#is that as much as i'd like to be the kind of person who's interested in in-depth literary or cultural analysis and criticism

[purple-plum-petals]

Homicipher request for the Homicipher starved fans pls? 🥺 Is it okay to ask for the reactions of Mr. Silvair, Mr. Chopped(as he gets wheeled past us on a cart after being kidnapped, again), Mr. Gap, Mr. Machete, and Mr. Scarletella with a reader who winks and blows a kiss as they pass by them? Like for some reason reader seems to be in a really good mood and they're skipping around with their trusty crowbar in hand then they see one of the boys then mwa~💋. I can imagine that they'd be confused at the unfamiliar gesture but I'd like to get your thoughts on it. 😂

⊱ Homicipher Characters’ Reactions to MC Winking at Them and Blowing Them a Kiss ⊰ || Multiple Character Headcanons

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Character(s): Mr. Silvair, Mr. Chopped, Mr. Gap, Mr. Machete, and Mr. Scarletella (Homicipher/文字化化) Reader Type: Human (Gender-Neutral Pronouns) Warning(s): Spoilers for Homicipher (MC’s Lore), Brief Canon-typical Mentions of Violence (Mr. Machete’s Part), Canon-typical Horror Elements (Mr. Gap and Mr. Scarletella's Parts), Cultural Barriers (None of Them Understand the Gesture). Genre: Headcanons, Fluff, Platonic or Romantic Relationship Word Count: ~1,880 Request: “Homicipher request for the Homicipher starved fans pls? 🥺 Is it okay to ask for the reactions of Mr. Silvair, Mr. Chopped(as he gets wheeled past us on a cart after being kidnapped, again), Mr. Gap, Mr. Machete, and Mr. Scarletella with a reader who winks and blows a kiss as they pass by them? Like for some reason reader seems to be in a really good mood and they're skipping around with their trusty crowbar in hand then they see one of the boys then mwa~💋. I can imagine that they'd be confused at the unfamiliar gesture but I'd like to get your thoughts on it. 😂” Author’s Note: They all would definitely be confused by the unfamiliar gesture, so I kind of did headcanons about how each of them would react to you blowing them a kiss/how they would go about trying to understand what the gesture meant by using context clues (or just straight-up asking you about it haha). Sorry if they’re not great! I’m still trying to figure out how I want to balance the characters’ personalities as they are in canon while adding some more fun/whimsical aspects of your ask.

→ If you enjoyed my work, please reblog it if you can! Exposure on Tumblr is based on reblogging content rather than liking it, so your support would be much appreciated!  ♡

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💉: He smiles softly at your cheerful demeanor, yet it falters slightly when you press the tips of your fingers to your lips and squeeze one of your eyes shut in response to him looking in your direction. You remove your fingers from your pursed lips and blow out a puff of air before continuing in the direction you had been walking towards. While he could infer you were in a good mood by your body language, he was curious to know what exactly the gesture meant. 

💉: Instead of lightly treading the question or observing you for any longer to see if he could figure out what the gesture meant by using context clues, Mr. Silvair instead just asks you directly to get an answer as soon as possible the next time he sees you. He deeply enjoyed research and observation, yes, but there was no need to wait to gather information when you were a perfect source of it. 

💉: Of course, it wasn’t easy to explain what “blowing a kiss” was, especially since they didn’t even have equivalent words in their language for “blow” or “kiss,” but you tried your best with what you had to work with. It’s almost funny how earnestly Mr. Silvair is hanging onto every word you speak. He chuckles after you finish explaining, amused by the gesture and its meaning – how quaint, he thinks to himself. 

💉: He found humans to be fascinating and their diverse cultures even more so, so he was of course interested in learning whatever you were able to recall from your previous life in your old realm before you ended up in this one. He treats everything you tell him with an air of respect, and he even documents what you share with him so he (and you) never forget that part of yourself. 

💉: Mr. Silvair finds the gesture to be an entertaining one, but deducts that it’s not usually one humans do with strangers or those they are not comfortable with from your explanation. Does that mean you are comfortable enough around him to express yourself in that manner? How fascinating... Do you care to tell him why you feel the way you do toward him? He’s very much interested in learning the reasoning behind your thought processes. 

🗣️: Mr. Chopped smiles so widely when he sees you in such a chipper mood, making your way down the hall with a noticeable spring in your step. He likes seeing you happy, so it makes him feel good, too, watching you skip by with such a bright expression on your face! Then, you press your hand to your lips and wink, blowing something he couldn’t see in his direction, and suddenly he’s confused. 

🗣️: Huh… well, that was strange. For some reason, though, the playful gesture seemed almost familiar, yet he couldn’t remember why. He can’t exactly chase after you and ask what that meant, so he’d have to wait until the next time he saw you (which he hoped wouldn't be a long wait – he liked spending time with you). 

🗣️: The next time he saw you, he asked if you could explain what the gesture meant. You did the best you could, but you’re pretty sure he comprehended what you were telling him if the giddy expression on his face was anything to go by. His excitement was quite adorable. However, his expression suddenly falls, and you watch him begin to sulk. How was he supposed to blow you a kiss in return? He didn’t have a body!! The poor man is so distraught. 

🗣️: He gets either Mr. Silvair to help him out or Mr. Hand to, well… give him a hand to enact his plan. The next time you see him, he calls out to you with such a delighted look on his face. So, you make your way over to him and kneel down to his level, watching as the sentient hand comes up to Mr. Chopped’s lips, making the same gesture you did, before he blows you a kiss and winks. He did it! He blew you a kiss!! 

🗣️: Mr. Chopped is very proud of himself and the pleased expression on his face is far too charming for you. He feels a warmth in his metaphorical chest knowing that you felt comfortable enough with him to blow him a kiss, especially since it seems like something humans do with those they are most comfortable with. 

🕳️: He’s honestly somewhat impressed you knew he was there, observing you through the small hole in the wall while you walk around like you’re on top of the world. He can’t help but wonder what happened that has you so chipper, but his thoughts are derailed a bit when you press your hand to your mouth and blow something at him, closing one of your eyes as you do so… What the hell was that?? 

🕳️: He feels somewhat offended, honestly, and gets that semi-disgusted look on his face before disappearing into the darkness. Mr. Gap understands it’s some kind of weird human gesture, but he can’t really put two-and-two together about what it means. Though, he finds himself continuing to watch you from any nook-and-cranny he could find, observing you to see if you would do the gesture again – you don’t.

🕳️: Mr. Gap ends up startling you while you’re walking down a long, grimy hallway, his hand darting out from a vent to grab your ankle. His grip isn’t tight, but it most certainly scares the life out of you and effectively catches your attention. He finds your scare amusing but ends up cutting straight to the point and asks you why you blew something at him. 

🕳️: Even after explaining what the gesture meant, Mr. Gap still doesn’t fully understand why you did it, so you just tell him it was supposed to be a nice gesture that showed you enjoyed him – playful. That is something he does understand, and it’s almost amusing how the smirk on his face grew. He must be special, he thinks, and his smugness is radiating from his face peeking out of the darkness. 

🕳️: Mr. Gap doesn’t do the gesture back, but he strangely enough finds himself hoping you don’t blow anyone else your kisses. He doesn’t know why the thought of you sharing the gesture with another annoys him a little bit – after all, it wouldn’t make it special anymore if you did it with everyone. He even begins bringing you things, like more crowbars or even pieces of candy he finds lying around. It’s almost like he’s trying to bribe you…

🔪: He sees you happily skipping around and finds himself having to do a double-take at the strange sight. It wasn’t a bad sight, not at all, it was just weird seeing you so bright and lively. However, his mind buffers a bit when you look at him, pursing your lips and giving him a wink before your fingertips press to your mouth and then flick towards him. 

🔪: Mr. Machete is immediately annoyed, not knowing what the gesture meant, and he assumes you were trying to pick a fight with him. So, he takes his large sword and reels it back, throwing it at you with a strength that still had your eyes boggling. You duck with a yelp as the sword implants itself into the wall behind you. 

🔪: He makes his way over to you with incredible speed, blocking your body between his and the wall as he looks down at you, his head tilted to the side as he asks you if you wanted to fight him. Mr. Machete finds your frustrated expression endearing as you tell him the gesture was meant to be playful and fun. He’s low-key kind of disappointed you didn’t want to fight, but he steps away from you after your explanation without another word. 

🔪: However, while looking down at your angry expression, Mr. Machete suddenly has the urge to squeeze you (I imagine he experiences cuteness aggression regarding you). So, he reaches down and squeezes your cheeks between his large and calloused hand, causing your lips to purse. Even though you hadn’t been in the mood to fight him, now you were. He smirks widely as you two begin to spar all because he misconstrued what your gesture meant. 

🔪: Mr. Machete doesn’t see the point of blowing kisses, and he doesn’t feel any particular way about the gesture. It’s kind of whatever for him, even though he does notice that you don’t seem to do it with anyone else. After the first time (that ended up leading to a spar), though, he notices you hadn’t blown him another kiss since… He ends up coming up to tell you in his gruff, almost rude way, that he wouldn’t mind if you did it again. 

🩸: He tilts his head to the side at the gesture, his shaggy red hair swaying with the movement. Well… that was new, he thinks. He liked you quite a bit (far more than just a bit, really… my man is kind of obsessed with you), and he had been following you throughout your entire journey in this realm, yet he had never once seen that expression or gesture from you before. Now, he was curious to know what it meant, and he was going to try and figure it out one way or another.  

🩸: He continues to keep his eye on you, following you as you go about your day. Mr. Scarletella likes seeing you so chipper and full of life, especially considering you were someone who tended to take life from others. The dichotomy between your behavior and actions had his heart racing. However, despite what he expected, you never did the gesture again. So, he couldn’t gather information by observing you – he would need to simply ask you directly, then. 

🩸: Mr. Scarletella effectively manages to corner you after some time, catching you completely off-guard. While you two had certainly started off on the wrong foot, you had gotten to the point where you were relatively calm and comfortable around the strange man who was so incredibly down bad for you. He gazes down at you with his lifeless eyes, inquiring about the gesture you made earlier. 

🩸: You explain to him what the gesture meant for you, that you were simply in a good mood and felt a little bit playful at the moment when you blew him a kiss. Mr. Scarletella smiles at your words, feeling very pleased with the information. So, it meant you liked him, correct? It meant you felt comfortable enough to express your happiness towards him in such a way, right?

🩸: Well, you inadvertently ended up making him even more obsessed with you, and now his feelings become even stronger every time you blow him a kiss. Mr. Scarletella finds the act an interesting way to express your interest and enjoyment of another being, so he begins to blow you his own kisses in return. He is one of the characters I feel would want to learn more about human customs to deepen his relationship with you even if he doesn’t fully grasp why some gestures mean certain things. 

[alexthebordercollie]

i'm always a sucker for the take that Ford does love kids, he's just not the best caretaker. i mean, he's immediately delighted to learn he's an uncle in tale of two stans, and he loves spending time with Dipper and Mabel, he's just kind of dense.

i think aus where he gets to be a dad with Fiddleford are so cute. and so interesting to see how he'd handle it. people always seem to forget what a softie he can be

Oh yes! It kind of bugs me how a lot of people act like Ford is cold when he really isn't. There are lots of little examples of him being an absolute sweetheart. He talks a big game about being logical and suppressing fear etc, but he's a deeply emotional person, and that comes through in his more personal journal entries. He's not some heartless robot. He loves sharing his joy and excitement with the people close to him. He craves human connection even though he's bad at it. He gets attached to weird little creatures like Shifty, he loves his niece and nephew and is genuinely happy to meet them. Not to mention Ford loves weirdness and creativity and kids are the weirdest most creative demographic of people out there.

I don't think Ford dislikes kids at all. I think his lack of emotional intelligence and tendency to be lost in his own world makes him a questionable caretaker. Not through apathy or malice, he's just kind of bad with kids. Making him a father is really interesting for this reason because I'm confident he'd love the shit out of his kids, but learning how to respond appropriately to their needs, keep them safe, and pay attention consistently when needed, would all be things he'd struggle with.

Ford also says as much in his journal that he didn't want to settle down and "start a family". I don't think he ever saw kids of his own as part of his future nor do I think he'd ever consciously choose to have them. That said these are the words of a young Ford with grand ambitions that children would have potentially gotten in the way of. I also think the way he shuts down the idea of "starting a family" is a response to the social pressure to get straight married which is also not something he would have wanted. I mean look how well that worked out for Fidds :/

But Ford's whole character arc is about humbling himself. Learning to let go of this fantasy of some grand destiny and find joy in just living life with the people he cares about. He learns to accept the love of others and to love himself without needing to prove anything.

Pictured above, is a combination of sleep deprivation and those little moments when you're a new parent and it dawns on you yet again that suddenly you have this tiny little human who's who world depends on you. That mix of fear and awe and overwhelming love that hits you in waves and turns your brain into mush for a moment.

Nik and Newt force Ford to put someone else over himself, forcing him to reassess his priorities much sooner.

Also I know this one wasn't really an ask but I really wanted to draw something for you because it was soooooo good seeing a real ask in my inbox. I would absolutely love to answer any asks people have about this AU. I'd love to draw more of Ford, Fidds, Stan, and the twins but it gets hard to decide what to draw with so many ideas in my brain. By all means, send me asks or suggestions for drawings and I'll do my best to respond to all of them.

[orangepanic]

Why do you think that Asami has no friends at the beginning? With Korra it’s because she grew up in isolation and with Mako and Bolin it’s because they were homeless- but why doesn’t Asami have any friends? A girl like her should’ve had a million friends

First of all, bless you, anon. I'd literally opened up a window to talk to some friends about how alone in fandom I feel these days because so many people have moved on or stopped creating and interacting. Then I saw this message! Don't underestimate how motivating it is to get asks about characters and headcanons, or even just to know someone else is interested in your thoughts and wants to talk about mutual interests. You really brightened my day. I hope I can do the same.

As for Asami, I have three theories. The most likely and most boring of these is that it's simply convenience on the part of the writers. In book 1 we didn't see much of her personal life outside of interacting with the Krew so there was no need to waste precious screen time on Asami's other friends. After the show got renewed the writers had to scramble for reasons Asami would still be around - because let's face it, who winds up hanging out with your ex and the girl he left you for as your main friend group? IMO there's zero reason for Asami to be in the show after the first season if she has other friends and sources of support.

A more interesting proposition and the one I mostly go with in my own fics is that Asami did have other friends initially, but that they all abandoned her after her father's arrest. She'd have gone to a fancy private school full of other rich kids with other rich and important parents who'd know that a connection to the daughter of a convicted felon was now social suicide. Suddenly nobody returns her calls, everyone is busy, that invite to Su Li Lim's party happens to go astray, etc. With so many social doors now shut to her, hanging out with the former Fire Ferrets makes more sense. She might even do it initially out of spite in a "well FINE, I'm gonna go be important to the Avatar and go fight crime and be awesome" kind of way.

My last theory is that Hiroshi Sato didn't really let Asami have friends. Acquaintances, sure, but he wouldn't want her growing too close to any dangerous benders and there wasn't an easy way to do this without it being obvious that's what he's doing so he didn't let her grow close to anyone. I think of this as the Victorian novel scenario where Asami is disincentivized from doing kid stuff to "take care of father" and from an early age assumes some of the duties her mom had taken on in terms of household management. She's somehow always too busy for friends. When the class field trip comes around her dad needs her for something important. This might also explain how an 18-year-old thought they were qualified to be CEO of a huge company. She's already managing half the staff at the estate as well as the vendor contracts. How hard could it be?

But what do you think?

[applestorms]

4 and 16 for the DN asks 👀

HEHEHE. ok <3 original ask game

4. who’s your favorite underrated or obscure character?

NEAR. we've got a pretty good community of near lovers around here but i'm counting him as underrated due to fandom-wide opinions. alternatively, kiyomi. <33

16. who do you believe is the smartest character?

i was actually considering writing a whole post on intelligence in DN, but didn't think i had enough to say for a full ramble so here's a (not so) brief overview of a bunch of notable characters. i'm of the opinion that trying to rank/judge intelligence by some kind of hierarchy or objective standard is kind of impossible (say it with me everyone, IQ tests are bullshitttt) and personality/temperament plays quite a significant role in DN's mind games, so. idk. here:

L: if you Demanded i choose one person to be the smartest character in DN, i'd probably give in and say L. that being said, i think L's intelligence mostly surrounds things like his logical reasoning/pattern recognition/memory for details/etc. his knowledge of people in particular is interesting to me, as while i don't think he intuitively Gets people very well, his ability to reason out their mindset/emotional character is one of his key abilities in the series (see: figuring out KIRA's mindset to confirm that he's even a real person at all)-- so, idk, it's kinda hard to judge if that could be considered Emotional Int or not. he's certainly also got great potential to learn more, esp if it's for the sake of a case, though his personality n picky, princess-y attitude trips him up a bit.

NEAR: while i don't think near has as much Collected Knowledge as L, if only due to not having the same amount of lived experience/time to get there, i do think he's got one advantage over him when it comes to his rationality. i.e. near is Chill where L gets very, very invested in his projects, which can at times cloud his judgement when it comes to things not directly related to said projects. near just seems more likely to be the type to take a step back n reflect on everything, perhaps even to a fault, though this grants him the Distinct advantage of allowing him to keep his ego in check. don't get me wrong, he's still cocky and fixated and kind of an asshole, but man's got hobbies. he knows how to take a vacation.

LIGHT: light is dumb as fuck. at the start of the story he's in a similar position to near, lacking the lived experience and Collected Knowledge of L, and his planning/judgements are screwed not only by his lack of intelligence, but his overwhelming ego n temper. light's real strength is his ability to manipulate people, knowing the exact type of mask he needs to wear to get what he needs, and his ability to keep (outwardly) calm in the face of stress. once/if he gets past his temper, he's very good at reacting in the moment n rolling with the punches. light is also an interesting case in that his intelligence will often backfire against him-- where L can sometimes get his view clouded by viewing Everything through the lens of the case and missing some of the greater consequences of his actions (see: granting KIRA god status through lind l. tailor), light gets fucked up in that his reasoning allows him to better Repress and Deny the facts of reality that he doesn't want to have to deal with (e.g. his own murders). also, Knowledge-wise, i think it's notable that one of the few academic subjects we see light being Really good at (in the anime, at least?) is english-- communication is light's biggest strength, you could say. ig he is a Warrior of the pen and all.

MELLO: i kinda see him as suffering from the same faults/strengths as light, but to a more extreme/overt degree. he Struggles to keep his temper and ego in check, especially since it is constantly being aggravated by his inferiority complex-- but when he can, he is similarly quite good at keeping calm and chill and reacting well to the circumstances. i actually think he's one of the better planners in the series, and his willingness to take action grants him the advantage of catching other people off guard. it always gets to me that what ultimately takes mello out is his kindness/courtesy, allowing takada her blanket and her chance to kill him. he seems to care about People in the most genuine way out of anyone to me in this series, which is both lovely and tragic.

MISA: anyways, onto someone who Does Not care about people. misa's biggest strength is her acting and YES, SHE'S GOOD AT ACTING. SHUT UP. i would say she's even better than light at this, since it's literally part of her job and also she apparently fools half the fandom into thinking she's a moron. i actually think misa has a similar strength to near as well in that she's capable of getting outside her own head and reflecting on the situation in a way that isn't purely driven by her own ego-- part of her fault is just that, like L, she often doesn't care enough to bother. misa knows what the fuck she wants, and pursues it successfully and rigorously enough to keep light in a stranglehold from the minute she meets him until the day he fucking dies. the question is whether or not this Thing she wants so badly will actually make her happy, or whether she will allow herself to drop the stubbornness for two goddamn seconds and chill out enough to actually consider other options.

KIYOMI: kiyomi is book smart and has quite good logic and reasoning as well, but she is Stifled by social expectations a way that i see as very much parallel to light. i think her biggest strength and weakness are knotted up together, in a way-- she makes the connections, but only rarely bothers to say them out loud. i actually think she might have a similar mix of self-doubt and ego as mello, though the way they express those traits are polar opposite. she's Aware of people in a similar way too, or at the very least conventional rules of morality/ethics, enough so to be horrified when light asks her to kill (but not enough to stop herself from doing it). i fucking adore the idea that she's a bit of a closeted sadist too-- etc. etc. horror at her actions, or her own capacity for them in and of itself? juicy shit.

NAOMI: taking from LABB murder canon for this one too-- naomi Definitely has strong logical reasoning, being able to keep up with/follow much of the mind game bullshittery of beyond and L even as ryuzaki is fucking with her irl. she's got a more blunt, brutal version of near's Don't Give A Fuck-ery too, throwing away the bullshit without a second of doubt or care when she recognizes it. her weakness is again in her kindness, though naomi's has got more of a maternal edge to it than mello's. remember-- what fucks her up, what causes her to separate herself from the FBI in the first place is not her own experiences with racism or sexism from her coworkers, but her inability to shoot a child. kind of opposite to kiyomi in that way, actually, horror at her inability to execute violence against someone that she sees as an inherently innocent being? perhaps part of what endears her to L as well, and light.

SOICHIRO: his greatest strength is his capacity for reflection, which i see as a side effect of his age. soichiro is not caught up in the throes of his own ego, he doesn't have much patience for the mind games, and why would he? he's got a job to do, a family to take care of and love. he's more cool-headed than a lot of the younger characters because of this, capable of reconsidering his morals and the nuances of his ethical stance as he comes in contact with new situations, not holding to some Static idea of This Is How Reality Must Be 100% (see: him softening his stance to say that the true evil is "the capacity to kill," in his hospital bed). yet this love for his family, the fact that he has kind of Made It, is also his greatest weakness-- he's got something to lose now, and especially in the second half, we can see that Fear really get to him.

BEYOND: is simply not that smart. worse, he's all ego and got a simultaneous superiority/inferiority complex. he comes up w/ dumb, overly convoluted puzzles n then looks down on other people for being too Pedestrian to get it, walking naomi through his reasoning bc he thinks she's too stupid to figure out the important shit. i don't even think he's on naomi's level of reasoning, he's just good at murder mystery-esque puzzle bs and lighting himself on fire.

[dinarosie]

Hi! I found your post on the growing hate toward Snape really thought provoking. Just curious are you planning to write a second part? I’d be super interested to see where you take it.

Hey! Thanks so much for your message.

When I first started writing this post, I actually planned for it to be a four part series. I wanted to go into how Snape’s genuine, pure love turned into an obsessive and somewhat dark emotion, or how he went from a strict, harsh teacher to someone whose behavior borders on criminal mistreatment of children. But honestly, I think there are far better posts out there that explain these transformations with much more clarity and depth. Since these shifts are often influenced by cultural perspectives, I worry my explanations might not come across as clearly. For instance, the concept of an 'incel' isn’t something commonly understood in my culture, so it’s hard for me to frame it accurately.

However, if you're interested, I did briefly touch on this in a reblog of this post, where I talked about how what was meant to represent Snape’s innocence, loyalty, and his ‘light side’ has, over time and with cultural shifts, been interpreted differently.. I came across a comment on Reddit under a post I wrote about Snape's hate, which I thought was really interesting, and I'd like to share it here as well:

u/WhisperedWhimsy: I think this is true. I read the books circa 2000 and then as they came out. I had internet access simultaneously. There was significantly less Snape hate during that time but also the quality was different. People hated Snape for his actual behavior and flaws and not exaggerated or made up things. And some people just loved to hate on him because mean teacher dungeon bat with his billowing cloak and drama is so easy to make a caricature of for laughs though I don't think those people in particular hated on him very seriously. And most telling about the time was that people who hated on Snape didn't automatically like Sirius, James, or Remus. Many people hated all across the board or maybe only liked 1 marauder but not the others and that was usually Sirius, sometimes Remus, but never James. I think we also need to consider the emergence of incel as a term widely used followed by social justice warriors and edge lords as part of internet culture and then more recently the anti v pro culture which is particularly targeted towards fandom. These shifts in perspective have over time influenced the fandom significantly imo. Particularly fans who are 30 and under seem most influenced in this way. Snape hate went from "I really don't like him but you do you" to vocal attacks on him as a character in a performative moral clout grabbing way similar to the SJWs with the mix of "he's an incel so he must be every possible kind of bigot and very creepy and a threat to women". The Rise in James' popularity felt very edge Lord when it started of bad faith arguments for why a guy who very obviously isn't so great is actually great. And then with the Anti v pro ship drama that is in every single fandom now it has become the norm to chalk certain questionable characters up to being pure evil and anyone who likes said characters is clearly also a horrible person and a predator.

[isfjmel-phleg]

[

[infinitelystrangemachinex]

Come on, you know you want to, give us the character bingo for Viktor.

don't mind if i doooo

[phoenixcatch7]

If there's one thing I like more than time travel it's crossover reincarnation, so.

Botk link reincarnated as Damian Wayne.

An incredible weapon master of all types, but especially prodigious with a sword - he was beating knights at the age of 4 and with his memories as intact as they get for him I can see that goalpost moving even further (probably with traps and tricks, a 3yo doesn't exactly have great bodily control).

He's an excellent survivalist, agile, strong, durable, cunning and creative. He can move like a feather in the breeze, strike from behind with ease. His first kill, an animal, did not stir him as it did the other children. With his poise, grace, skills, obedience, he ought to be ra'as' finest assassin in the making, a jewel in the crown of the league.

Except he never speaks a word. Half his targets escape unscathed. He skates by true punishment on the merit of his skills and achievements in other missions. Testing has shown it is not a physical deformity that prevents his speech, but not even talia has been able to coaxe a word from him past his second birthday.

It is a defect ra'as is growing more and more frustrated by, as each attempt to fix these two final flaws ends in resounding failure. Less extreme solutions are running dry.

Talia fears those solutions. Her child does too, she knows. For them, there is a possible solution, more extreme than anything ra'as would tolerate.

She sends him out of the league. To his father.

To Gotham.

[bibiana112]

Girl are you okay? Cause you've been looking through the "My lesbian experience with loneliness" tag again

Well the short answer is no :D

[icewindandboringhorror]

me everytime I am preparing a meal with multiple elements I have to balance so they all finish cooking at the same time: Wow this is just like the 2009 hit Nintendo Wii game 'Food Network: Cook Or Be Cooked'

[obisamya]

What is going on w roy and keeley this season like genuinely

[longagoitwastuesday]

I keep thinking of that reply in my Odysseus/Agamemnon post about how I regard differently Odysseus' and Agamemnon's actions, while acknowledging that at times Agamemnon is written as a sweet man and Odysseus is always straight up shitty, and how it was taken as some sort of defense for Agamemnon and as a form of pointing out the double standard; and that wasn't at all what the post was about for me, even though I can see where they were coming from. To be honest, given I didn't imagine it would spread anywhere other than my own blog, I didn't explain myself very well (or at all).

The fact is that when I talked about Odysseus not caring about hurting someone else's child to start and end a war I was indeed comparing his actions to Agamemnon's, but my words about supporting Odysseus' wrongs and cheering him in his terrible actions, while in a joking tone, weren't entirely a joke. I do think that Odysseus does some very shitty acts, and some quite terrible ones depending on the sources. That's a fact, that he does is at the core of his characterisation and it's what makes him so much fun; but not even when he is at his most cruel does he harm his family, his own son. Agamemnon, while sweet and loving at times in some texts, at his worst is willing to sacrifice Iphigenia. When readers regard with more sympathy Odysseus over Agamemnon despite both being responsible for children dying, I don't think there's a double standard in this aspect at all considering it's never his own kid Odysseus harms. And that's the key, I think.

Odysseus and Agamemnon have very different priorities, a very different view on loyalty and duty. It could be said that Agamemnon acts out of selfishness, but it could also be read in a kinder light, saying that Agamemnon is ruled by the gods first, and by his role as head of the achaeans; Agamemnon is not entirely himself. In opposition we see Odysseus acting perhaps mainly for himself and his own family and men; yes, he is a king, but he has not the role Agamemnon has. As a consequence, Agamemnon submits his family's wellbeing to the war, to the gods, while Odysseus stops the plow before hurting Telemachus but is (depending on the source) the cause of Iphigenia's sacrifice and Astyanax's death.

Both Odysseus and Agamemnon have reasons to support their actions, and both can be sympathised with; it's fiction after all. When it comes to fiction, at the end of the day which character a reader is drawn to or sympathises with is mainly an issue of personal taste, but I suppose it also implies a certain level of one's own views or preferences on morals, what makes us find certain actions more justifiable, or tasteful (perhaps that's a more accurate word), than others. Agamemnon sacrificing his daughter, no matter how sympathetic or understandable the reason, generally sits worse on people than Odysseus doing the same with someone else's kids, because they're someone else's. This different emotional reaction they provoke has place not just metanarratively, but also inside the very story; it is narratively significant, given it determines how their arrival home plays out, how their wives react to them, and thus their futures. Ultimately it determines whether they live or die.

I think both terrible acts go in line wonderfully with each characterisation, showcasing the role they hold in their world, what they value, what they care for, what they're willing to sacrifice for themselves and the others, how much of their own they're willing to give and bend. While looking at the wider picture it could perhaps be drawn that Agamemnon is the better person out of the two, but Odysseus' selfish actions are perhaps easier to empathise with, especially from a modern viewpoint. Odysseus is treacherous and prone to betrayal, but not against his own; Agamemnon follows the rules of the gods. How fitting in that context that Odysseus doesn't die at the end of his story, that he cheats the death heroes so often are fated to, almost as if cheating the narrative itself, bending the rules of the world he is ascribed to; how fitting in the context of those texts that point towards Sisyphus being his father. But that's another topic, and I've already talked a lot.

[welcometogrouchland]

Lesbian Stephanie Brown...oh you're so real to me

[noxtivagus]

how fleeting huh

[archaeren]

How I learned to write smarter, not harder

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[tim-official]

the current trend of "tumblr users embarrassing themselves by proudly announcing why they don't listen to any music made by black people" is really astounding.

i cannot help but think this is a direct result of liberal White Guilt and how people have interpreted "anti-racism" as form of cultural self-segregation - the kind of person who thinks trying to cook chicken curry is cultural appropriation, or sends white people anon hate for wearing a kimono (yes, this kind of discourse happened). like, "oh, no, i could never participate in this culture, i'd get my evil white hands all over it! it would be more Progressive if I only did White things."

if you're a poc you've seen this, i'm sure - this deer-in-the-headlights stare you can get from white people when you play music / show art / share a story / anything that is Racially Coded, this total refusal to actually engage with it out of fear that it is in some way Wrong for them to have any opinion on it. because they read somewhere that it's bad to use AAVE but the only lesson they actually learned from that is "gotcha, white people are not allowed to interact with other cultures as punishment for my White Crimes. this helps to fill up the gaping pit of my white guilt and makes me one of the Good People." this transforms their discomfort around non-white cultures (black culture, especially, i should add) into a kind of virtue

anyway if you are white and reading this. go listen to some fucking haliu mergia. ethiopian jazz. will knock your dick right off. go listen to rap or reggae or bollywood and have a genuine reaction to it - like, an actual, from-the-heart reaction. you are allowed to not like some of it. but you will definitely like at least a little. yes, you can compare it to lemon demon (or whatever) if that helps you get into it and that's your only point of reference. maybe don't say that part out loud. but don't, like, separate yourself from it, like you are seeing it in a museum and the only polite thing to do is go "ahh, huh, very interesting, so much culture here."