#it very much moves the plot forward in my opinion

[allylikethecat]

may i suggest On A Friday as the cliffhanger we were left with was brutal 😫 (but also no pressure i would be happy with anything you choose to update 🫶)

Hmmm we *did* leave Fictional!Matty in a pretty miserable situation... it would be such a shame to leave him there for much longer, especially when we could put him into an even MORE MISERABLE situation 👀 I'm not 100% sure which fic I'm going to finish the chapter for an post on Tuesday yet, but I will say you lovely anons are making a pretty good case for On a Friday!

Thank you so much for reading and for sending me this ask! I'm so happy you're enjoying On a Friday enough to be like, seeking out the next chapter! Thank you so, so much!! I hope you had a great day and that you have a wonderful rest of your week!

❤️Ally

[annymation]

Reimagining the characters in Wish

(Part 1- Asha)

Hey guys! I don’t really know how to start this, but let’s just say that I… Didn’t like how Disney’s 100th anniversary movie turned out, like at all.

But I can tell there was a lot of unexplored potential beneath this story, that in my opinion felt overly simple and bare bones.

But if you love it, that’s awesome, more power to you, I wish I could’ve loved it too. And I don’t want to rewrite it to show I’m “better than the writers at Disney” because I’m definitely not lol, I have no experience in writing, and I’m sure they put a lot of passion into the project and I respect them for that. But this movie inspired me with ideas for a different story that I think is worth telling.

But I won’t start telling it today, instead, I'll start a series of blogs sharing my ideas for changes in the characters and their stories, after I get some feedback I will start posting more of the story itself.

If you’re interested, then come along!

Asha✨

Personality

- Asha is a 18 year old girl, with a passion for drawing and helping those around her, sometimes even worrying more about helping others than helping herself

- She’s like a big sister to her 7 friends, always being the voice of reason and acting responsible, but not in a bossy way, she’s actually very playful with them

- To the people of Rosas tho, she's seen as kind of a weirdo, for you see, she spends almost every time of the day drawing in her sketchbook

- She practices everyday to become a better artist, and the people of Rosas find this to be very peculiar, after all, why would you take so much effort to perfect a talent when you can simply wait to turn 18 and wish for the king to make you an amazing artist?

- Asha doesn’t mind these comments, although they have made her less willing to share her drawings with others that aren’t her 7 friends

- As the story progresses we see Asha flourish from a shy and introverted girl to a brave woman who after discovering a terrifying secret about the kingdom’s rulers, steps in and inspires others to join her and fight an evil sorcerer king and his alchemist wife (yes, I made Amaya an alchemist, more on that on part 2 when I talk about how I’d change Magnifico and Amaya)

- Some Disney characters that share similarities with her personality wise are: Belle, Tiana, Pocahontas and Esmeralda

Main Traits:

Calm and mature

Determined

Passionate about her interests (drawing, dancing, philosophy and stars)

Helpful and generous

Perceptive and always questioning things around her that no one pays attention to (like why do all the artists only paint the King and Queen?)

Playful

Compassionate

Backstory

Oooh boy I gave this poor girl so much angst, okay let’s go

Asha grew up with her grandfather, her parents both died in a fire when she was just a baby

(this isn’t just to fit the “haha Disney princess has no parents” cliche, there’s plot relevance in this “mysterious fire” that I’ll talk about later)

Growing up with her grandpa, he’d always support her dream to be an artist, like her mother, who was an art teacher

Her mother not only drew really well, but she also was able to create the illusion that her drawings could move, by flipping through the pages of her sketch books

In other words, her mom was an animator

Asha saw this technic her mom used as a form of magic, so she would often tell her grandpa she wanted to “Do magic just like my mom”

Her father was a philosopher (this was established in the actual movie but never explored haha whyyyy), who taught people that working hard to achieve your dreams is not only rewarding, but also essential, because it’s part of the human nature to persevere and fight for what we believe, even if we fail, even if it’s hard, just keep moving forward.

This philosophy may sound very “umm duh” for me and you since we all know and hear everywhere nothing in life comes for free… But that’s not the case in Rosas

In this rewrite the kingdom wasn’t created by Magnifico, but rather the kingdom has existed for many generations, being ruled by different kings before Magnifico who also granted wishes… but I’m getting ahead of myself.

The point is that the culture of just asking the king to give you or make you whatever you want to be has been in this kingdom’s culture since forever, so when Asha’s dad comes out saying “hey! Maybe we should stop just relying on the king to make our dreams come true, right?” He’s actually being quite a revolutionary… and sharing a very dangerous belief to other people…

At this point you might suspect what caused that “mysterious fire”

So, back to Asha, growing up with her grandpa, they shared a lot of happy memories together. Reading her father's books and her mother's art books helped Asha connect with them even tho she never had them in her life.

But as her grandfather grew older, he became senile.

Asha went from being taken care of by her grandpa to being the one who took care of him when she was still around 13 years old, and when she turned 15 her grandfather passed away of old age

Asha went on to live with her best friend Dahlia, the two became like sisters.

Though she managed to move on from the loss of her grandfather, she could never shake the feeling that he died without getting his wish granted... But she had no way to prove that, it was just a feeling

The wish granting system works different in my rewrite, instead of there being a public wish granting ceremony once a month, there would only be a public wish TAKING ceremony, that would work just like in the movie, you turn 18, you go give your wish to the king yada yada yada.

But the wish granting part would work like this: Almost every night the king would release the wishes up in the sky, they would float down like balloons to their respective owners while they sleep, and once they woke up in the morning they'd feel that their wishes were granted, for they would wake up changed.

With this method, there's no way of confirming if someone really got their wish granted or not, unless you went to ask the king.

Asha never did ask the king if he granted her grandfather's wish, but her grandfather would sometimes express how he wasn't feeling completely fulfilled in his life, he felt like there was something... missing.

This feeling of hollowness persisted in him until the very end, no matter how hard Asha tried to help her grandfather, she never knew him as his real self, because he gave part of his soul to the king, the most beautiful part of his soul, his wish.

Asha had no proof that her grandfather didn't get his wish granted, only a gut feeling.

But because of this, Asha wasn't that thrilled to give her own wish to king magnifico, knowing there was the possibility of it never being granted.

Not to mention she didn’t even know what to wish for, “I’m just 18 and you guys expect me to already know what’s my heart’s deepest desire? I’m still figuring that out, all I know is that I wanna draw”

Plus she wanted to follow her father's philosophy and achieve her wish on her own, eventually, when she figured out what her wish even was.

Asha never rebelled against the system tho, she wasn't a confrontational person. She just accepted the people of Rosas preferred to rely on the king's magic, but that just wasn't for her.

However, on her 18 birthday, when it was expected of her to give her wish to the king, she simply said she didn't have a wish, and even if she did she wouldn’t want to hand it over, she wanted to make it come true on her own. This lead to an argument with the king, and after a series of events (that I don't have time to summarize here, but you can find out about it on my rewrite) leads to her finding out a terrible truth about her kingdom. And that's how her story begins.

Design

- I’d keep these braid ornaments that Asha had in the concept art

- Since in my rewrite she’s not that invested in the kingdom of Rosas, I’d remove all the Kingdom of Rosas symbols that are present in her design (there are a LOT of them)

- I’d replace these Rosas insignia with more star and constellations themed symbols, to reflect how Asha believes that the stars are connected to people and they can guide us, just like how her father believed.

Final Thoughts

My intentions with these changes were to give Asha a strong emotional hook, and something that makes her feel relatable.

The emotional hook here is how she spent so much of her life taking care of her grandfather that she kinda never had time to worry about her own desires, that alone can be relatable to caregivers of elderly people that watch their grandparents or even their own parents lose themselves as time passes, and end up worrying more about the person they’re taking care of than themselves.

Asha has this internal emotional conflict where she feels she needs to constantly help others the same way she helped her grandfather, and one of the things she’ll learn as the story progresses is that it’s not selfish of her to want more for HERSELF.

Another thing that would be relatable about Asha is her passion for drawing, and how most people in Rosas would say she’s wasting her time practicing so much when she can just wait until she turns 18 and wish to be amazing at drawing.

She’d never stop believing that taking her time to improve on her talent and trying again and again was worth every second of her time, because let me tell ya folks, drawing is HARD, and animating like Asha’s mom did is even HARDER, it takes a whole lot of practice, and Asha was determined to keep trying.

She’d be much like Belle, remaining true to herself even tho those around her considered her odd, and very passionate about drawing just as much Belle was passionate about reading.

I also find it funny how Asha’s motivations are fairly down to earth, like in Disney movies you usually have:

I want to be free from these palace walls!

I want to explore the ocean!

I want to open a restaurant!

I want to find true love!

And then there’s Asha here like

“My life is fine, I just wanna chill and draw stuff”

And that’s it, but, in her environment where everyone is expected to have this great wish that they have to give to the king so he’ll make it a reality, she’s kinda the odd one out, and I love that. Would be a great subversion of the Disney formula.

Of course after she learns Magnifico and Amaya’s true intentions she gets a lot more agency and the desire to save her people, her “call for adventure” if you will.

But what are Magnifico and Amaya’s true intentions? Click here for part 2 and find out!

Thank You For Reading!

[leoserblog]

Ok this might be an unpopular opinion but someones gotta say it...

Cassandra is a better Casey Jones than Casey Jr

Ive gotta be honest... i think casey jr is a kinda mid and i dont particularly think all the fanfare about him is warranted LOL

I want to note real quick that i dont DISLIKE him! He is a good character who only got as much development that a 2 hour movie could give him, and he filled and satisfied the role he needed to play in the movie, but the way the fandom latched onto him over the og casey... kinda makes me raise a brow

(Essay/rant about the prioritization of casey jr vs og casey under the cut :P)

Fandom spaces love a traumatized boy from the future, and believe me i do too! But the amount of attention given to casey jr after being revealed as casey is a wild amount compared to the amount of attention the original casey gets. Maybe its just me getting into rottmnt after the movie aired, but this seems a little baised?

Not only that, but the amount of... idk the best way i can think to describe it is infantilization of casey jrs character isnt helping my opinion of him. It feels like most content surrounding him babify him and reduce him only to his trauma post movie. I understand that it can be interesting to explore his trauma now that he no longer lives in the literal apocalypse, but it feels strange to see him reduced to someone who cant get around on his own and lives with the turtles when the original pitch for the movies ending has him leave to explore the world, which i feel is very appropriate for him and wish they had kept it in

In the movie when april shows us where the og casey has been and what shes been doing throughout the film, it tells us that casey is friends april which in theory, shouldve also shown us that she and the turtles are friends to some degree as well and should already have her place established within the group as this generations casey jones

However the final shot of the movie is a group shot of the family+casey jr, which subtlety implies that he's the new casey instead, and that this is the main cast moving forward (should it move forward *sob*). While both caseys being considered in the main cast could be true, it does strike me as a little odd that this was the final direction the rot team decided on for the official ending versus the scrapped ending, especially because it complicates the pre-established canon. It wouldve been one thing if our og casey was a different character, but that isnt the case.. y... (<_<)

Casey jr is an interesting character though! And i can understand why he appeals to fans, especially as his character post movie is fun to expand on aswell as developing his past involved with future versions of the main5, but one (me lol) could argue that the og casey is just as interesting of a character to delve into as she was involved, when you boil it down, a cult most of her life, and that concept, as well as the guilt she could hold for working with the foot and releasing the shredder, ontop of trying to befriend and gain the turtles and aprils trust are also intriguing concepts that could be explored, yet finding content that mentions her at all beyond her relation to casey jr is scarce

It feels as though shes been reduced to a background character within the fandom despite being a reoccuring character for the entire show.

For the two seasons of rottmnt that we did get, we are shown just what kind of character casey is and her possible dynamics with the turtles+april. Shes passionate and powerful and beyond determined to prove her worth and reach her goals. Shes also playful and reckless, a side that fits well with the main cast and their humor and, if the show was given more time, couldve developed naturally as the newest addition to the family as most caseys are. I could also argue that her characterization fits that of previous caseys more than casey jrs does (though i will admit that considering the plot of the movie, i cant positively say what hed be like outside of life or death scenarios, but i also cant imagine hes going to make a 180 in personality without it feeling jarring and ooc)

Now, i wont ignore the fact that her arc was cut horribly short and her involvement in the movie was quite literally a brief mention, both of which definitely play into how under appreciated she is. But at the same time it almost feels like everyone, including the show runners, have willingly pushed her aside for this new boy version to fill the role of casey jones. Hell, even when you look up rottmnt casey jones, cassandra barely shows up. Its casey jr which further proves my point

Idk, TLDR im pretty disappointed that despite being a consistent character for the entire show, no one seems to write or acknowledge her and if she is mentioned, its only relevant to push forward casey jrs character development or a brief cameo. As much as i do love casey jr (i can feel like hes mid and i can like him!) it seems like most people forget about the original casey, or favor casey jr in her place and she deserves more love and credit than shes given!

[theblogwithoutfear]

karen page is so annoying in the show...is she better in the comics somehow or is she just like that

So I've actually wanted to talk about this forever, but I kept forgetting to make a post about it. Your ask is a perfect opportunity to write down all my thoughts. Brace yourself, because I have a lot to say. Sorry in advance lmao

I actually prefer Karen in the show. To be fair, I have not finished all the comics, but so far I think her TV counterpart is a lot better (I still like her a lot in the comics tho, don't get me wrong). The NMCU version of Karen Page also has a lot of Kirsten McDuffie (another comic book girlfriend) in her, which is great in my opinion.

A lot of people find her annoying, but to me it's her flaws that make her such a fantastic character. She isn't a caricature, stock-girlfriend character pulled from a box of tropes; she's a well-rounded individual, extremely realistic, a mirror of Matt Murdock, and a woman with real agency. Her actions have major consequences on the plot. In my opinion, a lot of superhero girlfriends (in comics, movies, TV, whatever) are written more like props than characters, and they don't have any agency or actual plot relevance. Which is why, when a lot of them die, their deaths feel so cheap and inconsequential. That's where fridging comes from. It's been a problem with superheroes since their very inception; and a problem in storytelling at large. So often in fiction, women are flat and unrealistic.

So to me, Karen's heavily-flawed character is refreshing. She is extremely impulsive; she's deeply intelligent, but makes such stupid decisions; she can be hypocritical, self-destructive, and petty. Sometimes she manipulates people, even unintentionally. She's very well-meaning, but constantly makes mistakes. And it's these mistakes that move the plot forward, and reveal important things about both her and Matt. Her actions have real consequences for the story, and she undertakes her own journey throughout the narrative. She is almost as much a protagonist as Matt is, in terms of her character development and growth.

For that matter, every one of the flaws that I listed are things that Matt does too. They are almost perfect mirrors of each other; people who are immensely concerned with justice and compassion, people who care for the truth, and people who want to make their city a better place. However, as they go about it, they stumble and make mistakes and endanger other people. They're hypocritical and contradictory and impulsive. They constantly have to call their own moralities into question, because they almost never live up to their high ideals.

(Also, as a side note, I think many of Karen's flaws—as with Matt's—come as a direct result of all the trauma she's been through: her mother's death, her brother's death, her alcoholism and drug addiction, her dad cutting her off, being framed for murder, almost getting murdered in prison, etc. So I think it's fair to give her some grace.)

But what makes both Karen and Matt so lovable, imo, is that they keep trying. No matter what mistakes they make, they get back up and try again. They do everything they can to atone for the blood on their hands.

I think also (and I'm not accusing you of this, just a certain subset of people in the fandom) that people are more willing to accept Matt's flaws than Karen's—because there's a lot of misogyny built into our society, and there's this ingrained idea that women have to be paragons of virtue. Women, both in fiction and in reality, tend to be put under a microscope and dissected, while men can get away with a lot more. So Matt and Karen have identical flaws, but only Karen gets hate for it, which makes me very sad.

It may be the writer in me, but imo flaws are what make a character—and a story—meaningful. A well-flawed character can take a ridiculous, implausible story and make it feel grounded and real and impactful. A well-flawed woman even more so. I love Karen for the same reason I love Jessica Jones and Wanda Maximoff; or, to go beyond Marvel, for the same reason I love Jo March and Katniss Everdeen and Miss Haversham and Katherina Molina. They all elevate their respective stories beyond the initial premise and plot. Flawed female characters are realistic and impactful, and therefore empowering.

Obviously, to each their own. Some people just find her annoying and don't like her personality, and that's fine. But for me, that's what makes her feel real, and that's why I love her.

[muniimyg]

⋆𐙚₊˚⊹ bbydaddy!jk (16) ⋆𐙚₊˚⊹ debrief ! + kimi's note

hi !

i've gotten a few asks in my inbox regarding part 16 that (i feel) lean towards negativity @ babydaddy!oc.

as much as i appreciate interactions,, it surprised me with how it (my work) was received. i understand that everyone has their own opinions, but some of the asks come off more as a vent/hateful pov,,

and listen,,, i get that this is a fanfic LOL

but the reason i'm making this a post is that, truthfully, i don't want to (individually) answer these asks. i've spent the past few days reflecting on the feedback i was given and the chapter itself... i've concluded that i’m all abt conversation (!!!) but don’t think these asks lead the ones i want to have on my blog. i also don't want to share them because i feel that these opinions undermine the experience of other readers who enjoyed and resonate with the chapter.

at the same time, i also don’t want them to go unaddressed because these are real ppl who spent time and sent thoughts in. one way or another, i believe my work resonated with u and the most i could ever really ask for as a writer is to write something that makes people feel.

so to those anons that sent in these asks, i want u to know i that i’ve let your thoughts sit with me and i think you made good points. in that same sense, i want to defend my work and explain a few things..

context:

full bbydaddy timeline (as of 16)

bbydaddy was originally meant to be a one time scenario

upon request, i extended the series multiple times

since the series extended,, in terms of plot,, i took as an opportunity to dig deeper into their dynamic (as a family, as lovers, and as individuals)

one: bbydaddy!jk and bbydaddy!oc's lore

first and foremost,,, there are no sides.

there are layers to their relationship. both characters go through and process differently. oc's experiences should not be invalidated just because her emotions are voiced 'wrong.' the career and the depth of it can and should be looked from different point of views. though i didn't write it in, i personally pictured oc to be the eldest daughter in her household. the constant need to be the best is a natural feeling for her and isn't necessarily seen as a flaw through jk's eyes. if anything, she believes in him more than he believes in himself. in her pov,, that's how she loves him. she wants more for him because she believes he deserves more and that he's worth more. it wasn't meant to be a 'greedy' attribute but i understand where it initially comes off as that.

all in all, i think this is one of my very few fics where i picked her flaws on purpose and wrote some in by accident. as a writer, i thought this brought more authenticity in her character as well as sparked the ongoing questions of; what does it really mean to love someone and how much of yourself can you give until there's nothing left? and when there's nothing left; what then? do you pick the pieces together? do you learn and move forward or do you stay where you are and feel it. feel everything and drown in it so you don't miss a thing?

i think oc's character dives into those concepts really well. initially, as i read the asks and 'reviews' on oc,, i felt bad for her (LOL) because truly... she's so misunderstood.

as for jk... i think that man is delusional to the core. but !!! that's my error. i think in the beginning,, bbydaddy jk has this... douche-ness in him that really captures and captivates their dynamic. over time, as the story goes on, you see how fragile he actually is and how pathetic he can get. him proposing to oc was 1) bad timing 2) inconsiderate since he was definitely in his own headspace for thinking and putting his feelings first 3) jus for the drama. LOL !

all in all, i don't think jk did anything wrong (neither did oc) i jus think their relationship is the sole definition of timeless but untimely.

two: asks and anons

please don’t send in asks that bring negative vibes. if u don’t like a character (it’s ok to feel frustrated and all) u can jus move on. no need to send in 'fuck her' if its not in an ironic way 😭 be mindful and remember ur manners. jus cos u’re on anon doesn’t mean u’re held any less accountable !

if u have nothing nice to say,, don’t say it at all. i may not be ur fave writer and this may not be ur fave character or fic ….

and that’s ok.

u are probably not my fave reader anyway 😝

i am not the only smau writer on this app or fic writer at that. i'd encourage u to branch out and find new writers if my characters frusterate u so much (ToT)"

i love receiving silly asks and heartfelt ones even more so when they’re abt my plot and are positive notes regarding my writing! i look forward to those because they remind me of my growth and make me feel appreciated. these fics and smau i make take time btw. like... lots! unfortunately, i'm not talented enough to wake up and write a fic all the way through the end in 1-3 sittings. i need like 5 business days to figure out which jk pic i'm using bro

anon will be turned off for my peace of mind (for now). ikkk it's annoying bc most of u guys are so kind and sweet ,, but it feels like every time i turn it back on,, ppl get ballsy and like srsly???

i am scared of balls

three: kimi's note

at the end of the day, i’m jus a girl writing a silly little story in her free time!

did u catch that? in my free time. the time i put into sitting down, writing, fixing and pacing plots, etc; are all unpaid. i do this because i want to share my creativity and delusions. with that, as a fic writer, i understand and have accepted that there are times when i should feed into the audience/readers' expectations and needs...

and that’s exactly it.

i get to pick and choose what to feed into, what i give out, and what i keep.

with being on tumblr for 4yrs, i've seen so many fic writers leave bitter notes because of how nasty their asks inbox gets. (thankfully, mine is nothing like that) i will not let my inbox become that. i refuse to let my blog and fics burn me out.

i’ve grown so much as a writer over the years. i'm so proud of myself too. yet, i am aware and understand that i am still continuing to learn abt what boundaries i need/have when it comes to my work. i am learning what that means with my social media presence. i am learning how to not let passive/negative asks bother me. i am learning.

if u've been following me long enough, u know how often i take breaks to take care of my mental health, school/work schedule, and maintain/improve my quality of fics.

to be honest, i was really hurt and discouraged when anons gave their 2 cents with my break idea. i posted that to communicate where my headspace was and to have received entitled and inconsiderate responses really threw me off. although, i understand it may not be that serious to the ones that sent it in and i (probably am) overreacting,, i would still like to put it out in the universe that i am not okay with receiving responses like those. please think before you send in. some things are better left unsaid and often unnecessary as it makes me feel like i'm jus a content machine or smt.

and in case u forgot— 

i am a real human with feelings (sometimes with too many).

i'm thankful to have realized and accepted my (known) boundaries. i'm grateful for the confidence and security i have with my wonderful readers and work, knowing that i'm worth the wait.

i know i can and will be taking all the breaks i want. i will binge/content dump all i want. i will take 2 weeks if i want.

through all of this,, i promise to do my best and be better in the future !

if u read everything,, thank u. i wanted to say everything from a place of love and reflection,, so i appreciate u taking the time to understand me. i hope i continue to be a writer u look forward to.

promise ! i'll make u proud ૮₍ ˃ ⤙ ˂ ₎ა

all the love,

kimi ♡

[lexel05]

Happy new year guys!!✨🌙

How are you? I hope fine!

Here a draw of this two because I loved them so much. The Dilf x Milf couple is always a guarantee and the fact that they (SPOILER) don't have a happy ending devastates me.

Ready to give my unpopoular opinion about this film: I liked it. True, it does not measure up to many classics and certainly the initial idea of how it was to be made was much better and contained more new elements, but still this film is a noble attempt to create a Disney classic. It has all the elements and even the animation style tries to recall 2D.

The characters are nice and I find the one most in-depth is Magnificent since we see his slow decline due to the forbidden magic and can thus observe more parts of his character. He reminded me of Scar in some ways, perhaps because of his eccentric personality, but I think he is a very good villain.

I also liked the songs, although some more than others, and the plot was nothing special, but not to be thrown away.

And then the fact that actually 100 years after the creation of this great Disney empire they decided to celebrate it with a story about dreams and wishes, a subject that is almost always present in every film by the publisher, made my heart clench.

I imagine that this film will be a flop because of the bad publicity and criticism, but I hope this will conclude an era of Disney, leading it to move forward and improve even more.

[thatscarletflycatcher]

Annotated Editions: the case of Jane Austen's Persuasion

The other day I made a post about my poor opinion of David Shepard's annotated editions of Jane Austen's novels, specially in terms of how much praise they get in the Austen fandom. That last qualifier is important, because while in general I do think they aren't great in a vacuum, it's specifically the place of honor they get in fandom that makes my judgement harsher; not because popular=bad, but because, well, if you claim to be excellent, you should be excellent.

So I'm gonna try here to compare three annotated editions: Shepard's, Norton Critical, and Oxford World's Classics.

Let's begin with the introductions/prefaces. Prefaces are complicated, because for the most part there is a tradition in this sort of literature to treat them as a free space for an essay, basically fulfilling the role of an afterword, instead of working as an introduction, as a summary of the historical, biographical, anthropological, artistic, etc, clues that will facilitate and enrich the comprehension of the text by the reader.

How goes Shepard about his introduction to Persuasion?

There's a brief note to the reader before the preface itself explaining what kind of notes he has added to the text; so far so good.

The preface itself is roughly divided in the following sections:

a biographical sketch of Jane Austen (5-10%)

comments on the spot Persuasion occupies popularity wise in the list of Austen novels, followed by, as Shepard's argument for why it is so;

An in-depth comparative analysis of the whole plot and main characters of the novel, with other Austen novels, pointing "pros" and "cons." (90-95%)

A comment on how he thinks Austen's style would have been moving forward, disagreeing with Virginia Woolf.

The first section is useful to contextualize the work, but the second is basically spoilers + Shepard's opinions on the novel and on the novel as compared to other Austen novels; this latter part is of little or none usefulness to the reader, and even its quality as an essay has several very weak, "sloppy" points. For example, the assertion that Persuasion, like the rest of Austen's novels is a romance; not only because many would disagree, but because a good introduction would include a discussion of the genre of the novel, and for an Austen novel the discussion and explanation of the nature and tensions of romance, bildungsroman and comedy of manners is VERY important. Another weak point is the blank assertion that Austen never wrote a scene between two men alone, which is false). Another notorious absence in this introduction is the historical setting of Persuasion; it is a rarity between Austen novels in how relevant the Napoleonic Wars are for the plot and how firmly they date the narrative. Tied to this are considerations of class, and the meaning of the navy as a symbol of meritocracy and Austen's special relation to it through her family... none of which are even mentioned in this preface.

How does the Norton Critical Edition by Patricia Meyer Spacks tackle the same part?

When did Austen write the novel and when was it published.

Brief summary of currents of opinion on tone and theme of the novel.

A discussion of traditional views on the "femininity" of Persuasion.

Critical evaluation of this in relation to contemporary analysis of the ethical and the political in Austen and the novel.

Her own interpretation of the novel as an ethical study on the concept of self-love.

A brief note on the choices made for the presentation of the final text.

I do think, even by this brief summary, one can uncontroversially say this is a better preface. While it still lacks the practicality of information that is mentioned rather than explained about the context of the novel, its use of spoilers is sparse and isolated rather than extensive. No supporting references to other novels are made (which I think is a good thing, because those involve a certain requirement of familiarity for the reader), and while the personal interpretation of the editor is presented, it is not an opinion on why Persuasion is popular, but a reference, a way for the reader to organize and approach the text of the novel.

Now on to Oxford World's Classics, introduction and notes by Deidre Shauna Lynch.

Napoleon and the briefest historical context he provides for the novel

An analysis of Persuasion's uniqueness in the Austen canon through the character of Anne

The permanence/change break through the changed roles of houses and the predominance of travel in comparison to previous novels

The role of memory and with this a tieback to continue elaborating on the historical context of the Napoleonic Wars in England and the cultural change it brought in the understanding of History

Persuasion as a sequel-like novel, for which a main interpretative key is that of History and Memory

A stronger attention on aging and disability

The interrelation between war history and social history in the novel, and the time frame of the events

More elaboration on the theme of past and present and personal history, with a contrast between Sir Walter's reading of the baronetage and Anne's reading of the newspapers

An interpretation of Persuasion as commentary on Sir Walter Scott's restoration plots; Wentworth and Mr. Elliot as two forms of return of the past.

An analysis of The ConversationTM between Anne and Harville still on the theme of personal history.

A comparison between the two endings of the novel

The assertion that the novel isn't melancholy and nostalgic in the end, but open to the future

This introduction is much more meandering and essay-like than the Norton one, and in that way much closer to Shepard's, in its use of spoilers and commentary on a text the reader is unfamiliar with. It's definitely not a GoodTM introduction as introduction, but it still includes mentions of important historical context and keys to reading the text; and its commentary provides references not only to other authors writing at the time, such as Scott and Wordsworth, but of more contemporary sources as well. There is some poliphony to it beyond a mention in passing to Virginia Woolf.

Besides that, it's also worth mentioning that the volume includes a brief biography of Austen and a chronology of her life elsewhere, a full note on the text editorial choices, a selection of bibliography for further reading, and three context appendixes on rank and social status, dancing, and Austen's relationship with the navy. As much as I'd think those appendixes should have taken the place of preface and the preface a place of afterword, the information to the reader has been included.

In terms of this kind of extra, Shepard has included a chronology of the novel, maps, and pictures in his notes, which are features the other editions don't have that might be of interest; but he has not provided good contexts like the Oxford edition does, either in the introduction or as appendixes; or pieces of solid, well researched essays and contextual texts like Norton does. Both Oxford and Norton include the cancelled chapters in an annex; he doesn't.

Someone would reasonably argue that Shepard chose to include all contextual information in the notes, and here is where personal opinion comes across the strongest: I think he does it that way, not for the reader's convenience, but for the padding of the notes and to inflate the value of his role as an editor. The addition of titles to the chapters of the novel, and the repetition of notes and information serve, in my opinion, the same end. In my opinion, there is a substantial difference between providing someone contextual information before they engage with something, and giving it as the something unfolds. Your first experience of a soccer match would be entirely different if someone told you the rules of the game, the stakes of the particular match, etc, before you get to the stadium than if they were to feed them to you during the match; and I think the former is a much more satisfying and rich experience.

So, notes!

Shepard's editions have lots and lots of notes. For example, for Chapter I of Persuasion he makes 65 notes, against 9 of Norton and 15 of Oxford. A first impression would say "oh, that's a really nice lot of info!" until you stop to think if this is really such a heavy text that it requires a note every 40 words on average. That's almost two notes on the extension of this paragraph alone. Let's dig a bit more to see where are the differences in selection.

Norton's, as you might have guessed now, tend to be editions heavy on the commentary side through essays and articles, and so notes are minimal and sparse. The notes on this chapter are on "baronetage", "patents", "creations", "Dugdale", "worsting", "chaise and four", "Tattersal's", "black ribbons", and "alineable". None of the notes go over a line. Oxford includes all these, and adds "High Sheriff", "exertions of loyalty", "duodecimo", "heir presumptive", "awful legacy", "dear daughter's sake", "every ball", and "his agent". Listing all the Shepard notes would be exhausting, so let's try some general classification of the notes that aren't the ones above:

3 geographical notes that amount to "this is a place in England, see map", which are easily understood in context.

14 glossary notes which usefulness/necessity is very variable. Awful and town are very reasonable notes; one wonders the necessity of notes on bloom and independence which are easily understood by context.

This theme of usefulness extends to the rest of the general notes. That stillborns were not uncommon during Jane Austen's era, or that Austen's fabricated entry of the baronetage actually does look like an entry of the baronetage is trivial and not necessary for the understanding of the text at all. That lady Russell is the widow of a knight is something that the text will state the following chapter, and that knights ranked below baronets will be heavily implied there too. The explanation of what an old country family is literally reads as redundant. Many notes are like this: information that is trivial, explained further on in the text or easily understood through context. This is specially the case of notes like the one saying that cousin marriage wasn't illegal, that people of high status spent a lot of money showing it off, and that rich people also went into debt.

There are useful notes, but when you trim them down to the actually pertinent and useful, there aren't many more than the ones included in the Oxford edition.

Now let me take a look at some of the notes shared between Shepard and Oxford:

On patents/creations:

Shepard:

The book listed families in order of receipt of the title. Thus Sir Walter would first see the earliest patents (i.e., grants conferring the baronetcy); there would be only a “limited remnant” of them because most early baronetcies had expired by this point due to the death of all possible heirs. Sir Walter could only know this by consulting another book such as Dugdale (see note 9) and comparing its list of all baronetcies with the entries in his baronetage, for the latter would show only existing titles—that he has done this indicates how obsessed he is with the matter. This carefully acquired knowledge arouses Sir Walter to admiration for himself as the holder of a surviving baronetcy. He would later come to the many pages showing the creations, or new titles, of the last (i.e., eighteenth) century and feel contempt for their relative newness (his came from 1660; see note 12).

Oxford:

limited remnant of the earliest patents: a title was also referred to as a patent: ‘a writ conferring some exclusive right or privilege’ (Johnson). Sir Walter regrets the passing away of the families whose titles date back to the seventeenth century. James I had created the title of baronet in 1611 and had used the financial support he obtained from the baronets he created to fund his army in Northern Ireland. endless creations of the last century: Sir Walter’s contempt for the low-born recipients of the new titles that the government had distributed would extend to those who, like the commander of the Fleet, Lord Nelson (the son of a mere country clergyman), had recently been rewarded with newly created peerages for their war service.

Oxford omits information that will be said explicitly later on in the text (that the Elliot baronetcy dates from 1660), and in its place includes a very relevant example of a new patent to show why Sir Walter looks with contempt upon new creations, rather than simply repeating what the text says.

High sheriff:

Shepard:

The High Sheriff (often simply called sheriff) was, after the Lord Lieutenant, the leading official in a county, responsible for the execution of the laws. He served for one year. The position, usually held by a member of the gentry, carried great prestige and would be a source of family pride.

Oxford:

the chief representative of the Crown in county government, the High Sheriff presided over parliamentary elections and the administration of justice. Holders of the office (which is now a mainly ceremonial one) were chosen annually from among the principal land-owners of the county.

While Shepard gives me something I can gleam from the text itself (the social importance of the title) Oxford tells me what his job entailed.

The note on duodecimo is an interesting case, where technically Shepard's information is more complete, but he spreads it in such a way as to pad his note count and extension. He simply notes that it is a small book, and refers to a note on books on chapter X:

“Large” could refer to thickness but is more likely to refer to length and width. At this time books came in widely varying sizes. The principal ones were folios, in which a standard sheet of paper was folded in two to make the pages, quartos, in which the paper was folded into quarters, octavos, in which the paper was folded into eight pieces, and duodecimos, in which the paper was folded into twelve pieces. Thus the length and width of a duodecimo would be one-sixth those of a folio. The type of book would influence its size. Popular books, especially novels, tended to come in smaller sizes, while serious, scholarly ones were usually larger. Thus the size of Charles Hayter’s books helps spur the Musgroves’ worries about excessive studying. They might be naturally inclined to such worries, not seeming bookish at all themselves.

What's the reference for this note specifically? "and having been found on the occasion by Mr. Musgrove with some large books before him, Mr. and Mrs. Musgrove were sure all could not be right, and talked, with grave faces, of his studying himself to death." Clearly the natural place of this note is on "duodecimo" in chapter I, but by this strategy Shepard not only manages to make two notes out of where there should be only one, but inserts notes visually in chapters in such a way as to make it appear like he has lots and lots of substantial, erudite explanations to make all the time. This strategy he repeats a lot through the text.

It's these habits of trickery, of padding and puffing up that I find intellectually dishonest, and rather inexcusable in a man who is an academic and must know better. I have also accused him of sloppiness. Perhaps I could have been more charitable and say that Shepard is a Historian by profession, and the things that touch on the literary and the philosophical, his references are much more scarce and lacking, not particularly well researched (in contrast with his historical notes). I mentioned how despite being relatively similar in tone and aim, the contrast between Shepard and Oxford showed that the Oxford annotator was familiar with literary authors in ways Shepard wasn't. This reflects in notes as well. For example:

Pinny

Shepard:

Charmouth is another coastal town (see note 8, for a description). Up Lyme sits atop the ascent next to Lyme, and offers views of the town and sea. Pinny is a spot a little west of Lyme. (For locations, see map.)

Oxford:

Many readers encountering this description of the scenery of Pinny, just west of Lyme, have detected an echo of the poet Samuel Taylor Coleridge’s ‘Kubla Khan’ (composed 1798; published 1816). See lines 12-13: ‘But oh! that deep romantic chasm which slanted | Down the green hill athwart a cedar n cover. . . .’ The romance of the landscape is the product of a series of landslides, which have carried into Pinny Bay some of the cliff paths on which Austen must have walked during her stay in Lyme.

Marmion and The Lady of the Lake/Giaour and The Bride of Abydos

Shepard:

These are two long narrative poems by Walter Scott. In contrast to the above poets, Scott immediately achieved great popularity. The two poems cited here, his most widely read, were among the best sellers of the age—and in this age, poetry generally outsold novels, at least until Scott’s own novels appeared. Both poems are stories of love and war, set in sixteenth-century Scotland; a critical element of Romanticism was fascination with the past, especially the medieval past, and Scott was central to fostering this sentiment. Jane Austen mentions each of these poems in her letters. These are two narrative poems by Lord Byron, the other highly popular poet of the time. Both are tragic love stories set in the Middle East; fascination with foreign lands, especially ones regarded as highly exotic, was another feature of Romanticism.

Oxford:

The first two titles refer to long narrative poems, romances of medieval times, published by Sir Walter Scott in 1808 and 1810; the third and fourth refer to ‘Turkish tales’ published by rival poet Lord Byron in 1813. The poets’ representations of warrior heroes committing doughty deeds in picturesque settings probably contributed to their wartime popularity. Still, the notes that Byron appended to his poems adopt a more cynical view of their heroes’ sabre-rattling than do the poems themselves, in ways that distinguish their account of heroism from Persuasion’s, idealistic view of its chivalric war hero. Anne and Benwick prove themselves faithful observers of the literary scene when they attempt to adjudicate between Scott and Byron (an attempt they resume on p. 90). Similar efforts at a comparative evaluation of the decade’s two most commercially successful poets are pursued in William Hazlitt’s The Spirit of the Age (1825) and the anonymous A Discourse on the Comparative Merits of Scott and Byron (1824).

Our best moralists

Shepard:

These could refer to a wide array of works, especially from earlier years. The eighteenth century, whose spirit Jane Austen exudes in many respects, was characterized by a general preference for prose and an emphasis on greater rationalism than the Romantic period. Moral essays, frequently supported by observations on life and contemporary mores, were popular throughout the century. Collections of letters, often highly polished, also appeared. Finally, biography developed as a significant genre, and it, like much of the prose of the time, often had a moralizing tone, pointing out lessons and presenting examples of virtuous behavior.

The difficulty in following precepts of patience and resignation had been a popular theme of many writers, especially when discussing the influential philosophy of Stoicism, which counseled rational indifference to the ills of life. Similarly, as in all ages, many who preached virtue did not always live up to their preaching. One of the most influential prose moralists of the eighteenth century, and a favorite author of Jane Austen’s, Samuel Johnson, addresses this point in one of his essays (The Rambler, #14). He writes that “for many reasons a man writes much better than he lives.” But he argues, “Nothing is more unjust, however common, than to charge with hypocrisy him that expresses zeal for those virtues, which he neglects to practice; since he may be sincerely convinced of the advantages of conquering his passions, without having yet obtained the victory.” Rather, he claims that such a man should be commended for attempting to impart to others some of his own, possibly hard-earned, wisdom. From this perspective, Anne’s counsel to Captain Benwick, which does certainly come from her own extensive experience, would represent a valuable and benevolent service to him, whatever her own failings in achieving patience or self-control.

Oxford:

The texts Anne prescribes to Benwick would very probably include works by Samuel Johnson. Throughout the second half of the eighteenth century readers made an almost medicinal use of the essay series The Rambler (first published 1750-2), in which Johnson treats such topics as the dangers of solitude and the necessity of resignation in the face of loss. Johnson’s biographer James Boswell claimed of The Rambler that ‘In no writings whatever can be found . . . more that can brace and invigorate every manly and noble sentiment’ ( Life ofJohnson, ed. R. W. Chapman (Oxford: Oxford University Press, 1983), 154).

Here I would note that the much longer two-notes reference of Shepard sits between vague and repetitive, and that in my opinion both sin by omission of Shaftesbury (Anthony Ashley Cooper).

Dark blue seas

Shepard:

Byron’s The Corsair, a work Jane Austen mentions reading in a letter (March 5, 1814), begins with the lines, “O’er the glad waters of the dark blue sea, / Our thoughts as boundless, and our souls as free.”

Oxford:

Benwick and Anne perhaps recall the second canto of Childe Harold's Pilgrimage (1812). Its description of the hero’s voyage from Greece and of the ‘little warlike world within’ (ii. 154) he enters when he boards the ship certainly glamorizes nautical life: ‘He that has sail’d upon the dark blue sea, | Has view’d at times, I ween, a full fair sight’ (ii. 145-6). They may also be remembering the lines that open The Corsair (1814), a description of the freedom that the poem’s pirates enjoy as outlaws: ‘O’er the glad waters of the dark blue sea, | Our thoughts as boundless and our souls as free’. In a letter of 1814 Austen sounds jaded about the Byronic heroes, such as Harold and Conrad the Corsair, who enthuse Captain Benwick: ‘I have read the Corsair, mended my petticoat, & have nothing else to do’ ( Letters , 257).

'eleven with its silver sounds’

Shepard:

The origin of this phrase, which seems, based on the quotation marks, to be from a particular text, has never been identified for certain. One commentator, Patricia Meyer Spacks, suggests the phrase may allude to a line in The Rape of the Lock by Alexander Pope, a poet Jane Austen certainly knew well: “And the pressed watch returned a silver sound.” The phrase does not represent a literal description of the operation of the clock, for the component parts of a clock were made of other metals than silver, usually brass or steel. Clocks were standard parts of a home, designed for elegant appearance as well as utility.

Oxford:

The literary allusion has not been traced. In 1921 Herbert Grierson conjectured that Austen was here misremembering the description of the coquette’s morning rituals that Alexander Pope gives in The Rape of the Lock (1712): ‘Thrice rung the Bell, the Slipper knock’d the Ground, | And the press’d Watch return’d a silver Sound’ (i. 17-18).

Note how here Shepard is crediting Meyer Spacks, but does not reference where (the Norton Critical Edition), whereas the Oxford annotation traces the conjecture to what appears to be its original proponent.

The pen has been in their hands

Shepard:

At this time there had been moves to improve the quality of women’s education, but it still was inferior to men’s, especially at the higher levels—no universities admitted women. As for books, while women had come to constitute a substantial portion of those who wrote novels, men dominated virtually all other fields of literary endeavor.

Oxford:

even as she has Anne object to examples from books, Austen echoes the precedents set by figures in the literary tradition who have previously commented on men’s monopoly of the written word. Anne sounds like the Wife of Bath in Geoffrey Chaucer’s Canterbury Tales , who is exasperated by male clerics’ representations of women, and, closer to Austen’s time, like Richard Steele’s character Arietta, who recounts the story of Inkle, the mercenary Englishman, and Yarico, the native woman of Jamaica whom Inkle betrays, so as to counter her male visitor’s trite examples of female inconstancy. Arietta observes, ‘You Men are Writers, and can represent us Women as Unbecoming as you please in your Works, while we are unable to return the Injury’ (.Spectator, 11 (13 Mar. 17 n)).

I'm not saying that necessarily Shepard's notes should be absolutely excellent in every single way and aspect in order for it to be a serviceable/good annotated edition; but all the things I have mentioned above make them appear to me thoroughly undeserving of being considered excellent, above the rest, or definitive.

[elrielffs]

the way people downplay azriel and try to up lucien is so funny to me. this fandom babies lucien so much, i literally cannot. why are we acting like lucien is innocent? he isnt.

I have no idea. I think Eluciens or Lucien fans really cling to that first book version of Lucien and yah, he was interesting in that book, flaws and trying to send Feyre into a trap to kill her and all and had some great scenes UTM.

But imo he becomes such a non-character and plot device afterwards. SJM does not give him any major scenes and packs him off out of the plot--no chemistry scenes with Elain (him figuring out she's a Seer etc would have been a BIG moment for them, especially after Madja stating a mate would know what's wrong, but that's given to Azriel), no major scenes with Feyre that is not a means to move the plot forward, not a major player in the Meeting with the High Lords, the only thing he gets to do is go look for Vassa and I've seen Eluciens and stans opine that his big moment of returning with ships and an army was taken by Archeron Papa in ACOWAR.

And yeah, that's very telling that the culmination of his contribution to the story is given a grand entrance/reveal to another character. And SJM didn't just forget about him in that moment.

After that, Lucien is packed up and sent away again out of the narrative. Even though we don't see a majority of characters or Elain in ACOSF it would still mean something if we knew Lucien was actually there but he isn't. It's like SJM really can't be bothered with him atm.

This is my personal opinion but SJM writes Lucien post-ACOTAR with no flavor. Idk if she lost interest or just transferred that to Eris but like...

And as for Lucien beating Azriel in a Blood Duel? Absolutely not. Azriel trains if not every day, then weekly. Azriel uses his skills frequently. Lucien has sat in the Spring Court and gets winded going on a hike. Even with his supposed powers as a High Lord's son...Azriel was able to topple Eris so that's a no go as well. There's no version where Lucien beats Azriel on Azriel's worst day and Lucien's best. Rhysand even states that Azriel is almost as powerful as him and Rhysand is the most powerful High Lord ever.

Also...Azriel would never had sat by and let Jurian make a rape joke about Elain, mate or not. For all people go on how "gentlemanly" and "good" Lucien is...

And despite all what I typed, I don't hate Lucien. I'm just firmly neutral on him as SJM hasn't done anything with him truly after ACOTAR. People say Elain is boring but Lucien is truly, truly the most boring character in the series for me and the sad thing is, there are things to work with there, there are things SJM could have done but she didn't. (Jesminda, the Autumn Court, how he's supposedly a sly fox, his Human Land travels, his Jerry Springer daddy trouble)

If Lucien was a spice, he would be flour.

[lamnwar]

KNB boys getting caught with their s/o? Specifically Kagami, Kise and Aomine.

getting caught doing what hm? 🤨 jk jk!! that's a very fun request I really enjoyed writing these hcs so thanks for the request babe 💕💕 (also sorry took me so long but coming from me are we surprised lmao)

MDNI 18+

GETTING CAUGHT // KNB Headcanons

Context: what if you and your boyfriend get caught in action, huh? All characters are aged-up for plot purposes (18+).

Pairings: Kagami + Kise + Aomine x gn! Reader

Warnings: nsfw (obviously 😭)! mention of sex (penetrative and oral), exhibitionism, public sex (kinda), more crack than sexy tbh but still!

KAGAMI

Ok first, let's preface by saying that it really is not like Taiga to take the risk of having sex when he knows you guys might get caught

He really tries his best to conceal his needs till you can find a place with enough intimacy to proceed

But sometimes, he really can't help it, you know?

And it's kinda on you for tempting him too! You know the guy gets riled up easily so maybe you did it on purpose now... didn't you?

(In other words, it's a 100% your fault oops)

Anyways, long story short, you got him so turned on that he had no choice but to drag you to the closest room with the very clear intent of being burried deep inside you

He's midway through restlessly thrusting into your tight little hole and he's so lost on the feeling that he doesn't even realize how loud the both of you are

There could be a whole party going down, y'all would still be heard

And it doesn't take long for someone to walk in on you bend forward, Kagami's fat cock drilling into you with so much fervour

Neither of you realizes that someone's there till they make themselves heard

A string of "oh my fucking god, I'm so sorry!!" getting the both of you to look at the door with wide eyes

And Kagami is so stunned on the moment to even think

Under the surprise, his first reflex is to hide his dick completely inside you, getting a surprised yelp out of your mouth

And when it hits that you guys got caught, he goes flushed red

Given that the person catching you isn't a perv, they close the door rapidly after but Kagami is still under total shock

He doesn't move for a while, and you have to bring him back to Earth

So here you are, Taiga's dick deep in your guts, trying to move to get him to react or something

"Uh... Taiga? What-"

When he finally snaps out of it, he hurrily gets out of you, quite to your displeasure though

And it's when you grab him and pull him back to you that he realizes that you have no intention to stop, despite getting caught

"They already know anyways, doesn't change a thing"

KISE

Definitely the one that got you in that situation in the first place

LISTEN there's no way he's not gonna use his charms to get you to follow him in his ministrations

So he just had to bat his pretty eyelashes and tell you the right words for you to accept the position you're currently in

Meaning split in half by Kise, as he lets out the prettiest moans ever, like there's not a whole crowd on the over side of the wall

It doesn't take long for people to notice what you two are doing

But that doesn't stop Kise, oh no haha

He's a showman of sorts, so it doesn't bother him that to the surrounding, it is clear as day that he's fucking you senseless

Only when someone actually shows up to tell you to stop does he care

And not because he minds being seen in such position

Mainly because you seem very embarrassed that you've got caught

Kise would argue that you are at your hottest when your face's flushed, hair disheveled, body contorsioned to accomodate him in between your thighs, but that's Kise's very biased opinion

To a stranger, it's a rather scandalous sight so it's very likely that you'll hate being in such predicament

Lucky for you, Kise talks the way out of trouble for the two of you

But you still urge him to leave the place and go to somewhere we're it's actually acceptable to have sex

(He loves you so much and is so needy for you though, he can't even stand the drive back home, he'll go back deep into you in the car itself <3)

AOMINE

Alright for this one, if you're wondering how you ended up having public sex, the answer is rather simple

Daiki and you are just super horny and can't keep it in your pants (sorry 😔)

It's really in the heat of the moment y'all figured that nothing mattered

Not even the fact that you're giving him head in a very public space

He's just so tempting, you know!!

And he's been looking at your lips for the past hour, so you should have known that he'd end up begging for you to suck his dick

So you just found the first place where you could get on your knees and didn't hesitate twice before getting him out of his pants

Now here you are, sloppily giving him the best head of his life with a bunch of strangers around

I'd like to say that neither of you are exhibitionist but this situation is somewhat super hot

(Again, y'all are just super horny)

Anyways, doesn't take long for you two to get caught and nearly cause a heart attack to whoever sees you

Thing is!! Aomine has no intention to stop

You neither, by the way

You're both on a mission to make him cum so you're not stopping

Instead, you pick up the pace, till he finally snaps and cum down your throat

Swallowing it all because you shouldn't leave any trace!

Once that's done, you do apologize to your surrounding

Takes a couple of hours for you two to realize what you've done and that it's lowkey a public offense

Promise that it won't happen again but Aomine really can't help wanting you anytime and anywhere :)

[hxhhasmysoul]

I’ve been seeing these jjk takes such as “Gege doesn’t like writing jjk!” And what not. And while I personally don’t think so, I do think Gege is getting a bit burnt out hence the more fast paced storytelling due to the cutthroat manga industry. But claiming that Gege doesn’t like writing jjk? A person who isn’t passionate about their story would not have such an in-depth power system and world building. But that’s just me

Sorry for taking so long to answer. 

My personal opinion is that somewhere around the foreign armies invading Gege decided to wrap up JJK. There’s so much stuff set up in the story, so many plots going on, and suddenly the manga sped up. 

I won’t express a definitive opinion as to why that happened but I will tell you what I suspect may have happened and how I feel about it. 

I agree with you, that Gege’s put a lot of passion into JJK. The story is intricately woven, connected through character arcs, intrigue and themes. 

I also get how people can get vibes from JJK that its author doesn’t like writing it. I don’t know what the takes you mention mean by “Gege doesn’t like writing jjk!”. Because if it’s an accusation against Gege, then well this fandom’s always been the pits.

As a writer I get burn-out. There are several stories I have in progress that I’m passionate about, but it takes me months to update. These stories are not my job, I can give myself time to just let them hang there, unfinished. 

In the cutthroat manga industry there’s no such luxury. There are deadlines and exact page counts and chapter counts. And there’s the fandom and expectations. I don’t know how much of the social media vitriol gets to Gege, but even if the social media is handled by WSJ, Gege is probably aware that there’s just a lot of chatter. From a story that was supposed to get cut from WSJ for not performing well, JJK became its most popular title and I think that took a toll on Gege’s mental health.

I’ve written before about how devastating it must’ve been from the point of view of a creative to be told that your story is not popular enough to continue. Then moving an event from later in the story (Yuuji’s death in the detention centre) forward  to give the story some ending. Just for it to catapult the story into popularity and being told that the story will continue.  The whiplash, the bitterness, the desperation to rearrange the story to make sense with the new order of events that wasn’t planned for it. 

Also JJK wasn’t the long series Gege pitched to WSJ. They weren’t planning on expanding on Zero, at least that was not the first long form series they wanted to do. 

There are all these factors surrounding the creation of JJK that could’ve soured Gege on the story. It’s not impossible Gege stopped liking writing JJK at some point and just wanted it to end. 

Like there are these moments after the foreign troops bit that are so good, that to me look like stuff Gege was happy to write and draw. Moments centering Yuuji, or between Yuuji and Sukuna, fights including Maki, Kenjaku’s date with Takaba, Hakari fighting Uraume, Toudou’s comeback. But for example the whole fight between Gojou and Sukuna doesn’t feel to me like anything Gege wanted to write, at least not in the form it exists now. 

For me, as a writer, it’s a very sad experience to get vibes from moments in the story signalling that the author wasn’t excited to write them. I feel so much sympathy for Gege. I think there’s something really tragic about how JJK came to be.

[ayakashiz]

Thoughts on Alien Stage FINAL Round

This is gonna be more of a word salad of my raw, biased feelings after watching R7 (with some leftover R6 thoughts) rather than a coherent, comprehensive analysis. Till’s death so far has been the most devastating to me, because I fail to see the meaning or reason behind it, story wise. Sua’s death was a catalyst to shatter Mizi’s rose colored glasses and open her eyes to the cruel reality of their world.

Ivan’s death was the climax of his character arc, both meant to show us his mask finally breaking and a release of his true emotions, and to be a turning point for Till to move forward (I will get back to this). It was also a sobering reminder of the dangerous and unforgiving system the characters live in, shattering the false sense of security built up during All-in and therefore raising the stakes for the upcoming rounds. 

Even Hyunwoo’s death had a similar effect as Sua’s on Hyuna. It fundamentally changed her, exposed her to the ugly side of Anakt Garden and Luka’s true nature (also a direct product of said abusive system).

But who or what did Till’s death change? What did it tell the audience that it hadn’t been told before and what purpose did it serve the plot? His death traumatized Mizi and brought her back to reality, but we had seen that before with Sua. It highlighted Luka’s absolute command of the stage, his power-play and the joy he gets out of asserting dominance over his competition; but that point had already been made very clear in R5. He even used the exact same tactic to win.

I love tragedies, and the beauty, the climax of tragedy is the catharsis it provides. It’s defined as “the process of releasing, and thereby providing relief from, strong or repressed emotions”, and this is what R6 managed to accomplish perfectly. Granted it still left me with many unanswered questions, but the purpose was clear. 

Till’s death in contrast left me feeling empty. It lacked buildup and catharsis, and in my opinion it stripped the previous round of its initial impact in the overall story (bear with me).

I was excited when I heard about vivimeng’s interview where they stated (very paraphrased) something along the lines of Alien Stage being a story about love and grief, and how the living are affected by those that they have lost. 

We see the way the grief of Mizi possibly being dead affects Till to the point he loses the will to keep fighting for survival in R6, and then we see how shocked and horrified he appears while witnessing Ivan’s death, not as a concept or possibility but something tangible happening right in front of his eyes. This sets the audience up to wonder how that grief (and Ivan’s actions) will affect him, how it will make him question his assumptions about Ivan’s goals and intentions, because they were never able to understand each other in life.

And don’t get me wrong, I did love the way his trauma from Ivan’s death was shown in such a raw way in R7, the memories of him filtered crimson red and Ivan’s hypocritical mocking of Sua coming back to bite him, because unlike what he assumed Till did care, so much so that it ironically contributed to his demise.

What I didn’t like was that, because R7 happened immediately after R6, Till never had time to sit with that grief, never even had time to process it. He didn’t get a chance to look past the visceral image of a friend dying in front of him and question why Ivan acted the way he did, why he decided to throw the round. (Even if Luka’s provocation scene still went the exact same way, it would have hit so much harder if we had some context as to why Till’s reaction is so strong to the point of a nosebleed, beyond the obvious shock and stress of a life or death situation.)

I would have loved to see Till do some introspection, even if it concluded in anger, frustration and confusion. And possibly regret, in some form. Regret is an overarching theme in Blink Gone’s lyrics, full of cheerful proclamations of living in the moment and forgetting the burdens of the past, while Till is clearly still haunted by it. And yet, such regret isn’t shown anywhere. 

This would have been the perfect moment to learn about Till’s POV of the meteor shower scene. Sure, it was an event that affected Ivan more deeply, but I find it very hard to believe that Till (arguably the one who was tortured the worst being in segyein captivity) doesn’t reminisce about it, doesn’t ponder about what would have happened had he made different choices, especially after Ivan’s death. Even the lyrics of the song “the dark crimson air embraces us, lifting our spirits, and the fiery thrill blazes out to the sky” are a blatant callback to it, so I’m surprised none of it was utilized visually or narratively.

Of course, it’s a short video and perhaps challenging to cram everything into a single round but alas… that wouldn’t have been an issue if Till hadn’t been killed off right away. 

Another regret to explore could have been how he was never able to get close to Mizi when he had the chance. He expresses this in his yearbook message to her, and we know he wants to, but his own shyness and perhaps inability to see Mizi eye to eye rather than put her on a pedestal was ultimately his biggest self-imposed obstacle. I would have also loved if Till lived long enough to realize this. Grief (over Ivan and Sua respectively) could have been a vehicle for Till and Mizi to truly connect as friends. I was really looking forward to how their relationship would develop once Till was able to look past his idealized version of Mizi and see how she has grown from that bubbly, sheltered little girl he knew in Anakt. He witnessed some of this in R5, but I don’t think it ever truly sank in.

Overall it was such a missed opportunity to show us Till's perspective and inner world outside of his adoration of Mizi, which is the only POV we ever get from him (I know we might get a comic with his thoughts the same as Ivan and Sua, but this will no longer influence the main story or be acknowledged by the remaining characters either way).

And while the same could be said about Ivan’s character, and I definitely have many questions left about him (which I hoped would be answered via Till), it makes more sense for his POV to be so Till-focused because the nature of his love is obsessive. Through Ivan’s POV we also learn a lot about his inner world, how he sees himself in comparison to others, his self hatred, how his fascination with Till stemmed from finding in him what he thought he himself fundamentally lacked, how he carried a strong desire to connect and be acknowledged by Till but his ability to form attachments in a normal way was stunted from the way he grew up, how he regretted this as an adult, how his near-death experience cemented his masking and complacency as a survival mechanism and how this very thing that helped him survive ultimately kept him isolated, etc etc. A lot was shown about him as a character in two MVs.

And even if Till’s feelings for Mizi had a more innocent, boyish nature (as stated by vivimeng), I would have liked to get a deeper insight into how they began, how and why Mizi became his light and muse and driving force. Of course it’s easy to come to a conclusion, but this is something I wanted to learn from Till himself. There’s also this whole untapped potential and exploration of his most brutal, explosive side, the one capable of turning his former classmate into a sacrificial lamb with zero regret for the sake of expressing his feelings, the one wild enough to risk death or punishment breaking an alien guitar just to get Mizi’s eyes on him. The genius. The mad artist.

There was such a huge buildup of Till being a wild card, the one to finally threaten Luka’s unshakable number one place because of his unpredictability, the one pet to challenge the status quo. I wish the trauma of Ivan’s death had awakened some of that madness, too. 

Rather, the progression of his emotional state struck me as a bit confusing (at least before Mizi showed up). Nothing had changed for the better after R6 and on the very contrary, things had just gotten exponentially worse. Not only was Till already in a depressive state over Mizi, he just watched Ivan die, assuming R7 took place only hours after R6. And yet at the start of the MV he appears very much in control and fairly unbothered up until Luka’s taunt throws him off balance and the reality of his weakened mental state comes through.

There was no narrative progression to how he went from point A at the end of R6 to point B at the start of R7.

I’m not sure if the intention was to show Till being in denial and trying to drown out his feelings but not only did it not come across as intentional but that would also be such an un-Till thing to do. He’s officially described as the most sensitive and emotional of the cast, and he isn’t good at or I think even capable of masking or hiding his feelings to the degree Ivan does.

It also feels like a step back for Mizi’s character development. She spent weeks (months??) with the rebellion and now knows how to use guns and grenades, what it takes to sneak past security and the risks of being seen. Yet when she reached for Till’s hand in the crowd she was back to R1’s blind optimism, rather than the anxiety she showcased before setting off to the rescue attempt.

Even if she had managed to pull Till off stage before the bullet got him, they would still be alone and unarmed (or not nearly sufficiently armed) in a crowd full of segyein. It was far from a victory yet.

I do LOVE how there was a role reversal though, with Mizi fiercely trying to protect him the way Till spent his whole childhood doing, refusing to leave him behind even if that compromised whatever Hyuna’s main plan was (which has been confirmed NOT to be a rescue mission from the start). I reckon also that she was probably so desperate and relieved to see the last of her friends still standing after losing everyone that for that moment she lost sight of the harsh lessons she had learned previously.

There are many wonderful things about the MV too. The art direction is INSANELY good, the use of the flashing colors of the stage to match with Till’s emotional state, the incorporation of the instruments, the beautiful quality of the animation that keeps getting better with each release, and the way they managed to make it so emotionally gut-wrenching despite the absolute banger that is the song. 

I’m glad that Till at least got to die in the arms of someone he loved and felt safe with, being cradled with the gentleness he was deprived of his whole life.

That said, the episode still left me feeling quite empty and disappointed, personally. I’m disappointed that Till’s character was discarded so early. Even if he was to be killed off in the end, I would have wanted them to postpone it a bit longer, give us a bit more time to watch him grow and learn about him and make his death something more meaningful than shocking. 

I’m disappointed that his death was the last nail on Ivan’s coffin, because Till was the only other character who could have carried his memory and give the audience a different perspective from Ivan’s extremely black and white, biased one. I’m disappointed that those answers that the audience was eager to learn were just left as a footnote on Patreon, which makes me feel like they never really planned on elaborating on it in the main story. Though who knows, maybe we’ll get a comic or supplemental material in the future.

I know the series is unfinished, and a lot can still change. I’m still deeply invested in finding out what will happen, especially since Hyuna is one of my absolute favorite characters (who now I’m also terrified for).

Many of my opinions may change with the new releases, but this was my impression now, with Blink Gone as a stand alone MV. I also wanna reiterate that I’m extremely biased because Till is a character very dear to me and I feel like he brought so much life and spunk to the story, so it just seems a little bleaker without him in the picture. 

To be honest the more I marinate on the thought, the more I’m inclined to believe that Mizi was always intended to be the last one standing, and that the plot just took a turn different than my expectations. Either way I’ll be along for the ride and wait for all new updates on Friday.

I refuse to put on my ‘Till is alive’ tinfoil hat because I just cannot handle more heartbreak, lol. But there was that tidbit of information about Sua having a loyal fanbase demanding her revival, so that tells me it is possible in the ALNST universe. There’s also that ‘joke’ comic on Patreon with Mizi spoiling the whole plot (iykyk). So we might actually get to see at least some attempt at Sua’s revival. Who knows!

Anyways I have yapped even more than I did after R6, so I’ll leave it here. If you made it this far, feel free to share your opinions or predictions!

[pikahlua]

I've been in the dkbk fandom for 3 years and my husband is an anime only. We just watched the new episode and he was disappointed. He predicted that Star will die and the plot won't really move forward. He's a sci-fi fan and he's seen many a series fall apart after more characters, complexity, and a war are introduced. I've been avoiding spoling the manga for him but since he's lost interest, I spoiled him and confirmed that the manga has been in a holding pattern for 2-3 years with this final arc. I told him what you said about Bk's death and Deku losing his arms as being symbolic but he said those actions being reversed lowers the stakes and it's hard to maintain emotional investment if you know that major plot points will just get reversed. I wanna believe in Hori but I'm waiting for payoff instead of enjoying the story. Is what's happening really good storytelling if this final battle has been dragging on so long and Deku's characterization has come to a halt?

I’m hesitant to answer this. I said I wouldn't answer any asks that were looking to me for reasons to keep liking MHA, and I really don't want to encourage more asks like this--and yes OP, I don't know if you realize it but that's basically what you're asking. You've framed this question around your husband's opinions, but you're couching your own thoughts inside.

If your issue is that you and your husband like different media, then that's a marital issue to resolve; accept that you shouldn't always watch all media together, particularly if doing so isn't fun for both of you. But your husband doesn't like what's going on in MHA, and this is enough to make you doubt whether or not MHA is written well? Despite the fact that many, many people like MHA in its current form? That sounds more to me like you agree with your husband. It certainly doesn't sound like you tried to sell this story arc to him.

I decided I'll answer a question like this this one time because it'll help me summarize my feelings on these topics, though I'm sorry to say the topics I address may not be what you expect.

"We just watched the new episode and he was disappointed. He predicted that Star will die and the plot won't really move forward."

Is this really a surprise? I don't remember anyone being all that into this arc when it first came out. Everyone was saying Star would die, and yet most people did not correctly predict the actual outcome of this fight--that Star's quirk would be eliminated and Tomura would be weakened. Most guessed Tomura would steal Star's quirk and become overpowered.

"He's a sci-fi fan and he's seen many a series fall apart after more characters, complexity, and a war are introduced."

You mention sci-fi but uh, has your husband watched like...any other anime? Ever? At all? MHA is far from the first shounen anime to do this. You can't really make your husband like MHA if his problem is that he came to an anime restaurant and got upset when there was nothing but anime on the menu.

Seriously, MHA is not doing all that much different with its ending than what Fullmetal Alchemist Brotherhood did, and that's one of the most critically acclaimed shounen anime of all time. If he's predisposed to dislike the stuff anime does, that's not a writing problem. That's a mismatch of anime with his tastes.

It strikes a nerve with me because I grew up loving anime and was bullied for it by people with opinions such as your husband's. Now, the mainstream-ification of anime has drawn those same sorts of people to anime for whatever reason, and all they seem to wanna do is complain about anime being anime. Take sci-fi for example: I typically hate outerspace-themed media and the concepts such media often explore, and you know what I do? Not watch it. I've decided such media is not for me. Honestly, the same is true for a lot of anime too. I am very picky about anime because there are some tropes or themes I'm just sick of.

"I've been avoiding spoling the manga for him but since he's lost interest, I spoiled him and confirmed that the manga has been in a holding pattern for 2-3 years with this final arc."

This is where it sounds like you primed him with your own feelings, because it certainly doesn't sound like you were selling him. I don't even know what this means. "A holding pattern"? Do you mean the arc has just been going on a long time (see: welcome to anime being anime)? Or do you mean not much has happened with Izuku? Because I am getting a bit of a sense that your issue is you're an Izuku fan and his growth has been slow because the arc has had to wrap up all the other characters' arcs first. Because a lot HAS been happening with all the other characters (and we recently got some Izuku progression too).

The only other thing I can think of is an opinion I've had for a long time. I think a lot of anime fans don't realize they're not actually manga people. You watch an anime you like a lot and you wanna get up to speed, so you go to the manga not understanding that the manga is different from the anime. The pacing is different, as is the presentation and focus on details. The manga presents one or two story points per chapter, whereas anime episodes are 2-3 chapters compressed into one sitting. The anime's major selling point is its fast pacing, but this is not a selling point of the manga--of ANY weekly manga. "2-3 years" means very little in the context of a 15-page-a-week-AT-BEST manga.

"I told him what you said about Bk's death and Deku losing his arms as being symbolic"

The symbolism angle is one thing. I've never really understood why people like any media without symbolism--that's what gives a story its flavor, isn't it? If we're talking about tropes and familiar story structures, the artist's approach to familiar items is precisely what makes it unique and interesting to me. I wouldn't become invested enough to care about Katsuki's death if all that mattered to me was the surface-level event.

But are you saying you spoiled the fact that Izuku lost his arms? That's...not that big of a plot point to spoil if you ask me. Certainly not one I'd bring up as one of the greatest hits of this arc. This is another detail that makes me feel like you're particularly focused on Izuku, which is not a bad thing nor is there anything wrong with that, but Izuku doesn't actually feature very much in this anime season all things considered. It's hard to sell anyone on what's currently happening with Izuku in the manga since we just got to his stuff and it's not complete.

Again, this was what happened with Fullmetal Alchemist. The last arc covered the events of one day that ended the final war. The main characters were only occasionally featured and didn't do all that much in the season until the very end, as one would expect. When it was coming out in manga form, the pacing was admittedly very weird because of this storytelling choice, albeit it felt a bit different from MHA since it was a monthly manga and covered more ground per chapter. But when the same arc was adapted to anime, the feeling and pacing were very different, and a lot of iffy elements improved on me as a result.

"he said those actions being reversed lowers the stakes and it's hard to maintain emotional investment if you know that major plot points will just get reversed."

Is your husband someone who watches things only once and then can't rewatch and enjoy them ever again? Does he only watch stories for plot twists and once he knows the twist he stops liking it?

I don't understand this general obsession with consequences and stakes a lot of people have. Sure, they are elements that can contribute to a mood or feeling in a story, but they're far from the make-or-break linchpins so many people make them out to be. The "reversals" are major plot points too. I find much more enjoyment in trying to follow why a writer would do such things and what they're trying to say than wondering how likely some character is to die or how many people will be brutalized.

I'm in the camp that believes spoilers should not make a difference in whether or not I find a series "good" or whether or not I can invest in it. I personally have played video games specifically BECAUSE they were spoiled for me and it sounded like I would like them, and having those major things spoiled for me did not detract from my enjoyment at all. I'm not saying everyone has to be like me, but I do certainly think a story's ability to persist as an impactful and memorable work has very little to do with its stakes and everything to do with how it handles its story and characters. Was Star Wars memorable and beloved because of how many people were at risk of dying in it? Was something taken away from the story when Luke got a robotic replacement for the hand he lost?

Goodness, didn't the MHA fandom predict for years that Dabi was Touya Todoroki? And wasn't everyone just waiting for the reveal to fucking happen already so we could get it over with? And wasn't the entire fandom surprised and enthralled when the Touya reveal did happen precisely because it was handled in such a unique and cool way with Horikoshi's flair? Did predicting that twist really ruin anything for the story?

A good story is a good story.

"I'm waiting for payoff instead of enjoying the story."

I can't know what payoff you're waiting for. I've enjoyed all the events and details along the way, even if there were some expected dips here and there. When I went back and reread the entire arc in one go, the pacing really hit me differently and I got a lot out of it. If you're not enjoying the story, that's not about whether or not the story is employing "good storytelling." I've enjoyed plenty of stories that were told poorly and sloppily because there were other redeeming features that appealed to me. This is about preference. You and your husband have your own personal preferences, and that's okay! But you both have to manage your preferences with respect to each other and to yourselves.

"Is what's happening really good storytelling if this final battle has been dragging on so long and Deku's characterization has come to a halt?"

If you're actually interested in whether or not MHA has "good storytelling," I'd suggest you take a creative writing class or otherwise learn about the way stories are told in different media i.e. novels vs comics vs TV shows vs movies vs video games. But I honestly don't think that's what you mean. I think you're looking for permission to keep liking MHA even if you personally don't like its storytelling or how Izuku's character is currently being handled. I can tell you from experience that yeah, you can. Plenty of people do it all the time. Some people get so frustrated with the stories they like they write fix-it fanfiction. Some people appreciate the way a story is so perfectly written that they cannot build a fandom around it because they can't come up with anything to add. It's going to depend on you and how you want to approach the situation, and while I'm happy to talk about what I like about MHA and which writing choices I think are well made, that's not going to get us very far if you don't like the same things.

I do often find media that I personally think is not written that well, and like I said, sometimes I like it and sometimes I hate it, but if it's a piece of media with a large fanbase like MHA, I have a hard time calling its writing universally "bad." If it speaks to that many people in some way, clearly there's something about it that reaches people effectively, and who am I to judge? I'm certainly no expert in quality of writing. All I have are what I've taken away from my education in literature/writing, my years of experience with many anime that came before MHA, and my thoughts on all the other media I've enjoyed. My experiences will lead to different conclusions than others'. I know I don't like a lot of what's popular with most people, so I certainly can't hold myself out as some paragon of good taste.

It's okay to like or dislike whatever for whatever reason. I don't always stay with the same fandom. I move around when I find new and good things. I sometimes come back to old things I loved and like it anew or find it underwhelming as I currently am. As of right now, I'm actually willing to say something I never was before, which is that MHA might be one of the best-written manga if not the best manga I've ever read. While FMA is top-tier, its themes are a lot safer than MHA's ambitious goals. MHA was always going to be controversial in some ways just because of what it attempts to do, such as telling its story through comic book-themed superheroes. It also says a lot of political things that risk alienating readers. The levels of risk MHA takes are part of what makes it amazing to me and what makes it a worthwhile piece of art to enjoy. I'm so happy it exists, flaws and all. No story will be universally loved, and that's something I accepted a long time ago when I decided I wouldn't let the bullying stop me from liking anime. All I can hope to do is have the courage to love the things I love and the grace to leave alone the things I dislike for others to enjoy.

[nerdieforpedro]

The Intended determines their Meaning

Javier Gutierrez x plus size female reader

My blog overall is for readers 18+. MDNI

Word Count: 1271

Summary: Javier is following through on what his team has proposed optics wise. He’s bought her flowers to illustrate their partnership. The twist? The events of tonight lead him to follow a different plan altogether.

Warnings: Plots by PR teams, ghosts for dates, angst if you squint, bad jokes (did I write it if there’s not at least one?), Javi G being charming and adorable, honorable mention of Javi G’s orange/red shirt from TUWOMT (the debate of that shirt’s true color continues this very day)

Notes: An entry for @morallyinept ‘s Jett’s Flora & Fauna Challenge. I was surprised to have an idea for it but it turns out chatting with your friends in Discord gets the juices flowing. Plus my wonderful friend Grace came up with the initial idea and we each wrote our own versions. This one is mine. I looked up the meaning of the red peonies Pedro was holding in that shot of him and Dakota Johnson for “The Materialists.” I don’t know the name of the character so this said Javi G to me.

Main Masterlist/ Javier Gutierrez Masterlist

This was supposed to be their third date. She was everything that his PR team said he needed for optics right now. Not too young, an actress that people recognize if they think about it for a minute and she’s thin. It’s not Javier Gutierrez’s first preference, but she was nice and their teams worked well together. 

At least he thought she was nice until tonight. It’s an hour after they were supposed to have their date. No calls, no texts, no one from her team saying why she’s not here. He’d bought her an ivory vase with two full bouquets of red peonies in full bloom. He figured it would be a good move to bring these as both teams had agreed to make their relationship public after leaking a few photos on instagram. A curious financially beneficial union that should be a happy life.

Javi’s heart isn’t in this, but he’s beholden to the public eye and their opinions. He’d rather date women that had more substance to them, both to talk about and to them. 

He continues to sit and wait, not expecting her to come after this long. Should he just leave? He decides to check his phone one more time before finishing off his third glass of red wine. His eyes gaze forward and he sees her. Not the woman he was expecting, but a woman who he’d truly want.

She’s sitting at a small table that’s a mirror of his, her hair in a updo with small silver clips holding it up. Her dress is a deep violet, off her shoulders with a deep V exposing much of her cleavage. From what he can see, the dress may have an asymmetrical cut as much of her thick legs are exposed. Her face is downcast similar to his. She may have been waiting for someone too. Javi wonders if she was stood up as well. 

Hey, I don’t see a second place setting. Is she alone too? Maybe we can be alone together. If she would like, if the woman my team doesn’t want anything to do with me, doesn’t that mean I should find someone I would want to be with?

Javier asks the waiter to give her another glass of whatever she was drinking. It looked like a red wine, he wasn’t sure if it was one different from his. He watched as she looks very confused and is trying to tell the waiter that she didn’t order anything like that.

“Oh no ma’am it’s paid for. The gentleman over there sent it.” The waiter explains and points to Javier. He gives a small wave with a matching smile. She smiles back and waives but almost knocks over her wine glass. Thankfully, she catches it and none of it spills. She laughs at herself and apologizes to the waiter, he looked like he was going to cry as he had his hands raised like he was being robbed.

Well she accepted, I think I’ll go over. Say hello in person. She seems sweet and fun. God, I miss having fun. Dating was supposed to fun at some point.

“You’re too stunning to not have something of equal beauty with you at the table.” Gutierrez leads with as he stands opposite her at the table. “Order what you like hermosa. They’ll let me know the tab. Enjoy yourself.” His wide smile never left his face as she watched him walk over, and hand her a large bouquet of red flowers. They’re not roses, she’s seen them before and just doesn’t remember the name. 

“Thank you. For the flowers and the wine.” She stands and Javi takes a step back to see the rest of her: wide stomach and hips with the dress indeed has an asymmetrical cut that goes to the top of her thigh. Across her stomach is a rhinestone butterfly, the tops of the wings cup the bottoms of her breasts as he attempts not to stare. Her lips are a blood orange that reminds him of one of his favorite leisure shirts to wear when he’s home in Spain. Thankfully he was looking at her lips when she spoke so he would pay attention. “I didn’t want to eat alone. Did you want to sit with me? What’s your name?” 

“Javier Gutierrez, honored to make your acquaintance. May I know yours cariño (sweetheart)?” He extends his hand and she shakes it, unsure if it’s the wine or maybe that he just happy he’s not alone and she wants him to sit with her. He pulls out her chair for her to sit and pushes it in as she gives him her name in response. Once he sits, he gets settled and watches as she fixes her napkin back in her lap and takes another sip of her wine. Whispering “perfecto!” under his breath. 

They chat over their shared experience tonight of being stood up. It turns out, hers was a fifth date after a month of seeing each other casually. He had texted, saying he wasn’t going to come and that he would call her. She knew that he’d broken up with her then, but she didn’t want to leave yet. The fresh bread was tasty and so was the wine. Javier simply said that his date did not show up and it likely meant the same as hers, the relationship was over. He wouldn’t get into the PR and logistics, not tonight. 

She asked what kind of flowers they were and if it was really okay that she had kept them. Javier insisted, their original intended didn’t deserve them. Not only because she didn’t come but she likely wasn’t going to give him what the flowers truly mean. The other woman had bestowed a more detrimental theme of peonies by standing him up - shame.

“Someone who is willing to leave a person alone like this without explanation, would not give me a happy life.” Javi explains, she agrees and wonders if they have a different meaning for her. 

“I don’t know if I can give you a happy life either. We just met Javier.” Her nervous giggle informs him that his explanation may have been a bit serious given how they’ve come together. 

“For you bonita (beautiful), the peonies do have a different meaning. I was hesitant to come over to the table. It looked like you were waiting for someone too and I didn’t want to intrude but I also didn’t want to miss an opportunity either.” He asks the waiter for a bottle for the table and their soup arrives with more bread. Javier hands her the butter so she can put it on her bread. “I’m also still nervous that I could mess this up at any point. And please, call me Javi. It's been a while since I’ve met someone I’ve genuinely liked so I’m bashful.”

“Quite the charmer you are, Javi. You’re definitely not messing anything up. You’re not the only one who’s nervous. I’m having a wonderful time and we haven’t even made it to dessert yet!” They both laughed at her attempt at a joke and continued the evening. Chatting, eating, drinking and laughing. Relaxed and without a care for them both.

Javier Gutierrez could just be on a date with a beautiful woman, maybe have a second of third with her. Maybe show her his shirt that’s the same color as her lipstick. Maybe find out what movies she enjoys and if he’s seen them, does she like Nicolas Cage movies? If she does, he may just swoon.

So many things and possibilities.

Debaters of the true color of Javi’s orange/red/dash of yellow shirt 👕: @maggiemayhemnj @magpiepills @tinytinymenace @readingiskeepingmegoing @bitchwitch1981

@inept-the-magnificent @tinytinymenace @yourcoolauntie @rhoorl @megamindsecretlair

@soft-persephone @soft-girl-musings @saturn-rings-writes @604to647 @mysterious-moonstruck-musings

@trulybetty @alltheglitterandtheroar @connectioneverywhere @angelofsmalldeath-codeine

[spaceorphan18]

If you had to cast the Bridgerton actors into glee 09-15 as special guests stars, have you any thoughts on who any of them could be? I could see Jonathan Bailey as a cousin of someone, maybe Blaine (and bring back Cooper) or Rachel. Or pick a Bridgerton actor as love interest for any of the glee characters? Or a mother figure or mad teacher?

So. I thought about this all the way to and all the way from my doctor's appointment today. And the more I thought about it, the more fun I had with it, lol! I have soooo many thoughts, so you're getting a whole bunch of ideas, Nonny!

Btw, I realized that the Bridgerton actors are, on average, younger than the Glee cast! Isn't that wild? Mostly because it's been so long since Glee was on the air.

So, I came up with story lines for a hypothetical Glee Season 7 -- that takes place solely in New York, and ignores about half the plot points of Season 6, lol. Oh, and I decided the Bridgerton actors are playing characters with the same or similar names because I'm too lazy to create new character names for this kind of thing.

Oh. And. Apparently, Glee makes everything just a smudge gayer, lol.

I hope the five of you who don't mind me continuing these crossover things enjoy this <3

*****

Nicola Coughlan...

... (as a season long guest star) plays Penny, a quirky, fun loving, gossipy student from Ireland, come to New York to study script writing. She and Kurt take the same class, and Kurt thinks she's the greatest thing ever, and the two become joined at the hip (much to Rachel's chagrin; Blaine doesn't mind one bit). She and Kurt decide to work on a project together -- writing a play about a drama school -- it takes them the whole year to do (and of course, they put it on at the end of the season/year).

And I mean -- I'm not out here advocating for people to be in Ryan Murphy productions -- but if anyone could really sell one of his bonkers characters, it'd be Nicola Coughlan.

2. Rege-Jean Page...

...plays Simon; a hot, young TA for stage combat and movement, and every one has lined up to take the class.

3. Pheobe Dynevor...

...plays Daphne, a young girl whom Quinn is mentoring. She ends up pregnant and alone, after her boyfriend dumps her. Quinn takes her under her wing, and helps her figure her life out.

4. Jonathan Bailey...

...as Tony, Cooper Anderson's just as neurotic, weird, and attention seeking roommate, who also wants to be an actor. The two of them have a ridiculous love/hate relationship, which makes staying with Blaine (and Kurt) question whether or not they might actually be in a relationship together. (The answer is no, but Tony is gay, and he and Cooper are ultimately fond of each other)

(if there's another person who could also really go all in when it comes to eccentric Ryan Murphy characters -- it'd be Jonny Bailey.)

5. Jessica Madsen

...as Cress, a waitress at the same bar where Santana works. She's has a fiery streak about her, and goes toe to toe with Santana. She's also a lesbian. There's a regular enemies to lovers thing going here.

6. Claudia Jessie

...as Ellie. She's the student director of the all-female play that Rachel is starring in. She doesn't really like Rachel, and felt somewhat forced to have her in the production, but deals with her anyway. She's smart and clever and really opinionated and very direct, and she and Rachel butt heads a lot. But Rachel becomes a better person after being in the production and having Ellie really help her get her shit together.

7. Adjoa Andoh

...as Mercedes's favorite aunt, Agatha. She's in town and helps Mercedes decide how to move forward in her life. (And also shows up to attend the wedding between Mercedes and Sam.)

8. Luke Thompson

...as Ben, Tina's new boyfriend. Who figures out he's bisexual when he does a play with Blaine. Blaine helps him figure out his sexuality (not personally - Klaine is still very much a thing) but it's alright, he does actually like Tina, too, and they stay together. :)

9. Yerin Ha

...as Sophie, Mike's girlfriend-turned-fiancee. She is not at all in the entertainment industry, and Tina decides she doesn't like her. Until she meets her, and thinks she's great. It gives Tina and Mike a chance for some real closure.

10. Golda Rosheuvel

...as Char. She takes over NYADA after Carmen Tibideaux retires, and she makes Carmen seem kind and charming.

11. Hannah Dodd

...as Frannie. Artie sees her in a coffee shop once and becomes obsessed with her -- wanting her to be the star of his movie. He searches the entire city for her, only to find that she works in the building next door as an accountant (who loves her day job). She won't star in his movie, but she does agree (eventually) to go on a date with him.

12. Victor Alli

...as Johnny, Brittany's new best friend, a rich, handsome, world traveler, who is using Brittany's intelligence to help him in his scientific work. It's a season runner -- where she always mentions him, but everyone thinks it's just Brittany just being Brittany, until he shows up at the end of the season to be completely real.

14. Martins Imhangbe

...as Willy. He runs the piano bar they all go to (and Santana works at). He doesn't really like theater, and finds the kids annoying, but hey, it's a living.

15. Simone Ashley

...as Katie. She rides a motorcycle, and frequents the piano bar, and Santana is obsessed with her the whole year. Santana finally figures out how to talk to her, and the two hook up, but Katie does not have time for Santana's bitchy shenanigans, and puts Santana in her place.

(I don't know why my brain wanted this to happen, but my brain wanted this to happen.)

16. Luke Newton

...as Colin, Elliot's younger, half-brother, whom he hasn't seen in years. He's in New York to try to reconnect with Elliot (and hey, why not form a new band and bond through music). Kurt hates him. Mostly because he's way too distracting to Penny, and my god, they have to get their script done!!

(See...tying it all together ;) ... also, things I never knew I needed - Luke Newton to work with Adam Lambert.)

17. ...and Julie Andrews

...as Kurt's Grandma Hummel. Because it's what Chris always wanted. :)

Alright, I know I didn't get everyone (Sorry Ruth Gemmell, I just couldn't think of anything!) But man, now I want/wish we had all of these things. :D

[tare-anime]

Hi, your posts about Spy X Family are real good. I see chapter 105 as improvement of Franky's role and character. Wheather he'll get lucky - or not - on the Finding a Girlfriend case is a hot one. I wonder,when will Anya she's fed up with Damian's disdaineful,toxic world? I posted my thorough stydy upon this case. I've ceased to believe for a friendship(or romance between them). Unpopular truth:All these (old and new) cruel and awfull insults of Damian to Anya, in the end reflect and represent his Papa(: So in my opinion she and Papa "Twilight" will get the documents of Donovan's scheme by an other source.By the way, if government officials and the SSS are not his lackey's ,associates for his scheme then who they might be? And when WISE uncovers it what will be their actions against him and his network? Are we ready to see how Sylvia has killed people,real villains say Ostanians similar the assassins yor has killed? See you :)

Oh wow, thank you so much. I'm glad you find my rambles to be enjoyable 🥰🥰

As for chp 105, yes it's one of my favorite kind of "side character building up" type of chapter. And this time, we got to see Franky's character building. For me, Franky is such an amazing character that know how to enjoy his life. He has his princips and stays true to that, and didn't stop being kind, while at the same time he has a very smart view of the world and very logic in thinking process. I do hope he will find a woman who will appreciate him as who he is. But first, he has to decide when he want to settle down before doing it.

As for Damian. Yes, unfortunately if I have to be honest, I don't like Damian very much if he is showing his tsundere side and keep pointing and hurting Anya. But, he is still a boy, who tried too much. I hope he will one day learn to accept that there's nothing wrong by enjoying the process of growing up, and not too focused on the goal. And the fact that his Dad IS NOT someone he has to look up to. I believe Damian has good heart though, as we already seen in so many occasions. And just like every kid, in the growing process, the influences from other people particularly their peers are huge. And I hope Anya (with her own problems and difficulties) alongside with Ewen and Emile and Becky, can help Damian grows into a fine man. This is why, my fave chapter of Damian will always be where he can act like a boy of his age.

And I do agree. I do hope Twilight will find some other way to approach Donovan. And not pushing it through Anya and Damian friendship. Let these kids be friend without ulterior motives other than being friends.

The mystery of Donovan ascossiates are still there. This man has so much power, and yet, we know he is not with the incumbent of Ostanian govt. He is not directly leads the SSS, though without a doubt there will be fractions of SSS who is loyal to him up until current timeline. So where did his power came from? This remains a mystery until Endo decides to move forward with the plot, I guess 🤭

Tbh, I don't think WISE is 100% good either. It is possible that Op Strix be WISE's own plot to overturn Donovan because this man dares to oppose WISE. Anything is possible in politics after all 🤣 so how will WISE reacts when they finally got the information on Donovan? That will also depends on further information given to us by Endo himself.

Come on Endo!!! Give us more plot development 😫😫

Regarding Sylvia, Oh yes, through her speech during Inu-san crisis arc, we know that Sylvia has killed people during her life. This has eating her soul, but she has to carry on with her life. The same goes to Yor. Yor must know that not all of her clients are guilty per se, but she has to numb her soul because that's how she carry on with her life.

Thank you so much for the asks. I hope I manage to give satisfying answers 🥰🥰🥰

Good day to you too!

[ashirisu]

hey, everyone!

My name is Ley (pronounced like "Lee," she/they) and I'm a fiction writer/editor based in the PNW. I haven't done a proper writeblr intro in a while, so I figure the new year is a great time to reintroduce myself to the community!

— about me

An important thing to understand about me and the way I talk about writing is that this stuff is literally my entire life. Even outside of work, I don't think I have a single interest or hobby that doesn't relate back to storytelling in some capacity. I'm an avid media consumer and critic, and will hyperanalyze just about anything that catches my fancy for more than a minute.

I love science fiction and fantasy, and my goal as a writer is to take all the genres I loved growing up and create stories that are a little more diverse, inclusive, and queer.

— about the blog

I came to writeblr mostly to share my work, but also to find an active community where I can get excited with other writers and talk shop. Marketing is obviously a really important part of the publishing industry, but I get tired of having to filter every thought I have about my work and experiences through the lens of aesthetic micro-trends just to put it out in the world. Sometimes I just want to pop off about scenes I'm proud of, you know?

Above all else, I really just want to connect with more writers like myself, ones who got their start in fandom spaces and are working to take their writing from a hobby into a career. I see you, I am you, I love you, let's be friends!

You’ll definitely see me posting and reblogging a lot of stuff that isn’t necessarily related to writing, so be ready for that. My art exists in the context of my personality and the world as a whole, and I simply do not have it in me to maintain a whole separate blog for silly nonsense and memes. Just consider it a way to get to know the writer as well as the writing!

— about my writing

I write a lot, though most of it is disconnected nonsense. Flash fiction and short stories are where I really thrive as a writer. I don't tend to commit to long-form projects, but I have a few projects that I'll occasionally share details about!

I like to describe my style as "earnest and character-forward," which is a fancy way of saying that I like driven protagonists who think too much and are emotional to the point of it being a character flaw.

My goal is to share more of my original writing moving forward, so hopefully you'll get to see all of this for yourself. If I'm totally honest, though, you'll probably see more of me discussing my work than actually writing it.

— about my projects

Here are the things you'll most likely see me posting about:

Agnomen: A sci-fi retelling of Hamlet and Coriolanus, currently in its very preliminary stages. It is literally my Roman Empire, except it's set on a moon of a planet that I'm calling Jupiter as a placeholder (but please note that it isn't actually Jupiter, as Jupiter is a gas giant and therefore a scientifically impossible setting for large sections of the plot).

Alter Ego: A superhero fic in which not-so-mild-mannered reporter Drew Derrick fights for mutant rights and can't seem to get his act together when it comes to keeping the complicated parts of his life separate.

Untitled Fantasy Project: The very first project I ever wrote, and the piece I return to every so often when writing is feeling more like a slog than a fun hobby. I set a lot of one-offs in this world and follow a few key characters around without them having a real plot.

D&D: I write a lot about Baz, my Wild Magic Barbarian. He's a regency noble with a lot of problems, and I care about him very much. I also have various other settings and characters, but he's my most active PC at the moment and therefore gets the most attention.

Short Stories: Sometimes I write these, and sometimes I like them enough to share!

— tag directory

ley rambles: my (often wordy) opinions about things

ley writes: not necessarily my writing, but talking about my writing

my writing: stories, blurbs, and other content I've written

not my writing: reblogs and creative writing that I liked, shared, and sometimes commented on