast if they left! Thank you again!” “...Your welcome?”

And then you departed from the House of Mouse, immediately crashing onto your bed. Lazily, you take a glance at your mirror, wondering when you’ll see the Great Seven.

Then you promptly fall asleep.

[realcube]

TELLING THE BNHA BOYS YOU WANT TO SIT ON THEIR FACE | hcs + drabble

navi | masterlist | taglist 

thank you to anon for this request <3

characters ♡ kaminari, bakugo, sero & tamaki

content warning ♡ sexual references, fem!reader, all aged up! - minors dni

denki kaminari 

♡ it depends how confidently you say it 

♡ if you’re clearly embarrassed, he’ll be too

♡ but if you own your statement, it’ll prompt him to be more self-assured and forward 

♡ so he’ll either by completely red in the face and tell you to stop messing with him, or his lips will curl into a suggestive smirk as he encourages to act on your claim 

♡ also if you’re not really the type of person who talks about sexual acts too often or casually, he’ll pop a hard-on 

♥　♡　♥　♡　♥　♡　♥ 

he was lazily sprawled out across the two-seated couch, his legs lay were you were going to sit and it took every bone in your body to resist the urge to just yank his legs away yourself, since you had been training all day so your legs were in agony, all you wanted to do was sit down and relax. but he prevented you from doing that, so you finally spoke up, “denki, could you move your legs, please?”

kaminari looked up from his phone to see you pouting, bags in hand as you waited for him to let you take a seat. he was feeling especially mischievous today so instead of just retracting his legs like he usually would, he shrugged and hummed, “eh, no. the floor looks comfy though. maybe try that.” 

you scoffed, dropping your bags and hastily wrapping your hands around his ankles before aggressively tugging on them, “move it! you’re stupid fucking face looks comfy!”

he froze, staring at you with wide eyes but you continued to pull at his legs as you had yet to process what you just said as you meant in more as trash-talk rather in a sexual way. 

suddenly, he flipped his position so he way now laying down on his back, his head resting on the seat you were trying to obtain as he stared up at you with starry eyes, “sit, then!”

katsuki bakugo

♡ goes red in embarrassment, anger and horny 

♡ at first he yells about how immature you are but then his mindless threats begin to turn more..erotic?

♡ he’s like ‘fucking do it then! sit on my face! i fucking dare you! don’t be a pussy! do it!’

♡ and you kinda just stand there like ??? is he being serious ???

♡ he was being dead serious 

♡ he can’t have anyone knowing that he wants you but he does want you so he shows it through anger and hopes that you are aroused rather than frightened

♥　♡　♥　♡　♥　♡　♥ 

you walked into the theatre by bakugo’s side, not as his date or anything - definitely not - but because he had ‘accidentally’ bought an extra ticket for a movie that you had been talking to your co-workers at the agency about and now that you thought about it, you recalled that bakugo was in ear-shot of the conversation while he was making his coffee in the lounge. 

anyway, the movie had yet to begin but most who were seated remained silent as they watched the trailers. he glanced at you before shifting his gaze onto all the rows of seats in front of y’all, “where do ya want to sit?” he mumbled, casually popping a piece of popcorn into his mouth. 

he simply asked just in case you had a preferred location or an eye-sight problem that he was unaware of so you almost made him choke on his corn when you replied with a click of your tongue, “your face.”

once he coughed up the kernel lodged in this esophagus, he turned to shoot you a deadly glare, “what the fuck?!” 

afraid that you might have made him uncomfortable, you threw you hands up in defence and hastily tried to change the subject before he created a scene in the middle of the silent theatre, “sorry! i just meant it as a joke- erm, sitting at the back would be nic--”

before you could finish, bakugo grabbed you by the collar and dragged you out of the room, towards the cinema bathroom and..you know what happens next. 

hanta sero

♡ probably incited you to say it lol

♡ he’s like ‘aight bet’

♡ you should know better than to try tease this man bc he is going to make you follow up

♡ not forcefully, but he becomes so racy that it’s hard for you to not just..take a seat :)

♡ he doesn’t get flustered bc he’s too cool for that (⌐■_■)

♡ also he’s horny asf all the time so even if he’s literally never talked to you before, he’ll immediately be escorting you to an area where y’all can be in private

♡ after he’s made you cum for like the fifth time he’ll be like ‘so what’s your name? :)’

♥　♡　♥　♡　♥　♡　♥ 

friendly banter was something you should’ve learned to avoid. from when bakugo chased you around the school after you made a comment about deku being number one, to when iida gave you a 20 minute lecture when he heard you joke about skipping class - jesting with your friends never ended well for you so why did you think today was any exception?

though those things were in past, you had moved on; you had gotten a fresh new job at a new agency along with an old classmate of yours who you’ve since gotten closer to - pro-hero cellophane. 

you were casually chatting to him in the break-room, making friendly conversation with him as you had deduced that your bad luck with banter was exact that, bad luck - hardly anything that can’t be avoided, or so you thought. 

“exactly!” sero nodded, agreeing with the comment you made on internships, “my mentor kept making me go on these elaborate missions with them but seriously, i was just there to get a recommendation letter, save some people, have a hot hero-girl sit on my face then dip, y’know?” 

you chuckled, prompting him to continue, “well, did it work?”

“i got my recommendation letter but unfortunately, no hot hero-girls sat on my face.” he explained, he taking a sip of his coffee before eyeing you, his frown slowly curling into a titillating smirk, “you could change that, though.”

your eyes widened, but you were somewhat mentally prepared for him to say that so you were quick to blurt out, “yes please.”

tamaki amajiki

♡ he doesn’t get what you mean at first-

♡ like he thought it was a threat..or maybe you were making fun of him

♡ you, mirio or nejire have to explain to him what it means

♡ then he passes away ⚰

♡ like mans is blushing so hard 

♡ he can’t look you in the eye for 3 months after that 

♡ it’s not that you made him uncomfortable or anything, he just gets like that around the subject of intercourse

♡ if he ever starts talking to you again, you know better than to ever make a dirty joke around him again

♡ but when y’all start dating - maybe a year into the relationship - he’ll randomly turn to you one day and be like ‘remember that joke you made over a year ago about sitting on my face? yeah, that one. do you think you could maybe like..do it? like right now, please? 👉👈’

♥　♡　♥　♡　♥　♡　♥ 

you sat on the bed beside tamaki, absentmindedly scrolling through your phone as he played animal crossing next to you, on his switch. you were looking through pinterest for date ideas as your one year anniversary with tamaki was fast approaching and you wanted it to be special. 

you opened a picture of a couple at the arcade, looking as though they were having a fun time so your natural instinct was to ask tamaki i he was down, “baby, what do you think about the arca--”

“(y/n).” he interjected with a shakily, “um, remember that time we partnered up for a chemistry project?”

you giggled, no clue as to where he was going with this but humming along, none the less, “yep, i do! that was a while ago though, tama.”

amajiki nodded, awkwardly averting his gaze, his cheeks visibly flushing red as he recalled the events that happened - he couldn’t believe he was bringing this up again, after he tried for so long suppress the memory. but currently, his need to hear your sweet moans overwhelmed his shyness, “do you remember the joke you made?”

you hummed in thought for a moment before it hit you. you peered at his with an eyebrow quirked, mentally questioning if you were remembering it correctly. “um, yes.”

“well, can you?”

“can i what?”

tamaki frowned, before leaning in and whispering his scandalous request - he didn’t want to say this aloud but desperate times call for desperate measures. “sit on my face.”