#it makes the whole thing so much more meaningful

[bootycallin]

thinking bout how the arcane women kiss… ‹𝟹 ft; vi, caitlyn, sevika, jinx, mel. ⋮ cw: wlw/men dni. little suggestive ig but ultimately sfw. brief mentions of blood. honestly there’s not a lot else. spit? idk

𑁤 vi's kisses were much rougher when she’s right out of prison. final vi is gentler. except, vi is still violet in her essence. her kisses may be a little slower and last longer, but there’s a constant undercurrent of need that she can’t (and doesn’t try to) hide. her lips aren’t the only thing kissing you, as her hands roam in a reverent way such that it feels like her fingertips kiss your body.

𑁤 caitlyn's kisses are brief, but meaningful. it’s not that she doesn’t want to kiss you. she would spend her life with her lips locked on yours if she could. the thing is, she’s a busy woman. even when receding from the role of general and giving her spot on the council to someone else, she’s still the sheriff, and she has the schedule of one. but, her kisses do enough as to remind you that you’re always occupying the forefront of her mind, taking any leftover thoughts she may have while working. she kisses passionate, but has to pull away just as quick, a promise she’ll be back for more when she can.

𑁤 sevika’s kisses are possessive—and very. she kisses like she wants to swallow you whole, or like she wants you to swallow her. she’s quick to slip her tongue into your mouth and down your throat. when you pull away, she bites your lips, tugging hard enough to make you think she’s gonna draw blood. she never does, but she leaves enough of a mark with your lips swollen and red, marking you as hers.

𑁤 jinx is as chaotic with you as she is with her bombs. what else did you expect? she is jinx, after all. she just barely can touch your lips. her kisses are all tongue and teeth and spit. she bites and she growls like a dog, slobbers over you cause she can’t help herself, bites your lip so hard she can taste your blood. if sevika seems like she wants to swallow you, jinx makes it very clear. she’s not like this only when she’s kissing your mouth, she’s like this kissing anywhere—licks up your neck, bites your cheeks, anywhere she can reach. she wants to taste you—all of you.

𑁤 mel is an orderly woman. much like caitlyn, she really doesn’t have a lot of time. unfortunately. she’s dealt with enough. she usually isn’t the one initiating intimacy, so you have to kiss first. mel’s kisses are slow, gentle, but reverent. nearly worshipful. you’re her one safe haven, her safety net, her calm after the storm, and she tears you like so, one hand tangling into the back of your head, threading fingers through hair, keeping you close. one thing about mel is that when she starts, she can’t really stop. she wants to keep going and going and going. but ultimately, you pull away, and she’s left with a little smile, as if saying you caught me. you know, and she knows you know, you’re her true treasure.

.ᐟ.ᐟ honorable mention:

𑁤 ambessa isn’t much of a kisser. she’s a medarda, a noxian most of all. she’s not known to be gentle, not by anybody, and not by you. ambessa kisses the way she fights. she takes, and that’s all she does. tongue down your throat, just barely giving you time to realize she’s kissing you. her kisses are brief, but enough to leave you breathless and gasping. her kisses are never expected, and that’s how she likes it; she likes leaving you breathless, surprised, and probably a little needy—she’s confident in her abilities.

𝄃𝄃𝄂𝄂𝄀𝄁𝄃𝄂𝄂𝄃 © bootycallin on tumblr. do not copy, translate or cross post without permission. ᛝ

[miwiheroes]

Hii, not really a question but I'm rewatching s2 and I noticed a parallel between the "we like steve... but we don't love steve" and Nancy stammering quite a bit to say "I- I do" and Mike having a similar response during his fight with El. I don't really know if you or someone else had already noticed that but felt the need to say it

Dropping Byler Evidence Every (Other) Day Until Season 5

. ݁₊ ⊹ . ݁˖ . Day 32: Murray's Conversation w/ Jancy . ݁₊ ⊹ . ݁˖ .

@j-gvellthings hope u don't mind I hijacked ur ask to use for my post thing i just think this is uber interesting <3

Honestly, that whole conversation with Murray and those scenes could absolutely apply to Byler and Jancy at the same time. In some moments, I feel like what he says could actually apply to Mike more than Nancy.

Jancy say they're "just friends" here ^^ and obviously,,, if you've watched literally any romcom or show with romance in, you'd know that if someone is a little two defensive about the two of them being friends, then the audience is supposed to imply that they could be something more than that -- which happens with Byler in S4, when Mike unnecessarily calls them friends. It's not in the same context obviously, but Mike takes it romantically.

Murray also says that Jonathan and Nancy have 'shared trauma' which is apparently the 'real shit' (meaning the apex of the conversation and the most important thing). Now, this obviously applies to Jancy because they went through a lot and that's what creates this meaningful bond between the two of them. Steve does not understand what Nancy's been through -- Jonathan does. And vice versa i guess.

Byler also have this exact dynamic. Mike was with Will during S2 when all that shit happened - and the subsequent dynamic has shifted so Mike seems like the only one that really understands what Will goes through. They also both go through the same types of bullying, which is shown in S1.

Some examples of their 'shared trauma' dynamic are:

Will says that Mike shouldn't tell anyone else about his True Sight because 'they won't understand' - S2E02

Mike says that Will is quiet today and Lucas brushes it off, but Mike sees it as something deeper - S2E01

Will only tells Mike about D'art and Mike is the one to shout at the others and gets rid of his problem for him - S2E03

At the Snow Ball, Will looks at Mike when a girl asks him out, because he's so used to checking with him for things - S2E09

Mike asks Will if he's okay at the movie theatre because he's so in tune with Will's emotions surrounding scary stuff (they were about to watch a horror movie) - S3E01

I only really named ones in S2 because that's the season where Murray actually says that so I feel like it has more value when it's all in S2

"Trust issues am I right? Something to do with your dad."

Obviously, we all know that Will's had issues with his homophobic father - so has Jonathan, so it can apply to both of them. Most of Will's internalised homophobia can be traced back to bullying which includes his father.

It is shown right from the beginning of the whole show that Lonnie calls Will slurs, and attempts to make him like things that any 'normal' boy should want. Jonathan counteracts this by telling Will that he shouldn't just like things because people tell you to and telling Will that it's much better to be a 'freak' than normal.

This homophobic bullying could arguably lead to trust issues for Will - his internalised homophobia from his dad is what is keeping him from telling Mike the truth. He's afraid that Mike 'won't like the truth' because of the things he's experienced in the past.

Now, the one where Murray calls out Nancy is way more interesting:

"You. You're harder to read."

Nancy is of course, harder to read than Jonathan because she hides so much -- she's harder for the audience to figure out because she's in a relationship already. Even so, I think this applies to Mike even more than Nancy. We have Nancy's POV. We can often see what she's thinking and feelings, but with Mike, we haven't had his POV and private thoughts and inner conflicts since S2. For two whole seasons, there has been barely a moment of introspection for Mike. The audience has constantly questioned what the hell he's thinking and why he's acting this way.

It's simple -- he's supposed to be harder to read.

"Probably, like everyone, afraid of what would happen if you... accepted yourself for who you really are"

HELLO? I think when i rewatched this I was a little confused because the wording of this sentence does not really allude to Nancy's issues alone. She is, of course, afraid of accepting who she really is, but it's hard to see that as her main character arc. She's more afraid of leaving the safety of Steve, but this wording is just so oddly familiar to someone telling someone who's queer to accept themselves.

Literally Mike's arc - he's afraid of what would happen if he accepted himself. If he accepted himself - it would mean he realises he doesn't love El, which means he's failed her and has to break up with her. He might lose her if he accepts himself. Idk, the wording is just tooooo suspicious to just apply to Nancy here.

"retreated back to the safety of... Name?" "Steve"

This is kind of insane UM,,, so Nancy uses Steve as her safety blanket because he's a well-respected, popular person at school and has a lot of money, which is similar to her parents' situation. Being with Jonathan is the less secure option, but it aligns with her true feelings. Which means the audience should want her to be with the person she actually loves rather than someone she doesn't want to lose purely based on safety.

Mike literally does this returning to the safe option thing 3 times in the show...

Mike slowly realises that meeting Will was the best thing he ever did, not meeting El, not helping her etc. This happens over the course of S2, and Mike accepts that El is gone, placing her in the same category as Bob when talking to Max. When El comes back, he's torn between the two, and we can see this dilemma in the Snow Ball scene. Will is off with someone else - Mike is questioning why he's feeling like this and what he should do - so he sacrifices his true feelings for what he feels is the greater good and what he should just do, which is to stay with El.

At the end of S3, Mike realises something and is scared of what this could mean. He realises that he has been trying to change himself too much over the course of the summer and just wants things to go back to the way they were. In S4, he attempts to cover up his feelings and push them down because he's afraid of what would happen of he accepted himself, and pretends to be in a normal, healthy relationship.

During S4, Mike realises that his relationship with El is something that he's insecure about, and often confides in Will about this. He alerts to Will that he should have 'explained himself' to El, rather than telling her I love you, implying that he doesn't want to say that ever. He agrees with Will that the truth could hurt someone he cares about. He's worried that El doesn't need him anymore, and is happy when Will tells him that she'll need him no matter what - but he still has to be encouraged by Will's words to say I love you to her. This is for the greater good - what he thinks will keep her alive and what he thinks she needs.

So again, Mike and El's relationship is built on commitment and safety - being with Will is the least safe option because it would mean having to look inside himself, accepting himself, and possibly losing El, who he still cares about.

"We like Steve." "Yes!" "But we don't love Steve."

This one's pretty self-explanatory and was the original point of the ask above - Nancy has literally in this season told Steve the words 'I love you'. You can say those words even when you don't mean it, the writers aren't that stupid to be worried that the viewers will suddenly go "OH BUT WHAT ABOUT THAT ONE TIME-"

But, obviously, before Nancy went off with Jonathan, the last thing she talked to him about was their argument about her not being able to say I love you to him - in that argument, when asked to tell him, she stumbles and goes "Really?" before they're interrupted. Then she can't say anything. She can't say it because it's not true.

Sound familiar? - while there are many more nuanced aspects to Mileven's scenes in S4, it is arguably similar to the Stancy's plot that Murray is talking about. Nancy 'likes' Steve, but her feelings aren't deeper than that. She cares about him, but that doesn't have to necessarily mean she loves him romantically. In the same sense, Mike blurts out "I care for you" instead of "I love you" during their argument.

Nancy stumbles over her words trying to deny it - which is the same with Mike when he gets confronted about it in S4, leading to him trying to gaslight and become defensive, using words like "ruin" and "ridiculous".

All I'm trying to say here is that the Duffers aren't strangers to writing a plot where a character is repressing their feelings and using a relationship as protection in order to hide who they really are. And the lines are written to be so non-specific that we can't ignore that they can easily apply to Byler as well as Jancy.

[gatorbites-imagines]

I’m SO in love with your Dick x Wally x male Thanagarian reader HCs! I’ve read through them multiple times, and they’re stuck in my head 🥰🥰💖💖💖

I wasn’t the one who requested it, but would I be able to ask for more from them, with a mix of SFW and NSFW HCs? 🙏

Dick Grayson x Wally West x Thanagarian male reader

Headcanons

I’ve been stressing about my job situation since I quit my internship, as I still need an income, and all job postings around here I can do start in April. So, like any healthy person, im ignoring these feelings by writing.

You guys dating wouldn’t change too many things, as you guys were already close and spent a lot of time together. You guys become a lot more affectionate, which is new for you but not for Dick and Wally as they had already been dating for a long time.

They plan most of the dates in the beginning, as you are still trying to figure out what would work for your human lovers. Thanagar has different traditions and habits, so humans being so lax and creative is new even after this long.

Dick and Wally are both giddy when you decide to plan a date all on your own. You end up stressing yourself way too much, wanting it to be perfect, that you get help from some of the other titans.

I think your boyfriends would be happy with anything, even just going to your hideout and sitting around eating pizza and watching a movie. But seeing all the effort you put into it makes them happy.

On your guys one year anniversary, you give them rings made out of nth metal, possibly even made from small pieces of your wings, so you are always with them in one way or another.

This makes Wally and Dick both pout as they now think their gifts arent good enough. Of course, you don’t think so, anything they’ll give you is good, but they want to do something as meaningful as you did.

Expect something personal and sweet in the coming days. It doesn’t have to be expensive or anything, but its something that means something to all of you. You just feel flustered about it, but accept the pampering.

They of course don’t go beyond your boundaries, something you return as well, since you love your boyfriends as much as you can and they love you in return.

You don’t have any family on earth, there’s Carter and Shayera, but they aren’t really your family and you guys have different values. Luckily for you, your boyfriends have active families. It takes longer for the bats to welcome you, but at this point you’ve been on earth long enough to be trusted.

When it comes to the bedroom, Wally and Dick are much more comfortable than you are in the beginning. They already know each other inside and out, literally, and the first times you feel almost like an outsider.

They obviously don’t allow you to feel left out, and the first times you guys sleep together is a lot of just learning each other, figuring out what feels good and what you are all comfortable with.

I like to think Wally asks about you wearing your wings at least once when you guys are doing it, and you counter it by saying he should keep the flash suit on then. You hadn’t expected him to do it, but he does. Dick ends up doing it too, wearing the Nightwing suit. And who wouldn’t love that.

It lets you live out a couple of fantasies you’ve always had but never allowed yourself to indulge in, since you didn’t want to disrespect your friends and their relationship.

It’s pretty lethal to not have just one boyfriend with a lot of energy, but two. And one of those boyfriends has little to no rest between rounds. I could imagine Dick jokes about how its good that you came along, so you can switch out who’s fucking Wally so the other can rest.

They both love hickeys and you leaving them on them, since the whole being marked by you gets their blood pumping. They both love leaving them just as much though, so you end up starting to wear a high-collar outfit when you go out as your crime fighting persona.

It can be hard to find time where all three of you can spend personal time together. Theres always something going on in your personal cities, so there is a lot of one on one time. But I can imagine you guys make a habit out of calling whoever isn’t there, and letting them listen through their earpiece, if possible.

It gets kinda awkward for Dick a couple of times where the other bats, mostly Babs, checks in on his comms, only to hear Wallys needy gasping and whimpering and your deeper grunts and groans, as you describe in crude detail what you are doing to your shared boyfriend.

Babs might even be a bit impressed that Dick can keep up with his usual flips and kicks, taking out criminals like usual, and not letting what hes hearing distract him.

When he finally finishes up and gets back to wherever you guys are, Dick would dive right in, even if you and Wally had already washed up and were cuddling.

Luckily Wally is always raring to go, and it’s easy to get you worked up, just watching and listening to them. At the end of the night/early morning everyone is satisfied and happy, even if Wally has to be the one doing all the cleaning and morning cooking.

[interact-if]

Our fifth edition of the Black History Month Author Spotlight series, features Mila (@milaswriting)!

(Mila’s game Golden is one of the games I fell in love with when I first got into Interactive Fiction, and it feels like such a dream to be able to interview her now! It’s so interesting to interview someone who’s been in the IF community for a while now, and see how stories—and their authors—change and evolve as time goes by too.)

Author: Mila

Hello! I’m Mila, a twenty-three year old woman from the UK. Something readers may not know (or probably do considering how much I complain about university), I crave academic validation. I got 90% on an essay I did this year and I was so proud of myself that I’m considering doing a PhD. We’ll see if Dr Mila ever becomes a thing, haha.

Games: Golden (Fantasy, romance, mystery, supernatural)

Short blurb: You work for The Everbrook. A multi-agency organisation in the city of Lehsa that bridges the gap between the human and supernatural world. You’ve been working there for three years now, and you’re suddenly forced to work with a group of allies to solve mysteries that have landed right in the palm of your hand.

Quote from the interview

I wish I could say I’ve had amazing encounters with vampires, magical beings and werewolves to inspire Golden—but that isn’t exactly the case. I’ll let you know if that ever happens though! I’ve always been a bit of a bookworm, more so as a young adult than when I was much younger, but usually the portrayal of poc characters in media wasn’t always shown in a positive light. Or poc characters, when it came to romance, weren’t given the lead roles where a swoon-worthy romance story was played out. To, sort of right those wrongs, and have other black readers like myself, be able to see themselves in the characters of stories—I created a diverse cast of ROs.

Read on for the full interview!

Can you tell me a bit about what you’re working on right now and your journey into interactive fiction? What inspired the game/story you’re currently writing?

I’m currently working on a fantasy supernatural interactive fiction, Golden. Officially, Golden is five years old now. I released it in December 2020 and was regularly writing and working on it for a couple of years. And then I noticed that as I grew from an eighteen/nineteen year old teenager, the ideas I had for my story were different, thus I wanted to make a few changes. A few changes turned into a lot of changes. And now I’m in the process of a whole rewrite, alongside moving to Twine. 

Covid was in 2020, and that’s ultimately the year I got into reading interactive fiction too. I first read fanfics of an interactive fiction game, then read the original story itself, and got really into the process of the reader being able to make meaningful choices that impact their reading experience. That was a supernatural story too, and that’s how I ended up creating my own. 

When it comes to the changes I’ve made to Golden, the inspiration came from a lot of things. One being my love for mystery, crime and psychology—I wanted that incorporated into the story I’m writing. I love the element of lore and world building, so that’s how I knew the fantasy/supernatural element would be in there. Additionally, my love for found family and complex characters also inspired me to write this story, but to also make the changes I have. Lastly, I’m a hopeless romantic at heart, I adore the stuff! So reading and writing good romance is everything to me. 

How has your identity, heritage/background, upbringing, or personal experiences influenced your storytelling or writing process? OR How does your work feature aspects of your identity / experience?

I wish I could say I’ve had amazing encounters with vampires, magical beings and werewolves to inspire Golden—but that isn’t exactly the case. I’ll let you know if that ever happens though! I’ve always been a bit of a bookworm, more so as a young adult than when I was much younger, but usually the portrayal of poc characters in media wasn’t always shown in a positive light. Or poc characters, when it came to romance, weren’t given the lead roles where a swoon-worthy romance story was played out. To, sort of right those wrongs, and have other black readers like myself, be able to see themselves in the characters of stories—I created a diverse cast of ROs.

B Holden was the first one I created. I already knew they were going to be a werewolf, and I wanted them as a character to be the complete opposite of how a werewolf is usually described and portrayed. Aggressive, animalistic, dangerous—yet, I’d like to think that B is, and comes off as, someone who is the sunshine that lights up a room, someone who’d make you feel good on a bad day, a kind of person you’ll always want around. From my own personal experiences, I’m a nursing student and I’ll be graduating this year and going into a working environment. I think the changes to Golden emulate that, instead of being a student, the MC is navigating the supernatural world themselves and they’re very immersed into it.

What does your writing process look like? Any rituals or habits? Any tips, tricks, philosophies or approaches that have worked very well for you?

Oh! So, the background is that I love The Naturals series and The Inheritance Games by Jennifer Lynn Barnes, and I got to meet her at a book event in my hometown. And during her talk, she said that she writes with a ‘Writer’s Hit List’. On that list, the writer jots down all of their favourite things that they love about characters, or elements they want their story to have. It’s a bit like a word dump, for example, ‘loves characters that enjoys baked goods’ or ‘loves when character speaks multiple languages’. 

Then you end up with a super long list of traits you’d like to give your characters or factors you want your world to have. And you can get your inspiration from literally anything, so that’s something fun to have. You can add to it when you’re not thinking about writing, and then when you have writer’s block, or just want some inspiration, you can open your notes app and see what you wrote down.

Currently, whilst juggling uni and personal life, on my days off/working from home, when I get a burst of inspiration I usually open up my laptop and write in my bedroom or the living room. And whilst writing, I put on ROs’ playlists that I’ve made on Spotify. My new RO, Ireland Monroe, their playlist has been extremely helpful in motivating me to write.

What’re you excited to tackle/implement/work on next? Or anything you’re looking forward to in the year ahead?

I’m excited about getting this rewrite out! I’ve felt really guilty about keeping readers waiting so long for content from me, or just disappointed in myself that I haven’t been able to produce content as quickly as other authors. I know it’s a terrible thing to compare yourself to others, but sometimes it’s one of those things you can’t help. We’re into February now and I genuinely think that I’m getting better at telling myself to just work as best as I possibly can. 

But, yeah, I’m excited for people to read and see how Golden’s developed with me as an individual. It’s interesting considering the story has grown up with me, and it’s sort of taken its own shape and whispered to me, “I know you want to change me, don’t be afraid to do so”, and now my nerves about that are near enough gone. 

I just want it to be a good writing year overall! So, I’ve got my fingers and toes crossed that the story ideas that play in my head everyday are able to be transferred to screen so others can enjoy them.

If you were to say one thing to your readers, other authors, and/or the interactive fiction community: what would it be? OR If you could change one thing about the interactive fiction community, what would it be?

My advice to readers would be that as writers, we definitely write our stories as an escape and whilst it’s important to write for ourselves, we write with the hopes that you enjoy it too. If there’s a particular scene or character or story that you love, definitely tell that author. It’ll make their day, their week, even. It’s such a wonderful feeling to hear from you guys. And also, just continue to consume the content that’s put out. And just a personal thank you to the readers I have for being patient with me. 

For authors, I’d say to have fun writing. If, in your gut, there are changes you’d love to make to your story, then do so. Remember that, no matter what, there’s always going to be at least one person that loves what you write. Always. So, if it’s motivation you want to continue putting words onto paper (or a screen), then that’s it. I also think it’s fun adding a little bit of yourself into your story.

Any books, music, movies etc. you’re obsessed with at the moment, or which changed your life (or perspectives on something)?

I read The Naturals by Jennifer Lynn Barnes and it’s absolutely changed my brain chemistry for the better. I highly recommend it to anyone who likes mystery with a romantic side plot. I love YA murder mystery books, so A Good Girl’s Guide to Murder series, books by Karen McManus. I also love Taylor Jenkins Reid. And, as its black history month, Faridah Àbíké-Íyímídé is my favourite black author and she writes queer mystery/thriller books. My favourite of hers is Where Sleeping Girls. 

Music: I adore Billie Eilish (Hit Me Hard and Soft should’ve won a Grammy, I will die on this hill!) Noah Kahan and Sam Barber are artists I’ve really been loving at the moment. Gigi Perez as well, Sailor Song and Fable are songs I can never skip. 

This-or-that segment: (red = Mila's pick)

Coffee or tea?

Early mornings or late nights?

City or countryside?

Angsty or Cozy romances? (Or enemies-to-lovers or best-friends-to-lovers?)  

Steady progress or frenzied binge-writing followed by periods of calm?

Summer or Winter?

First drafts or editing?

Introvert or extrovert? (Gosh, I’m SUCH an introvert)

Plotter or pantser?

Characters or plot first?

Write your own “either-or” pairing: vampires or werewolves? (don’t tell B or K I even asked… I can’t pick between my faves, so I’ll let you guys choose :D)

[jinxedshapeshifter]

Alright so first things first, I need to give some context.

A semi-common thing when immigrants immigrate to English speaking countries is anglicization, which basically just means changing your last name to make it easier to pronounce, fit the culture better, avoid discrimination, etc. For an example of this, my last name, Weber, is German (which is hilarious considering the characters I'm talking about), and my family on my grandpa's side came from Switzerland. Worth mentioning is that my last name wasn't anglicized. The anglicization of Weber would be Webber or Weaver, with Webber being how it's pronounced in America and Weaver being a direct translation from German (and also closer to the German pronunciation). This happens with a lot of non-English languages, I'm just using German because it's one I have experience with and, well.

A few things that make me think Klavier and Kristoph's parents were first-generation German immigrants:

Klavier and Kristoph both have German names (Kristoph is an alternate spelling of the German name Christoph, which comes from Christopher from English). Granted if Klavier's name has been Klavier his whole life, Klav and Kris's parents literally named him Piano, but I doubt that'd be a concern if they're not around people who know they named their kid Piano.

Klavier's tendency to sprinkle German into his speech. This could just be because he has an interest in Germany or because he studied there, but I think it'd make it more meaningful if he grew up bilingual and sprinkling German into his speech is how he retains his knowledge of the language (along with speaking it when he can, obviously). Klavier knows German well enough to make his band name a German pun with his last name, he seems to know the German language quite well, even by the time he's 17 (as that would've been when he formed the Gavinners). If he was just learning German while he was in school or picked it up while he was in Germany, I don't think his knowledge of the language would be as good as it seems to be (although I completely acknowledge it's not impossible that his knowledge of German came from learning it as a teenager and/or from studying in Germany). Aside from that though, it doesn't make contextual sense to me for Klavier's knowledge of German to come from just being interested in German culture. I have interests in Japanese and French culture but I don't know almost any Japanese and didn't practice French enough to know much French now. In addition to this, I have an uncle from Peru and an aunt who's American who are fluent in both English and Spanish, and they, as well as their son, do the exact same thing Klavier does (sprinkle Spanish in with their English). My best guess for why Kristoph doesn't speak German on-screen is because he either doesn't see a reason to or he doesn't like to for whatever reason.

This is where my previous explanation of anglicization comes in; Gavin sounds like the German word for win, gewinn. With this in mind, and the fact that both Kristoph and Klavier have German names, I actually think it's likely that at the very least Kristoph and Klavier have German ancestry somewhere and this resulted in Gewinn becoming Gavin. This could technically be explained with Gavin isn't exactly a rare surname in English-speaking countries, but I think it's more fun to imagine Kris and Klav's parents changed the spelling of their name upon immigrating to America to make it easier for people to know how to pronounce.

Like obviously there could be alternate explanations for all this but I prefer the idea of Klavier and Kristoph being born to German immigrants. It adds more depth to them I think.

i'm kind of sad "gavin bros were born to german immigrants" isn't a more common headcanon tbh

[starcurtain]

Some Speculation on Kaveh’s Father

I actually started this post right after the Parade of Providence event last year, but never got around to finishing it. However, in light of Kaveh still not appearing on a banner, I decided to dust this one off and get it finished, so that I’d have at least a little Kaveh content in my life after being so cruelly denied by Hoyo.

So, without further ado, some stuff about Kaveh’s father I did not see discussed elsewhere but which I think is especially interesting.

1) Kaveh’s father likely first became depressed/disillusioned with humanity after witnessing (or possibly being the victim of) a murder attempt.

Without knowing the full situation and reading all the additional text from the Parade of Providence event, I feel like this might have been easily missed, but the entire “Kaveh’s dad became disillusioned and depressed and retreated to the desert to help people” seems--at first--like it came out of nowhere. He had a lovely family, was the pride of his darshan, and was eager and excited to win the crown to bring it home to his son. Yet theoretically, he did not win the crown (and, in fact, the crown was stolen before the last event and may not have been there during the Avidya Forest fight, so when, as the non-winner, would Kaveh’s father have come into contact with it to encounter Sachin through it in the first place?) Why would Kaveh’s father’s personality take such a massive turn all the sudden? What would drive an excited, happy person to suddenly withdraw from everything he loved and everyone who loved him, if he didn’t actually win the diadem to be influenced by it in the first place?

The event implies there was a trigger:

Huvishka’s friend (who is described as “honest and kind but vulnerable and sensitive”--obviously Kaveh’s father) went into the Avidya Forest with the other contestants, where no one was watching, and we’re not told what happened except that the Akademiya responded to whatever occurred by shutting down the entire competition and banning any sort of events in the future that cause contestants to become so desperate they would “fight to the death.” 

This is a pretty obvious implication that Kaveh’s father either witnessed two other contestants attempt to kill each other or was the victim of an attempted murder himself, which prevented him from winning the competition even though he was the favorite to win by a long-shot. This feat of betrayal, demonstrating the depths to which humanity would sink, likely shook the idealistic world views of a sensitive person such as Kaveh’s father. This brush with death and with humanity’s capacity for evil in the forest would have been the exact trigger needed to make Kaveh’s father particularly vulnerable to Sachin’s message of nihility and despair, leading to the downward spiral that sent Kaveh’s father into the desert.

- 

2) Sachin may have way more culpability for Kaveh’s father’s death than Kaveh realizes. 

For a while after the event, I was under the impression that Kaveh’s father must have met Sachin’s consciousness through the diadem and that’s where he got the idea to go into the desert. However, something was always a bit odd about the timeline, because...

Sachin was still alive when he gave the Akademiya his estate. This is why no one actually knew/believed he was fully dead, even to the present--because he willed the Akademiya the estate while he was alive and told them he was going to be personally watching over the contestants to award his estate to them if he deemed them worthy successors to himself. 

So did Kaveh’s father run into a fragment of Sachin’s consciousness... or did he run into Sachin himself? The game doesn’t really clarify:

The fact that Sachin’s recording recognized Kaveh’s appearance as familiar makes me think it is much more likely that the consciousness preserved in the diadem already had knowledge of Kaveh’s father at the time it was preserved. Aka, Sachin actually met Kaveh’s father in person. This also makes sense of why, even though the diadem was stolen away during the last event and Kaveh’s father did not win it, he would still know about Sachin and Sachin’s research. (However, as a counterpoint, I guess we could say that the Diadem!Sachin had enough sentience to maybe have its own memory, separate from the real Sachin? And reached out to Kaveh’s father mentally even though he didn’t win the diadem? Maybe?)

Still, there’s one really notable aspect of the timeline that I think is important: Right after the Interdarshan Competition twenty years ago, the one which Kaveh’s father competed in, we know that Sachin went back out to the desert. 

Who else went out to the desert exactly 20 years ago? Kaveh’s father, obviously.

This overlap in the timelines makes it seem very likely that Kaveh’s father, who failed to win the competition because of a murder attempt (and therefore never got the diadem), was nevertheless reached out to by the real Sachin, who saw in Kaveh’s father the kindred disillusioned idealist he was looking for to pass his research torch onto. From this connection, Kaveh’s father was driven to either directly accompany or at least pursue the still living Sachin into the desert. (This works even if we say it was only Sachin’s consciousness he was contacted by--in either case, he would have been driven go to out to the desert to meet the real, temporarily still living Sachin to join his quest to help the desert people.)

Only for Kaveh’s father to meet his end there while trying to aid a caravan that had fallen into trouble. What a tragic coincidence, a completely unpredictable twist of fate.

Or... was it?

How odd, in the same quest that Kaveh’s father’s connection to Sachin is discussed, that we’re given an account of a caravan that appears to have been deliberately sabotaged, where money was taken (from Sachin) and somehow sparked a betrayal, a “trial of human nature” that caused many people to die, with the takeaway being the exact belief Sachin wants to pass on and reinforce in others, that humans are horrific creatures who can only make the world a worse and worse place. 

We know that Sachin’s “research” specifically consisted of doing this exact thing, manipulating situations to test humans’ moral character, conducting trials/experiments on “human nature” to reinforce his belief that humans were fundamentally selfish beings.

(It’s no accident the merchant ledger we receive uses the exact same words as Sachin does, “trial of human nature” and “experiments on human nature.” We’re supposed to assume what happened to the caravan in the note was deliberate sabotage on Sachin’s part, to create a scenario where he could observe the cruelties of humanity.)

Why would the game go out of its way to give us an account of a caravan being deliberately sabotaged and used as an experiment if there was no connection at all between what happened with this caravan and what happened to Kaveh’s father, who was also killed helping a floundering caravan?

It’s just too much of a coincidence to accidental. I think the implications of the ledger Dori gave us and the similarities in the language on that ledger to Sachin’s ideas was supposed to lead the audience to wonder:

Could Kaveh’s father have died in one of Sachin’s final “human nature experiments”? 

Was the caravan Kaveh’s father tried to help one that Sachin deliberately sabotaged, expecting to observe humanity’s selfish, self-preserving nature?

I think there’s enough evidence in the story to suggest that we players are at least supposed to consider this a possibility. (There’s no reason to give us the ledger about the manipulated caravan otherwise.) And if you consider this a possibility, it would mean that Sachin didn’t just indirectly cause Kaveh’s father’s death--he would be the direct cause of Kaveh’s father’s death, an actual murder brought about by Sachin’s beliefs that humanity’s self-centered nature made everyone beyond saving.

This idea transforms Kaveh’s father’s sacrifice into the ultimate rejection of Sachin’s beliefs. This would mean that, even in a situation manipulated to bring out the worst in human beings on purpose, Kaveh’s father gave everything to protect the lives of others, for no gain at all of his own, doing everything he could just to desperately try to make the situation (the world) better.

SO yeah. I’m not saying we have hard evidence here, but I think the quest was trying to lead players to speculate very, very hard on the possibility that Kaveh’s father’s death was no accident.

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3) Finally, a cuter piece of speculation to brighten things up after that despair bomb I just dropped: it’s highly likely that Kaveh’s father had more than one Aranara buddy!

During the Parade of Providence, we hear about an Aranara who learned to read from Kaveh’s father:

However, this is a bit confusing, because later in the event, we hear someone else say that Kaveh’s father taught an Aranara to write specifically when he was a child:

While of course it is possible that Kaveh’s father taught the first Aranara, Arakasyapa, to both read and write, I think there’s also another possible answer here about why Kaveh’s father would separately mention teaching an Aranara to write:

Because there is an entirely different Aranara in the story which was taught to write by a “good Nara” who was a child--Arashakun, from the quest “Courage is the Heart.”

In this sweet little world quest, the Traveler discovers a flower talisman that has been snatched by some hilichurls, and seeks to return it to its rightful owner, a timid and shy Aranara named Arashakun. 

We learn that Arashakun once had a kind-hearted “good Nara” companion who taught him to write (sound familiar?), and who, in order to encourage the poor Aranara, gave him a single flower dubbed “courage.” In describing this child companion, Arashakun specifically states that his companion was no strong warrior like the Traveler’s twin, but instead a gentle, comforting presence who never teased the Aranara.

All of these descriptions line up particularly well with Kaveh’s father, who the game repeatedly describes as vulnerable, kind-hearted, and giving to others.

To drive home the possible connections to Kaveh’s family even further, this quest takes place very, very near to the Palace of Alkazarzaray. 

Although we don’t have any guarantee, I think it is strongly implied that the “good Nara” mentioned by Arashakun is indeed Kaveh’s father, and the “courage of the heart” that he extended to Arashakun as a child is the very same courage, kindness, and generosity that drove him to reach out to the people of the desert, hoping to make a difference in their lives--even at the cost of his own.

The takeaway? Kaveh’s father was a truly good person who aided everyone he came across, from timid Aranara to people whose very lives were in danger. He never meant to leave his family, and especially not his son, but repeatedly fell afoul of the worst humanity had to offer and was driven into a situation in which all he could do was offer his very life to uphold the altruism that was central to his idealism--the same idealism and goodness that Kaveh carries as “courage” in his own heart.

[wolfwarrior142]

Since the melody has been bouncing around in my head since Saturday and I can't stop humming it, and since it's a very sweet and meaningful scene, I transcribed the song Rayla sang to Esmeray.

Though the sky is dark tonight, I still shine for you, my dear. The moon is more than just her light, I am near, my love is here. Though you feel so much alone, Oh, my darling, do not fear. Hold to what you've always known, I am near, my love is here. Though my face cannot be seen, The answer in your heart is clear. I am the moon, the silver queen. I am near, my love is here.

Such a sweet song and beautiful scene. So glad they wrote it that way.

[longagoitwastuesday]

I am liking Jujutsu Kaisen, way more than I imagined I would, but I foresee it will let me down and it's keeping me from enjoying this as much as I could haha

I think the characters and dynamics are well set, and I think many of them have an incredibly good and deep potential, but I would be willing to bet they'll not get a proper development, enough for them to really hit. A well assembled set of gears is not enough to make the movement go, you have to wind the clockwork.

I think Gojo and Megumi have a fascinating and very complex dynamic, but I doubt it will be given the time and care that imo it needs to actually work. And it is going well enough for now! One could see the intimacy between them was deeper than the one Gojo had with, say, Yuji and Nobara ever since the very first few episodes despite the fact Fushiguro too was a first year. But the pieces forming what they have are extremely complex, and it just wouldn't be realistic if it doesn't show, even if in a not showing way, or if it doesn't have consequences or implications.

It's one of those dynamics that shape one's life, the way one regards the world, the way one establishes or not relationships with other people. It's one of those dynamics that could be full of fondness, gratitude, resentment, admiration, trust, and that imply intimacy, the good kind or the bad, even if in just the knowledge of someone who's been a constant through your life. It could, and would, imply a myriad of feelings, and probably in such a mix it could imply contradictory feelings too. Even the nothingness would weight, even the nothingness would be significant and meaningful.

Gojo took Megumi and his sister under his wing, the son of a man who murdered him, because of both selfish and selfless reasons. Megumi looks like Toji. What does Gojo feel about this? How does Gojo deal with this? How does Gojo go about taking care of Megumi? Would he walk him to school? Make him breakfast? Celebrate his birthdays making him blow candles? Did he take him to the zoo? Does the relationship between them feel professional or is it something more? Gojo appreciates his students, but is Megumi to him just another student? When Gojo faces Sukuna in Megumi's body, did he see the kid he raised, or does he just see Sukuna in one of his students' body? Did he have one faint wavering instant? And how does Megumi feel about this? Is he resentful of him? Resentful of the situation? Of the selfishness behind his actions? Does he feel like a pawn? Is he grateful? Does he resent feeling grateful? Would he rather not? Does he love Gojo? Does he feel nothing about him other than what he could feel about a teacher that sort of annoys him but knows he's reliable in his strength? Does he think it unfair, cruel or unfeeling that Gojo is close, closer perhaps, with Yuuji or Yuta, considering their story? When Sukuna slices Gojo in two, does the remnants of Megumi's soul tremble?

And not just Megumi and Gojo. Yuuji and Nanami, Gojo and Nanami, Yuuji and Fushiguro, Nobara and the boys, or Nobara and Maki, Todo and Yuuji or Yuta, Gojo and Yuta, Megumi and his sister. Gojo and Geto, even! If the pieces are well set, the dynamics are intriguing, interesting, and have potential to be deep, but then the characters have like two plot relevant scenes that punch you hard, but little more, it's not nearly enough. Especially not nearly enough for the enormity that is shonen dynamics and situations. And the potential existing at all, and then not delivering, makes it all the more frustrating when you're left with something mediocre that could have been so good.

The development of dynamics through not only a few plot relevant gut wrenching moving scenes, but also the smallness of life, is important. The friend who recommended this to me said that those things were just unnecessary filler, but I disagree. I think there's a big difference between a large amount of anime-only filler episodes whose existence is based on the fact they had run out of manga chapters to animate, and moments of quietness. The low stakes character-driven moments of quietness can be so telling and so insightful, and they are so satisfactory when brought back later in higher stakes situations. My friend teased me there was no scene of Gojo making breakfast to Megumi, that it would be an idiotic idea, but it would be so telling. How he makes breakfast, what they eat, if he tries hard or if it's all mechanised, if they have personal bowls or if they use whatever, if he just buys them some pastry on the way to school, if the way they have breakfast changes through the years, or if he doesn't make them breakfast at all! All that would be very insightful on their dynamic and its evolution. All that would give a glimpse on how they regard each other and why, even in the present. All that could become meaningful in tense situations and high stakes scenes.

These moments also let the plot breath; if a lot is happening all the time, if every character is always experiencing trauma after trauma, the entire story is so emotionally draining that at some point you don't even care all that much. Besides, these nothing moments or low stakes plot arcs, besides deepening and developing dynamics, also let some in-world time pass, which would make the intimacy and bond between characters more believable imo; between Yuuji eating Sukuna's finger and their last confrontation in December how much time has passed? A few months? Am I truly to believe these characters are so everything to each other in only a few months?

Without some smallness, some repetition, some daily life, some low stakes not plot-centric development, the dynamics don't hit, they don't truly feel fleshed out, and dynamics as complex as the ones Megumi and Gojo have, or as supposedly meaningful as the one Megumi has with Yuuji or his sister, should be fleshed out if they're going to exist at all. Otherwise they'd risk making the writing feel awkward and fake. Besides, if the dynamics felt well fleshed out and realistic, they would shape the way the characters interact and act, and how they deal with situations, thus being plot relevant.

The shonen genre has so much happening all the time, the stakes are so high, the dynamics are so rooted in big events and the relationships carry enormous weight and implications. Yet they barely get developed, and it feels so stupid, so plain, the absence of something so important noticeable like a constant void, a shapeless nothingness present in every scene. It makes the characters feel like cardboard figures. Jujutsu Kaisen is already getting a better job than many, but I doubt it will do enough for what I've heard, and I fear I am bound to feel let down, and bound to feel unmoved.

After all, if not enough time and care has been given to develop a dynamic, I am not going to feel pressured by the high stakes; if not enough time and care has been given to develop the dynamic between Megumi and Yuuji, as good potential as it has I am bound to feel little for this last confrontation between Sukuna and Itadori, and his effort in getting Megumi back.

[angorwhosebabyisthis]

i found this lore entry recently and have not stopped thinking about it since. it is HYSTERICALLY funny to me that fandaniel's villain origin story was just being a fuckin boomer

One of few great minds in a land that had seen the slow, yet steady numbing of its people's intelligence, Amon long lamented the sorry state of Allag , concentrating his early scientific efforts on developing medicines to increase mental capacity . He soon realized that it was not knowledge that the Allagans lacked. If anything, they had too much. What his people lacked was a leader. With a renewed sense of focus, Amon shifted his studies to the field of vivimancy, and soon was conducting experiments on his own flesh in order to attain his final goal - the resurrection of Xande the First.

— Encylopaedia Eorzea Volume I, p. 25

[imflyingfish]

Honestly i dont like sculk spreading/corruption storylines theyre really boring with a few exceptions

[subarashiihibi]

logging onto tumblr and seeing blatant ableism was not something i was expecting but Alright

[frenchtwistresistance]

Four fifty year old women with their original, naturally aged faces in mother-of-the-bride get-ups singing their old hits to sold out auditoriums across America in 1978… never not low-key thinking about this. 😍😍😍😍

[themyscirah]

Started thinking about the Amanda Waller + Ben Turner relationship again.... fuck, I'm gonna need a minute

[skrunksthatwunk]

mr president a fourth major assignment has hit the two days before a mandatory friday road trip nobody bothered to tell me about until yesterday

[casswrath]

Eldest Sibling Tournament — Quarterfinals

[imaginarypasta]

editing long fics is so difficult 😫