#just a way for plot by any means probably

[hungermakesmonsters]

(It Is) What It Is

Sneak Peek

Plot Summary : When Billy Russo realises that there is a certain class of wealthy clients who refuse to contract with Anvil because of his playboy reputation, he decides to alter their perception of him. You’re just a down on your luck PA, just trying to get by so when Billy offers to pay you to pretend to date him, you can’t refuse. But the last thing you expect is for Billy to pull you into his secret world of lust and debauchery.

Pairing : Billy Russo x Reader

Story Rating : R 

Warnings : [This is a fic for 18+ only, minors DNI] There will be smutty themes throughout the story. Please check the warnings on each chapter if you choose to follow this story. 

A/N : Here's the first little sneak peek at my next Billy fic. I'm going with something slightly different for the reader character this time, so I hope you like what I've got planned. The first chapter will be posted on the 31st of January, and I'll be updating weekly. If you've already asked to be tagged, I'll tag you in the first chapter!

Sneak Peek

“Good morning, Mr Russo,” you said, heading towards his desk. “I’ve got your morning coffee and a couple of bear claws, and Mr Castle is waiting outside for your morning meeting.”

“Thank you,” he said, lingering at the window a moment longer before finally turning towards you. “Can you send Frank in and grab the files I asked you to prepare yesterday?”

“Of course, sir.”

You did as you were asked, sending Mr Castle in while you got the files from your desk. By the time you made it back into Mr Russo’s office, both men were perched on his desk, drinking their coffees and eating bear claws.

“However much he’s payin’ you, it’s not enough,” Mr Castle grinned at you, and that had the forced smile on your lips becoming something far more genuine.

It wasn’t so much that Mr Russo didn’t appreciate what you did for him - you knew that he did - it was more that he wasn’t particularly vocal about it. But you’d heard the horror stories of the PAs who’d come before you, the ones who’d quit mere weeks into working for him. At first you’d feared that it was him, that he was impossible to work for, but you’d quickly figured out that he wasn’t impossible, just... difficult. 

There was a lot of reading between the lines when it came to Billy Russo, and a lot of your time was spent trying to anticipate what he might want or need at any given time; when he was in a bad mood you’d found that food often helped, and frustration was usually mitigated by redirecting him towards smaller, easier to deal with tasks to distract him.

It wasn’t easy but you’d figured him out and, now, things ran pretty smoothly.

“Here you go,” you said, placing the files on his desk beside him. “I took the liberty of colour coding them; the green tabs are the ones most likely to want to engage Anvil’s services based on the research, orange means they could be convinced, and -”

“And what about red?” Mr Russo asked, pulling a file from the bottom of the stack.

The only file with a red tab.

“Red means it’s extremely unlikely that they would choose to offer Anvil a contract and that they’re probably not worth the money and resources that it might take to change their mind,” you explained, trying to sound as clinical as possible.

“And why do you think the Van Der Koy family wouldn’t be interested in contracting with Anvil?” He asked.

Immediately your cheeks started to heat as you tried to find the easiest (read: safest) way to explain it.

The Van Der Koy’s were old money, with dozens of high end resorts, hotels and casinos across North America. They were a literal goldmine for anyone who got to work with them. Landing a security contract with them would be worth millions of dollars, so it shouldn’t have come as a surprise that that was the file that Mr Russo wanted to concentrate on.

But how were you supposed to tell him that he was the reason the Van Der Koy’s would never work with Anvil?

“Well, the Van Der Koy’s have very old fashioned family values - it’s not about the money, it’s all about appearances and reputation...” you said.

“And what’s wrong with Anvil’s reputation?” Mr Russo prompted.

“It’s not Anvil...” you tried to explain, your voice turning quiet.

“Then what?” He asked, a hint of frustration creeping into his tone.

“Jesus, Bill,” Frank said through a mouthful of pastry. “She’s tryin��� to be polite.”

There was a silence for a few moments before Mr Russo finally seemed to realise what was being said.

“You’re saying that they won’t contract with Anvil because of my reputation?” He asked, and you gave the smallest of nods. “What’s wrong with my reputation?”

“Sir, I really don’t think -”

“You can’t expect her to answer that,” Frank said, speaking at the same time as you.

He looked from you to Mr Castle and back again, as if he really had no clue what you could possibly mean.

“I won’t get angry or blame you,” Mr Russo said. “I just want to know what you know.”

You didn’t want to answer, but you knew that you had to.

“Well, from what I was able to learn, it’s... it’s everything,” you said, unable to even look him in the eye as you explained. “The parties, the women - it sends a certain, uh... message...”

It felt like his gaze was burning into you as you fixed your eyes on his desk and the stack of files.

“What message?” He asked.

“She’s sayin’ the uptight, old money folks don’t like that you’re a fuck-boy who spends all his time with bimbos, Bill,” Mr Castle answered for you. “Now, could you stop makin’ her feel uncomfortable about it and let her do her damned job?”

[anontheghost]

So... What is the deal with Blitz's and Moxxie's upbringing?

Let's start by saying the obvious: Blitz’s and Moxxie’s families are almost exact mirrors to each other: They both have terrible, greedy fathers who just enjoy making their lives miserable and amazing dead mothers who we know nothing about except their cause of death and how much they are missed by their sons. 

The only significant distinctions are that Moxxie's story is splattered with glossy mafia paint and that his mother was drowned while he was still a very young child. On the other hand, Blitz's mother, Tilla, died when he was a teenager and was burned to death. The rest? Pretty much the same.

However, the similarities between their backstories are not really the problem; after all, in real life, we can find people who lived through similar traumas and that is a pretty interesting aspect to explore in fantastical stories as well. 

Many other shows have done it incredibly well (Bojack Horseman) but Helluva Boss failed in that department. 

The very interesting family dynamics were only bought at the surface level, not explored in any meaningful way except to give the characters “cheap trauma moments” that could potentially get ruined by either the insertion of out of place comedy or never mentioned again. 

How am I supposed to treat Crimson’s abuse of Moxxie as something serious when the minute before dildos popped out the walls for a joke? How did Blitz’s guilt over the fire and his mother’s death truly affect his relationships—romantic or otherwise? Was it all just a narrative plot to drag the Stolitz charade for as many episodes as possible? Heck, we do not even see Blitz and Mooixe interact more about their shared trauma! Or about how much they missed their mothers.

It is a little depressing because, despite knowing nothing about Moxxie and Blitz's mothers, we, the viewer, are expected to care about them and see their significance. Instead we are left with a million questions that will probably never have an answer. 

Were they really good parents or are their sons only remembering the good parts of their relationship because they are dead? 

How did they truly influence their kids? Did Moxxie’s love for musical theater come from his mother? Did Blitz’s fascination for horses be because of Tilla or was it someone else?

How was their relationship with their husbands and why did they stay even after the marriage went south? What brought them together in the first place? Because, in all honesty, both couples just don't seem compatible in any way, that one just can help but ask how did everything worked.

Sadly, we can only speculate. 

So, without further due, these are my speculations. Part of the great rewrite that I am doing of the series. Because sometimes terrible writing decisions just move my creative juices in the right direction. 

Tilla and Cash Buckzo.  “I do love you, as much as I am capable of loving anyone, which is never enough.”

What would have happened if Princess Carolyn and Bojack Horseman ignored all the red flags in their relationship and chose to get married anyway? That wouldn’t have been good, but that is exactly what happened to Tilla and Cash Buckzo—the result was a messy marriage where love could not overcome their different views on life and incompatible personalities.

So... why did they stay in a marriage that was not working? Simple, a divorce would mean financial ruin for both of them.

Let me explain. 

(Worldbuilding note: How marriage functions and how people in Hell generally view it is one aspect of the Hellaverse that truly baffles me. To avoid confusion, each ring in this revision will have its own set of marital norms and perspectives.)

(In the Greed Ring, marriage is nothing more than another business transaction and is treated as such. Two individuals may absolutely hate each other, but if the marriage will benefit them economically, then they will go through with it.)

The sole compelling argument for Cash and Tilla's marriage was that it was the wisest course of action to maintain and save their respective livelihoods. Imps are not permitted to own companies (as I stated in the Stolitz Non-Romance rewrite.) and in the Greed Ring, Mammon owns ALL of the entertainment industry (circuses included) and he will not hesitate to shut down a circus if it is not bringing the profit.

The small circuses Cash and Tilla were supervising were on the brink of bankrupsy, so what better solution than to marry each other and combine their assets? It will give them more time to survive.

In hindsight, their plan worked perfectly; Tilla and Cash were able to build up themselves financially, and using their combined business talents, they were able to expand their new big renovated circus and turn in a profit that would keep Mammon off their backs. 

They were great business partners, but as a couple, they lacked a lot. 

They did occasionally have tender moments, but they were squandered by arguments, lengthy silences, and extremely uncomfortable dinners. At one point, they even began sleeping in different beds, just to avoid fighting. Everybody who knew them could see that they were just not good for each other and could barely tolerate the other presence.

This begs the question: How did they manage to have Blitz and Barbie?

The decision to have a kid was straightforward and, like their marriage, based on business. They wanted a successor to take over their responsibilities when they died, as it was something now needed as the circus grew. So one night, they decided to get drunk and just get it over with.

But, to the surprise of themselves and everyone else, Tilla and Cash were their best selves throughout the pregnancy. 

During those four months that the pregnancy lasted, Cash and Tilla acted like a happy couple, anxiously waiting for the arrival of their beloved baby. They no longer fought; they were just too busy happily imagining a future where the three of them would be happy while preparing for their child.

Maybe everything would be okay; their relationship could only get better from now on, right? Once their beautiful little girl arrives, they will be a complete family of three with no intentions of adding more. 

Yikes.

In their defence, there are few medical facilities available to imps, and when they attended the controls, the physicians informed them that they would only be having one child, Barbie.

Their budget and plans were severely ruined by Blitz's unexpected arrival because they were only ready to provide full care for one baby, not two. If Mammon kept the majority of the profits, how would they be able to buy two of everything? 

They would endure a long period of hardship and didn’t they enter this marriage to prevent just that?!

Tilla, being the mother and the one who gave birth, accepted this change, promising to love both children equally; sadly, Cash didn’t.

It didn’t take too long before they started fighting again, even if it was in front of their kids. As you can imagine, growing up with parents who fought even for the most minimal of problems leaves a long-lasting impression on a child and how they will handle their own relationships in the future. 

To this day, Barbie still has problems telling her girlfriends when something is wrong or is upsetting her. On the other hand, Blitz gets overwhelmed when he notices things going south in a relationship and leaves it all together. 

Things didn’t really improve much as the twins grew up. 

Sure, the family had their relative moments of peace, but Cash only paid real love and attention to Barbie, being the child he really wanted while completely ignoring Blitz. Tilla, upset about this but knowing that Cash won’t change, tried to give more attention to her son, accidentally ignoring her daughter’s needs.

Yes, Tilla was not a “perfect, angelic mother," canon portrayed her as. If anything, she was a little bit overbearing when it came to Blitz, as she felt she needed to make up for his father’s abandonment. She genuinely believed that Barbie didn’t need her as much, and the girl liked to spend more time with her father anyway, who needed to train her to take over the circus.

At this point, their family was divided into two separate families that just happened to live in the same house: one consisted of a kind but overprotective mother and her son; the other, a strict but understanding father and his daughter/heir. The only point in which Tilla and Cash interacted was when they worked on the circus, or when they were fighting for the most minimal things. 

Their family dynamic was mostly like that... until Tilla died.

Blitz remembers only the good moments he spent with her, looking at her actions and life with rose-colored glasses of love. For him, Tilla was the perfect mother who basically could do no wrong. 

However, if you ask Barbie, she’ll say that while she is sad that her mother passed away, she is unable to truly feel devastated since she never knew the woman well enough. Barbie is even a bit resentful for the times Tilla chose to spend time with Blitz instead of her.

And with Cash... How would you think Bojack would react if PC died before him? 

Now… what about Moxxie’s family?

Crimson and Belia (Name I am giving Moxxie’s mom)

"You better grow up to be something great, to make up for all the damage you done."

One particular thing that I noticed about Crimson is how young he looks despite being Moxxie’s dad. If I knew nothing about Helluva Boss and someone showed me a picture of those two, I would 100% believe they are siblings, not father and son.

While we can attribute this to Vivzie's inability to draw older men, why not play with this?

Let's set up the stage.

When Moxxie entered the picture, Crimson and Belia were just seventeen years old and not even dating. However, I suppose that when you are a careless teenager, the consequences of forgetting the condom don't truly hit you until something goes wrong.

As one may expect, Crimson was not happy with the news and was even more angry when Belia told him that she wanted to keep the baby and sustained her ground no matter how many times Crimson told her to get rid of the pregnancy. Why not? They were both fucking teenagers, just fooling around and he had no intentions of becoming a father, at least not this young! What was truly stopping her?

Nobody truly knows why Belia chose to keep her son to this day. 

When alive, she would tell you without a doubt that she loved her child from the first moment and couldn't bear to let him go, even in the face of less than perfect circumstances. But Moxxie hasn't believed that version of the story in a very long time. 

Moxxie now thinks that the main reason why Belia had him was because she didn't want to endure the awful and harsh conditions of an Imp Health Center. Due to the horrible way the doctors treated the imp patients, lack of medicine and equipment, most imps avoided those places like the plage.

Unfortunately, sick imps had no other choice but to go to the centers for treatment. Because if an imp even dares to step a hoof on the more well equipped hospitals in Sloth or Lust, they would be immediately kicked out no matter the emergency.

For more serious issues, wealthy imps (like Crimson's family) would hire a private physician. However, Belia was aware that Crimson would never spend that kind of money on her. 

Or maybe Belia didn’t want to give Crimson the satisfaction of getting out of his responsibilities. 

When Crimson's own father learned about the, at that point, already advanced pregancy, he forced Crimson and Belia to get married. Given the Knowlastname family's significant power in Greed's imp neighborhoods, Crimson's status as an unmarried young father would be viewed as a shameful scandal.

Belia only consented to the marriage because she had nowhere else to go. When her parents found out that their seventeen-year-old daughter was expecting, they were so disappointed that they disinherited and prohibited her from ever returning home.

(Later, when I rewrite Exes and Oh's, I will go into more detail about what Crimson’s family does in the Greed Ring. They are still involved in “less than legal” practices and loan sharking, but is a little bit different than in canon since now I based the Greed Ring in the entertainment industry.)

Of course, as one may expect, things in that marriage went south real fast. 

Every time Crimson looked at Moxxie and Belia, he saw nothing but the two demons who took away his carefree teenhood together with the respect of his father, and with each passing year, he just became more and more cruel. At one point, he simply started physically abusing his wife, who always put herself as a buffer between Moxxie and Crimson.

If Belia dared to raise her voice against her husband, Crimson would merely tell her that the opportunity to leave him went away the minute she decided to bring “that brat” into hell without his permission. Now she was just reaping what she sowed.

Being physically and mentally abused by her husband (who, as a bonus, also turned everyone in the household against her) took a toll on Belia’s mental health. She still wanted to be the best mother she could be, but how can you raise a child in an environment where everybody sees them as the enemy? When your mind makes your body so heavy that getting out of bed becomes an impossible task?

More than once, Belia considered taking her son and moving back to Wrath. But then, to where? Her parents didn’t want to see her; she lost contact with her friends, and since she never finished school, she had no hireable qualities. How would she support herself and Mooxie if she decides to leave? Being a single imp mother in hell is not easy!

It was impossible! At this point, she just needed to endure. 

She will not let Crimson win; she will not let that man break her and Moxxie. While Crimson was definitely stronger than her, putting on a smile after a beating that sent Crimson into a frustrated frenzy was all she needed to feel she had won, even if her body stated otherwise.

There were also the times she and Moxxie went on hikes together, pretending that they were going on a grand adventure as far away from Crimson as possible. Being happy when Crimson didn’t want them to was the little act of rebellion she needed to stay sane.

However, Belia’s breaking point came after Moxxie’s seventh birthday, just a few months after Crimson’s father died, when her “beloved” husband brought home another pregnant imp. 

Belia was no idiot; she knew that her husband had been cheating on her for years, but she never said anything because she didn’t care enough to do it. So, Crimson had a side piece? big deal, she stopped loving him a long time ago. 

However, it was too much to bear to watch Crimson, a guy she believed to be utterly cruel, be a loving and caring partner to this imp and be so thrilled about the birth of their cherished child.

I mean, when you witness the same man who repeatedly denigrated your son, cursed and beat you for being pregnant, joyfully decorating a nursery while choosing baby names and spoiling his new partner, whom he never raised his voice at, it can and will break something in you. 

Ultimately, what could be worse? Accepting that your partner will never change? Or realizing that you were never worth the positive change they could bring about?

What did she do wrong?

Moxxie still doesn’t know what happened to his mom; what is certain is that one day he woke up and she was not there. While part of him is sure that Crimson killed her so he could marry his new partner, there is a part of him, small but loud, that tells him that Belia abandoned him at the mercy of his father. 

Why would she not? Moxxie knows that he looks a lot like Crimson, so it was possible that at some point, his poor mother couldn’t look at him anymore without remembering her abuser. He is also familiar with the sad reality that, if Belia tried escaping with him, the possibilities of re-doing her life with a kid on her toe would have been very slim.

Not to mention impossible.

After his mother disappeared, Moxxie became a ghost in his own house. Apart from giving orders and degrading him, Crimson was more focused on his new family and new children to “waste energy” in a son he never wanted. While Moxxie’s step-parent was not physically violent, their constant degrading of Belia and their attempts to erase all trace of her existence really put Moxxie on edge.

Sadly, he couldn’t say anything because the first and only time Mooxie tried to go against their wishes, Crimson put a stop to that real fast. 

Moxxie had to see firsthand how Crimson was a true, loving father to his stepsiblings. He listened to them constantly, never yelled at them, and never struck them—things he never did with his first kid. He also made sure to teach them how their big brother was nothing but a failure and to stay clear of him since “wimpyness” could be contagious.

Moxxie wishes he could know them better.

0o0o0o0o0o0o0o0o0o0o0o0o0o00o00

And this is all for today. I will give more information about Mooxie’s family (as well as his relationship with Chaz) when I rewrite Exes and Oh’s. Remember that these are mostly my first draft thoughts and can and probably will be changed for the final product. 

I hope you enjoy! I love when you comment!

[shabbytigers]

charles dickens: how can anybody tolerate reading him

it’s not the uncontemporary prose style i object to. i got super into the early novel in college, like samuel richardson and i mean his real doorstoppers, not pamela, which kind of sucks tbh, clarissa and sir charles grandison are much better. i also have a thing for old english. victorian prose still has new-car smell to me, and i like it just fine in general

i will concede the scrooge story but that’s basically one gimmicky short-story-length bit

and that’s the problem

all of dickens reads to me like a bit that’s fine as far as it goes but really should be over in twenty minutes tops. it’s like watching someone act out a comedy routine with hand puppets. there are some nice cutting passages about like socioeconomic shit, and some excellent quips, but i’m not sitting through a novel-length puppet show for that

forster’s distinction between flat vs round characters is the top-level read on what’s “wrong” with dickens: he does a lot of one-dimensional characters. really caricatures, not people. but like, that’s fine, sort of? jane austen also has some flat-ass characters. mr elton, mrs norris. mr collins! a great ‘caricature’ character, very much one long bit play-out. and he’s hilarious. idk though, i should probably try to articulate this better but basically he’s funny in a way that matters. mrs micawber isn’t. i’m done with her after one appearance. why is she still here? because dickens is saying something interesting with the plot twists that are inhabited by caricatures like mrs micawber. well, great: i don’t like that. it’s a puppet show. write me a blistering ass thinkpiece on what’s wrong with the economy or legal system directly, it’ll be more interesting. if you want to write a novel maybe write one where i can be bothered to give literally any kind of a shit what happens

i didn’t like fielding back in my early novel era, either. or candide and rasselas. picaresque is a puppet show too and i can’t live on just plot and atmospherics. i wouldn’t even say character is my biggest thing: what really drives me as a reader is worldbuilding, i read austen as much or maybe more for the window into how social shit and daily life work in this particular milieu as for the character arcs per se. writers in the mode i’m talking about aren’t trying to paint a world at all, a puppet-show stage is plenty sufficient for their purposes. i get it. but it’s excruciatingly boring. to me

[sherbetstudios]

LMK MASQUERADE AU

Hello, Monkie men, Dragon girls, and all in between. I come to introduce you all to my cool new au…

WARNING. THERE IS A LOT UNDER THE CUT.

Hi there!!! I’m really glad you’re interested! I won’t keep you waiting.

BASIC OVERVIEW

This au is a play on Mardi Gras traditions and whatever I decide I want to throw in. I’m not exactly following any rules, just having fun!

S1 events are kinda weird in this, they don’t exactly happen with MK and gang. They’ve taken place beforehand in their own ways. DBK and LBD are both free. LBD is our big bad. Yeah sorry guys this is mostly S2/3 centered.

The celestial realm in this AU is also referred to as the court of Mardi Gras. Both names work! Celestial Maidens are also referred to as Maidens of the Court, and Celestial army men are knights of the court, etc.

i do not plan on making a comic or a large fic. This will be mostly small pieces or a big story, which is why I’ll lay it out for you instead.

PLOT OVERVIEW

the Mayor hosts a grand masquerade ball, and MK and gang attend. They leave to go somewhere else for a split second, and upon returning find every attendant has gone missing. As the only surviving group of witnesses, they decide it’s on them to help figure out what happened!

as we already know, the Mayor works for the Lady Bone Demon, and it’s easy to guess this is her doing. The LBD gang are in fact behind this!

MK runs into Redson trying to steal Wukongs wand (staff) from a hidden room in the house of magic. This honestly plays out mostly how it does in canon, turns out MK has a connection to it and enter epic chase scene.

Wukong comes into the situation when he puts two and two together that the rumors of a new magician kid and the fact his wand isn’t there when he comes back.

Macaque is going to be our most frequent antagonist, who we meet the most often. He’s honestly who I think I’ll have the most fun with. I’m letting him be a theater kid.

They will search for the rings of Samadhi at some point.

OTHER STUFF

Chang’e makes the moon pies. Listen it’s PEEFECT.

The brotherhood is still a heavy wip, as well as the journey. Like lowk I may leave it untouched if im not bothered about it. I’m focusing more on the present than anything. Sorry.

MK

Xiaǒ Mòshú Shī (little magician)

He’s not much different than canon!! I mean honestly idk what to put here.

his outfit is supposed to resemble his s4 armor.

MEI

Again, similar to canon!

WUKONG

“The great Magician equal to the Court”

The mountain he was trapped in I’m thinking might be changed to like a circus tent… agin the past is hard to figure out how to go with on theme and will probably stay allusive in any content I make.

MACAQUE

“The masked man”

There’s not point in trying to act like he’s gonna be some big reveal for you guys, but he will be for the characters!!

The skull on his hat + his mask are marks of LBD. He sheds them once he’s able to turn against her.

He did still die at some point that’s not changing

ORGANIZATIONS

The court of Mardi Gras/Celestials

Yk. It is what I said earlier.

The spider ring

The Spider Queen/Venomous Jester and her followers. Seek to overthrow the Celestials and gain control.

The Bone Demon Court

LBD, the mayor, the city police force, and Macaque

Big bad

The Mayor is actually in governmental power in this AU. The police are all agents of his and lead our detectives/protags in weird unproductive ways that typically lead to a dead end or the masked man (Macaque)

Yeah okay that’s kinda all I have for you right now!!! I’ll make a masterpost and shit later. Byeee PLEASE TELL ME IF THSI IS INTERESTING I MEED TO KNOW SOMEBODY IS CURIOUS OR APPROVING.

btw Spotify playlist https://open.spotify.com/playlist/44XDjqorXkoPYReE4sA2N4?si=j6mJHH_wTS6aJb9ssCN5RA&pi=u-Nu1WVpkqSEO8

[squirrelno2]

Ok so Davrin! I have Thoughts about Davrin.

Because if you’re aware at all of the stuff I write you’re probably aware that I am a big fan of the kind of character who subsumes their own desires and survival and personhood for the sake of being One Thing, whether that’s a living weapon/made to be a soldier situation or just a “I am Your Best Friend first and foremost situation”. It is, uh. Small wonder I end up liking characters of colour the most, since those are the ones most often written with a Purpose in the story who don’t get to expand beyond that Purpose in the narrative, or if they do have that arc that I crave it’s still underrepresented in fanworks so it becomes my favourite and most frustrating niche where I have to create the content I want to see in the world, which is “person who tries to ignore their own needs gets to realise they’re allowed to love and be loved whether or not they’re useful”. Please be aware that while I don’t specifically discuss Davrin’s Blackness in the next few paragraphs it is a large part of why I’m writing this now because it massively changes the way this story gets read, both because people with unexamined biases will gloss over his story and just accept Davrin as being a tool to the story instead of a person and also because those of us who are aware now must consider how to address such a storyline knowing that Black people most of all are reduced in their stories to things and plot points.

So getting back to Davrin in particular I am both obsessed with and frustrated by how he’s written because! His narrative is such a good example of this trope! He is a monster hunter, and to a lesser extent at the start a protector, and from the moment we meet him he is trying very hard to keep himself shut in that box. He downplays any effect he has on the griffons, is upset at the idea of taking care of Assan because that’s what the others are there for, he’s just the sword arm. As time goes on and we do things like, you know, fight an archdemon without getting our Warden buddy killed, he seems so lost and almost devastated to have not died when he was “supposed to” – and this is a man who doesn’t really seem suicidal at all, he has no real desire to die, he just. Expects to. And what he can do to save others is always more important to him than what he could do to save himself. When my Rook walked in there expecting to be overjoyed with him that they were both still around I have to think the gap in emotion was so jarring to both of them, because like. This man has accepted his own death in the face of the “greater good” for so long that he never once made a contingency plan or even wild hope for “what if I don’t die?” And it’s so cool that he and my Rook got to walk hand in hand through danger and decide they deserve to be happy! It’s so cool that you get to potentially get him through the entire game and into a life with open possibilities and who knows what kind of future for the Wardens! That’s my shit!

And while I can’t say I’ll never choose the Grey Warden option for the griffon choice, to me that is so much a metaphor about letting yourself become a weapon vs finding peace and joy that is in line with you as an individual that if I’m playing the game acting on my conscience, not a Rook who’s further from me, I will always choose Arlathan for them. Because that’s so obviously a metaphor for Davrin’s own growth as a character.

This is where it pisses me off, though – too much of that metaphor is treated literally. Davrin doesn’t verbally acknowledge what the griffons’ changing role means for him, and I’m unsure if an unromanced Davrin ever says anything about planning for the future, having only gotten through the game once thus far. The fucking epilogue where all the companions say a little line about what’s in their future and Davrin just mentions the griffons and not his own fucking life??? Like he had a little line about pursuing romance or whatever but again. That’s a romanced Davrin. If he and my Rook hadn’t vibed “the griffons found a new home in Arlathan” or whatever would have been presented as the sole culmination of Davrin’s character arc. I love coparenting a griffon as much as the next guy but we cannot replace the “sword arm” persona with a “griffon daddy” persona as though him subsuming his needs and wants for the sake of Assan is any better for him than doing it for the Wardens. What the fuck.

Anyway short version of all that is Davrin has my favourite kind of story, and griffons are a metaphor for the way Wardens treat themselves. and the POINT of me writing all that is that you cannot approach his story without acknowledging that the fact that he’s a Black man means people who work/ed on both canon and fan content are ready and willing to treat him as a tool in his own fucking storyline for the sake of an animal, and he deserves so much better because holy hell if you’re gonna write a Black man with this kind of “I exist for a Purpose alone” arc you have got to pay attention to what you’re doing. Please. his story involves Assan but it's not about Assan it's about him.

[wanderingmind867]

My ideas for a season six of Batman 1966. You can tell this is probably where i'm gonna end all of this, because I was getting so tired that I started just poaching ideas from old 40s and 50s comics. Turns out thinking of Three or Four seasons worth of stuff (all 60-70 episodes long) is incredibly exhausting. So here. I hope it's okay. I'm not rewriting this one again. I'm so exhausted, I'm gonna go take a break to use my switch:

Season 6: Season Six is almost all about Batman on his own. Robin and Batgirl make appearances as supporting leads every couple episodes, but Batman is now the leading star. I'd have Aunt Harriet be made more of a minor character too, and I'd replace her with Leslie Thompkins. We'd still see Aunt Harriet, obviously! She's too good to abandon fully! It's just… we'll see her less, since Dick is at College (thus eliminating the need for her to live at Wayne Manor).

Episodes 1 and 2: An adaptation of a story from Batman #32, except this episode features The Riddler in the place of The Joker. Either way, I'm getting really tired of writing all this stuff constantly. So here's a copy and pasted paragraph about the story (with joker's name merely replaced with riddler's):

The Riddler captures Batman with help from his henchmen and they take the vigilante to their secret hideout. The Riddler's latest inspiration has come from watching college students forced to endure humiliating initiation stunts. Riddler then contacts Robin and forces him to perform embarrassing but apparently harmless feats in order to keep Batman alive. However, Riddler is using Robin for his criminal activities and when the Boy Wonder realizes the truth, he prepares a trap for the Riddler.

Episodes 3 and 4: Batman deals with The Archer, an old villian who tried to act like a modern day Robin Hood. Now he's gotten even more blatant with his thefts, and he tries to rob Wayne Manor of all it's valuables (since he learned the Manor had less occupants since Dick Grayson and his Aunt left). Batman still manages to stop him, but The Archer really puts up a strong challenge.

Also, the Archer had to find new sidekicks. So meet Scarlet, Doncaster and Lady Clorinda. Those are all real names of characters from the Robin Hood stories. I just looked it up. But after this story, we probably won't see the archer for a while. I don't know how many more times I can work with his Robin Hood motif, so we'll probably reserve him for appearances in team-ups with other villians.

Episode 5: Shortly after dealing with The Riddler and The Archer, Batman ends up running into Man Bat for the very first time. It's very much a one for one retelling of Man Bat's first comic story, including the fact that Man Bat escapes Batman's clutches at the very last moment.

Episode 6: Harley Quinn is tired of being a mere sidekick, so she strikes out on her own! This episode was probably more fitting to air back during season five, but I never found a good place for it. But this is as good a place as any. And now that Harley Quinn is beginning to distance her crime career from that of The Joker, it means I now get two clownish adversaries to mess around with! If we're getting tired of the constant Cesar Romero appearances, a Harley Quinn modelled after Goldie Hawn now has all our needs covered.

Episodes 7 and 8: The first apperance of The Penguin this season; we get a plot based around an issue of the comics this time. Specifically, based off of Batman #190. The Penguin begins commiting crimes using the methods of the future, since he wishes to be ahead of the trend and above the curve. Since i'm honestly beginning to run out of ideas for these seasons, I think i may just start adapting some comic storylines whenever i feel no inspiration. The TV show did this too, so I see no reason why I can't do it.

Episodes 9 and 10: Two-Face breaks out of jail, and begins defacing public monuments to make them reflect the jekyll and hyde nature of his soul. With his new scheme, he successfully manages to ruin the reputations of many good men and women in gotham. He defaces statues, people, everything he can get his hands on. And although this is a bit of a change from his usual M.O., Batman still inevitably manages to solve the case and get Two-Face back behind bars.

Episode 11: Batman encounters Man Bat again, and this time finally managed to subdue him. But is this really the end of the Man Bat story? Not quite, as there's one more part. But we won't get to see that part until after one more story, sad to say.

Episodes 12 and 13: The Joker breaks out of prison to perplex Batman with crimes based around sound effects and cinema. The Joker manages to convince a film crew to help him film a new comedy, all about his attempts to triumph over Batman. But nobody expects that his "film" is actually all but a ruse; a simple snare to lead Batman right into the palms of his hands.

Episodes 14 and 15: Professor William McElroy has been released from jail on good behaviour charges. He comes to Hudson University to lead a lecture on mythology, but he accidentally falls off the stage and reverts back to his King Tut persona again. And as King Tut, he finally manages to achieve his greatest desire: he steals an experimental mind control beam from the schools science labs, and he manages to convince everyone on campus that they're all in the time of Ancient Egypt.

News of the strange case reaches Gotham after a few days, and Bruce quickly realises that Dick must've been hypnotized by that beam too. So now Batman has to head to Hudson University, to dethrone King Tut and his egyptian empire before he has a chance to spread it's influence across the globe.

Episode 16: The conclusion to the long Man Bat saga, wherein Batman has to cure both Kirk Langstrom and his wife Francine of their Bat transformations and mental afflictions. By crashing their wedding, Batman successfully manages to get to them in time to save them from themselves.

Episodes 17 and 18: Catwoman pines for fame and attention, so she begins framing Batman for crimes. While Batman becomes a wanted crook, she becomes a lavish celebrity amongst the lights of gotham high society. Inevitably, though, Catwoman ends up giving herself away. Namely, she can't help but enjoy the thrill of theft. So when she sees a rare cat stature owned by one of her high society acquaintances, she snaps and steals it.

But Batman had planted a tracker on that statue, so it was all a big ambush! Him and Catwoman get into a fight, and Batman successfully manages to clear his reputation (while Catwoman gets sent back to the penitentiary). What I would do in this episode, though: Catwoman (as played by Julie Newmar) ends up flirting with Bruce Wayne while she's a high profile celebrity. The two of them have some sort of romance going (the same way Catwoman and Batman did in the movie), but Catwoman still ruins her chances by trying to frame and kill Batman. If these two are ever going to work together, it's not going to be anytime soon.

Episodes 19, 20 and 21: The three Mister Freezes got into a heated dispute when we last saw them, so they now have all been forced into using different names. Mister Freeze is George Sanders, Mister Zero is Otto Preminger and Mister Chill is Eli Wallach. But they all still want to keep the name of Mister Freeze.

They're now competing to see which one of them can truly dominate Gotham, to prove that there can only be one master of ice in this town! Batman ends up having to foil three seperate schemes from there seperate Mister Freezes, all because these criminals are being petty and trying to one up each other.

Episodes 22 and 23: Egghead is back to menace Batman! He's annoyed and deeply upset that the League of Assasins snubbed him for membership, so he's decided to finally dig his way into the Batcave, to prove his intellectual superiority over all the other supercrooks. He does actually manage to break into the Batcave, and he turns all of Batman's gadgets against him.

Batman manages to stop him before he can do too much damage, but he still ruins the set-up Batman had going. Which means that Batman needs to temporarily move all his stuff to a secondary location while the old one gets rebuilt.

Episodes 24 and 25: Batman goes to Hudson University to check on Robin while the Batcave is being fixed up, only to then discover a startling new crime taking place right under dick's nose. The new English teacher at Hudson University is really The Bookworm in disguise, hiding out at Hudson University to try and raid their prestigious libraries of all their beautiful books. He's gotten away with his ruse remarkably well, probably because he's earned a reputation as a good teacher.

But despite any good the man may have done as a teacher, Batman and Robin still need to stop his crime before he successfully carries it out! And before anyone asks about Bookworm's henchmen: they've all been masquerading as his teaching aides or as janitors or librarians or something.

Episodes 26 and 27: Batgirl comes to Hudson University as a Congresswoman to give a speech, and she winds up helping Batman and Robin deal with a new crime spree by Harley Quinn. She's set up a roller disco close to the university campus, and she's robbing the college kids of all they're worth. This episode set would wind up very much a tribute to the 70s era disco movement, as Harley Quinn and her mad discotheque have to get taken down by our terrific trio, who've been reunited once more!

Episodes 28 and 29: Batman, Robin and Batgirl are still at Hudson University, but Batgirl is admitting that she needs to get back to DC soon. And speaking of, Batman's heard tell that the Batcave is nearly all done with the remodel. But before the three of them can part ways once more, a new scheme begins to hatch in the university town. A rare north american bird statue has been robbed from right under our heroes feet, and we learn that it was The Penguin who stole it!

But it isn't just The Penguin who's involved in this mess. Oh, no. Catwoman (Eartha Kitt) is also involved. She apparently stole the statue first, but Penguin double crossed her. So now she's stalking him through the city, which means Batman, Robin and Batgirl have a real crime conundrum on their hands. Can they stop The Penguin and Catwoman in time? Or will their in-fighting tear the town apart?

Episodes 30 and 31: Batman and Robin end up stumbling upon a plot by Cluemaster to hijack the airwaves in Gotham and restart his old game show. Batman and Robin have to stop him, because he's going mad with a desire for attention and adulation.

Batman and Robin successfully manage to crash Cluemaster's show, and they send him back to jail. But in a joking scene at the finale of the episode, we see that the news is reporting on Cluemaster's crime by saying he ripped off a scheme of the Riddler's, some years prior. And that just inflames the tension between these two rogues once again.

Episodes 32 and 33: Joker and Riddler team up to issue a series of jokes and riddles to the people of Gotham City. You see, these two have realized that they're quite similar in their themes. So by pooling their knowledge, they hope to finally defeat Batman once and for all! Do their plans actually come to fruition? Definitely not, but I'm willing to bet that they come really close to victory.

Episode 34: Batman and Man-Bat end up teaming up to defeat the Getaway Genius (played by Bernie Kopell) and The Penguin (who've teamed up since last we saw them). Only through their combined skills do Batman and Man-Bat manage to bring this pair of crooks to justice.

Episodes 35 and 36: Batman gets into a really dramatic adventure this time around, as he has to help save Leslie Thompkins, a doctor he knew as a kid (operating out of Crime Alley). Turns out that a mobster named Lew Moxon is trying to kill her, to silence her the way he silenced Thomas Wayne years ago. Turns out that Joe Chill was a mere puppet of Lew Moxon, and Moxon had him killed in jail to silence him.

But Leslie Thompkins has poked her nose where it doesn't belong, and now her head is on the chopping block. So Batman has to save her, and finally confront the bitter shadows of his past. Finally, he has a chance to get revenge for his parents murder. But will he take it? Also involved with this story: Batman learns that Mr. Freeze III (Eli Wallach) was the father of Joe Chill, the petty thug who killed his parents. Mister Freeze abandoned his family when his wife was pregnant, but his name is Elias Chilton.

Episode 37: Sort of loosely tied to the previous episode (but still it's own independent thing), Batman has to try and get answers out of Mr. Freeze III (Eli Wallach) regarding his ties to the deaths of the Waynes. But Elias Chilton isn't talking. And the more Batman tries to press him for answers, the more we begin to sense a strange underbelly to Gotham Society. Lew Moxon was tied up in some kind of "Court", and Joe Chill was one of his "pawns". Elias Chilton may have been a negligent father, but he knows something's odd here. So him and batman come to an unlikely truce; both agreeing to investigate this issue on their own ends.

Episodes 38 and 39: On Christmas Eve, Gotham is menaced by yet another old menace from the past: The Calendar Man! Nobody has seen hide nor hair of him for years (mostly because he went straight years ago), but apparently being all alone and homeless on christmas made him snap and decide to commit a mad christmas and new year's themed crime wave. So Batman and Robin have to stop him, and convince him that people do care for him, and he doesn't have to go back to crime again.

Episodes 40 and 41: Christmas may be over, but apparently The Riddler didn't get the memo. He's leading a crime spree yet again, and this time it's all tied in to the themes of Christmas and New Year's. We learn that Bookworm, Riddler and Scarecrow are apparently coordinating all their plans, because Bookworm and Scarecrow are busy messing with Batgirl and Jason Bard somewhere else in town (Batgirl and Jason Bard got a Christmas break, so they came down from DC to visit Batman and Robin). That story won't be told until the next two parter, though. For now, it's all about Batman and Robin trying to beat The Riddler.

Episodes 42 and 43: Batgirl and Jason Bard have to stop Bookworm and Scarecrow from ruining New Year's Eve for everyone in Gotham. Batman and Robin have to deal with The Riddler's mad diabolical schemes; but Batgirl and Jason have to deal with Bookworm and Scarecrow. Both groups definitely have their work cut out for them.

Episodes 44 and 45: With Christmas over, Robin has recovered and left to go back to university. Now that Batman is all alone, he has to face a threat that's endemic of the new decade to come: the Black Spider. Eric Needham is a violent vigilante torturing drug dealers for what they've done to the slums and ghettos of gotham. He says Batman inspired him to go after criminals, but Batman is disgusted by the actions of this mad vigilante. So he tracks him down, and stops him before he can take the step from brutalization into murder.

It takes Batman a while to defeat the Black Spider, but when Batman does…he can't bring himself to hate the kid. He just wanted to bring better conditions to the slums of gotham, although his methods were excessive and cruel. Still, the wayne foundation pays to help eric needham get the mental help he desperately needs. Because batman isn't cruel enough to leave this kid all alone in the cold.

Episodes 46 and 47: Batman has to deal with The Joker, who's returned to bedevil Batman once more. This time, his scheme involves commiting a series of upside down crimes. This is an adaptation of a story from Batman #23, and it involves a batplane sequence (which would definitely be fun to see on screen).

Episodes 48 and 49: Now that Batman's finished dealing with Black Spider, he learns that the Black Spider was actually the pawn in another criminal's foul scheme: the Black Widow, to be more precise. Either still modelled/played by Tallulah Bankhead, or modelled after/played by Eleanor Audley (replacing a dead Tallulah Bankhead), I'm not quite sure. But I am sure that the Black Widow is back in Gotham, and this time her scheme has become even more intense than before.

She's got an army of giant mechanical spiders, and she's using them to rob gotham, hold places for ransom via web, and otherwise generally make a menace of herself. For a criminal mind this cunning, batman's skills are required. But who knows if even the caped crusader can defeat a foe as cruel and calculating as this one?

Episodes 50 and 51: Batman has to investigate a series of arsons in Gotham. Along the way, he keeps running into a strange new crook known as Firefly, a master of heat and flame. Batman isn't sure just what connection Firefly has to all these arson attacks on Gotham, but he knows there's some connection. So in this somewhat more dramatic tale of industrial espionage, we get to see Batman deal with a arsonist for hire.

But I would also keep some of the silver age firefly stuff, and i'd have his flames have different effects based on their colours. I want a colour themed villian, and i'm going to make firefly that colour themed villian, whether it's accurate or not. So yeah, we're using arson and themed rainbow effects for this story.

Episodes 52 and 53: Batman meets the Ragdoll (as played by Ray Bolger). I don't think a live action story with ragdoll could get into all the contortionism stuff, but I think it's still worth having him here. He very much feels like a character who works in a Batman '66 setting.

Episodes 54 and 55: Mister Freeze returns to Gotham and Batman has to stop him. Along the way, he meets a lady named Venus (played by Eva Gabor), who Mister Freeze has kidnapped, claiming she bears a startling resemblance to an ex-wife of his (an in-joke about George Sanders and Zsa Zsa Gabor once being married). But Venus and Batman end up teaming up, and their combined wits lead them to escape from the deadly traps of Mister Freeze's lair.

Episodes 56 and 57: Batman encounters Minerva, the criminal who ran a hypnosis based mineral spa, has been released from jail on good behaviour. But her plans for Gotham are anything but good. In jail, she used her spa to learn the secrets of all of gotham's major weaknesses. She now knows all the ways batman has defeated the different criminals in gotham, and she plans to use that knowledge to her advantage and finally have her revenge on Batman…

But thankfully, her plans all backfire. Mostly because of Venus, from the previous set of episodes. Minerva and Venus are actually sisters, and Venus vows to stop her sister at all costs. When Minerva captures Batman at the end of part one, Venus summons Robin and Batgirl to save the day!

Episodes 58 and 59: A new villian arrives in Gotham, going by the name of The Spook (which I still think sounds like some sort of ethnic slur, but which was actually a real 70s Batman villian). Claiming to be the ghost of dead prisoner Val Kaliban, the spook's powers of disappearence stump even Batman. But with the aid of The Scarecrow (possibly the only other person who could successfully combat this motif of fear), Batman successfully manages to capture and unmask Kaliban. Turns out he was never a real ghost; he was just a master escape artist who faked his own death.

Episodes 60 and 61: The beginning of the show's adaptation of Steve Englehart's comics storyline. Doctor Phosphorous and Silver St. Cloud both debut in this episode set. Although Doctor Phosphorus isn't seen again after this set of episodes, Silver St. Cloud remains relevant to the remaining few episodes in the season…

Episodes 62 and 63: An adaptation of the next part of Steve Englehart's Batman saga, starring Hugo Strange. I can't actually recap all of this saga, but we're covering the events detailed in Detective Comics #471-472, and that's about it.

Episodes 64 and 65: An adaptation of the story in Detective Comics #473 now, which allows us to see Batman and Robin working together to stop The Penguin, who's prepared yet another mad caper. And with Rupert Thorne using his influence to undermine Commissioner Gordon and Batman's affairs in Gotham, it's now unclear just what Batman and Robin can do to protect the city.

Episodes 66 and 67: For the next several episodes, there'll be a break from Steve Englehart's saga, because I plan to end the season by focusing on that. In any case, this two parter involves King Tut trying to summon an ancient mummy back from the dead, using ancient egyptian rights and rituals. His plans actually seem to work, but we learn that another criminal group is playing him for a dummy. They were using an automaton of a mummy, and they fooled him into thinking it was real.

If you're wondering about which criminal group, I can't really say. I haven't decided yet myself, so that's going to be left unclear. But it's probably either the League of Assasins or the Court of Owls. One of those groups makes the most sense to me.

Episodes 68 and 69: The Riddler starts a new crime wave, once again with the aid of The Bookworm. These two are now delivering riddles in all sorts of ways, from poems to different book titles to even having their henchmen mime out crimes without actually commiting them. Batman and Robin are left deep in the lurch by these two, and a real game of wits begins once more.

Episodes 70 and 71: An adaptation of a story in Batman #45. Again, I am beginning to really tire of writing these notes. So here's a copy and pasted description of the story from off of the DC wiki:

A famous author has recently published a book about the most evil women in history and a Hollywood studio has bought the rights to make a movie based on the book. At the same time, Catwoman escapes from prison. And when she learns that she wasn't included in the book, she decides to sabotage the film and steal from the crew and the studio. Catwoman's criminal spree is successful until she is captured and arrested by Batman and Robin.

Episodes 72 and 73: Batgirl and Jason Bard get involved in this one, as Shame and Calamity Jan crash Washington, DC. They're getting married again, and they've chosen to capture the US capital, so they can use it as their shotgun wedding Chapel. This news shakes the US to it's very core, so Batman, Robin, Batgirl and Jason Bard end up having to play the role of wedding crashers, stopping this outlaw posse from damaging the fair people of washington with their gunfights and rodeo matches.

Episodes 74 and 75: An adaptation of Detective Comics #474. It's Batman '66's introduction to Deadshot, who's still played pretty seriously (albeit not too, too violently). A skilled crook and sharpshooter, deadshot's broken out of jail to get revenge on Batman for their past encounter many years prior.

The death trap at the halfway mark for this episode might actually include a literal firing squad, since deadshot's whole motif is guns and bullets and things like that. So you know…it might end up being one of the show's more dramatic episodes.

Episodes 76 and 77: An adaptation of The Joker storyline from Detective Comics #475-476. This would be the season finale, and it would help to both resolve all the storylines of the past few issues; and yet also to set up the movie that's being built up to lead into Season Seven and help introduce Jason Todd. So a lot of important stuff happens in this episode set.

[kings-highway]

You said send you more silly prompts so can I ask… Haikyuu ships/duos/trios and how far they’d make it in a slasher movie

aaahhhhh more goofy little prompts. just so everyone knows I did get a good amount of these ideas so. they take like 980% of my available brainpower soooooooooooooooo slow and steady slow and steady

duos and trios surviving slasher films is kinda tricky because slasher films are not *horror* films or deadly films, it's specifically *slasher* which has a handful of very specific tropes which makes it almost impossible for any entire group to survive. So I have taken some liberties in the prompt in varying what specific slasher tropes they might be up against instead of simply who lives or dies, but have only picked larger groups, as i don't think duos work for "slasher" films specifically as those are typically high body count.

Daichi + Suga + Asahi: would find themselves in a very classic horror situation in which Asahi would be the first to die, and Daichi would die at the eleventh hour right before making it out, making Suga the last and only survivor.

Daichi, Suga, Asahi + Kiyoko: almost identical to the first, except Sugawara would be killed off after Asahi leaving Kiyoko to be the final girl. Daichi maintains his position as the strong+capable one, meaning he has to stick around long enough to kick down some doors, but he'd never have a chance of actually surviving. Kiyoko could survive but I actually find it likely that her inclusion in the trio would make the otherwise casual horror story into a doom and gloom one, where she'd be caught right after escaping and moving would fade to black to let you wonder what happened to her or how she died.

Hinata, Kageyama, Tsukki + Yamaguchi: I think this can go two ways, either they are all dying in a horrible slasher way, in which case the order is: Tsukki, Kageyama, Yamaguchi, Hinata (hinata cashing in his main character plot armour) OR it would be a more "fun" horror movie in which none of them die, and they "Home Alone" a dude with a machete.

Oikawa, Iwa, Makki + Mattsun: I think these assholes would find themselves more in a slower less unforgiving story. There'd probably be some kind of ancient occult shit going on and a puzzle that needed to be solved, and they'd be running around a labyrnth trying to figure out how to seal some ancient evil away by being chased by a machete man. In which case I can hyper visualize the last scene in which Oikawa is completely bloodied and screaming as the last parts of the ritual are completed right before their time is up, but I imagine that happening with the others either chained/locked away but still alive. I actually think most have a good chance of survival (either Makki or Mattsun would be kicking it, though), and the end credits would roll with some kind of voice over about nobody ever believing the evil they saw in the cabin + an end credits scene that implies the thing gets re released and is going to hunt them down for revenge.

Ushijima + Tendou + Leon + Semi + Yamagata: I think this one would go very Cabin in the Woods. Incredibly self aware of it's tropes, everything would be reversed and ironic and you'd never really have any fucking idea what was going on as they are slowly driving instead. I feel like Tendou would be the first to die, only to make a re-appearance later in a fake-out scenario (never believe someone's dead in a movie unless you see their open eyes!) and they'd probably have a really strong chance at making it out. I think Leon and Yamagata are almost guarantee to be killed off, but the story could swing two ways, either it is a kinder slasher fic in which Ushijima, Tendou + Semi (with heavy injury) manage to fight back and kill whatever it is that's chasing them, OR they come very close to it and are killed off/recaptured by whatever it was with a moral lesson of "you can't escape the rat race" vibes.

if you can't tell I don't really *like* slasher films or horror movies, specifically because I don't like pessimism, which is required in a lot of the stories where everyone dies, so I'm giving a handful of potential endings to accommodate what I understand to be objectively most likely, versus how I would write it lmao

Bokuto, Akaashi, Kuroo + Kenma: Depends on who you pick as your hero. I think in this case it would be a pretty standing pick-off, probably Kuroo, Kenma, Bokuto and then leaving Akaashi last to probably survive, but I also feel like this group would be most as risk of the "killer was secretly one of us all along!" in which case the killer is Bokuto I don't make the rules. They'd play him up as the lovable idiot but it would be a ~facade~

Atsumu + Osamu: only duo I'm putting on this list I feel like this would be more of a kidnapping situation where they're trapped somewhere isolated and have to escape. Maybe some rich fuck's private island. Anyway you can pick your poison on this one it goes either way but only one of them is getting off that island

Atsumu + Osamu + Alan + Kita: I think with this group the story would have to become less gloomy in general so I think they'd all have a decent chance of surviving. If anything, I'd say Kita would be the only one to die, but it would be framed in an ironic tragedy sort of way as the character would be presented as someone who had the most to lose anyway and still lost. Otherwise, I imagine this is more of the "torture and torment" hellscape of horror and they'd probably all have a terrible sequel that starts with them facing their villain in court or something.

Shoutout to my captain squad: Daichi, Bokuto, Ushijima, Oikawa, Kuroo + Kita: they're all dying. In the following order Kita, Bokuto, Kuroo, Daichi + Ushijima (they'd be killed at the same time), then Oikawa. This is also a movie that I would hate. I can visualize it. A wonder cast of interesting characters and it's basically torture porn. There are more interesting things to do to them in a slasher flick ;)

[mageofquandrix]

Hey guys, my brain is soup and probably will be for a while, so I’m giving up on any actual plot writing any time soon. You know what that means. It’s gonna be smut.

I’m taking ideas and prompts, please send them my way.

I write m!Rook, and can write the following ships:

Emmrich/Rook

Neve/Rook

Ot3 Rook/Neve/Lucanis

+also Trevelyan/Dorian (and rook/tarquin)

(Feel free to send other ships, I just don’t have their voices down and haven’t seen their romances, and again, soup brain. But if it inspires something I’ll still write it.)

Anyway, help me lol.

[idkwh0y0uare-haha]

So i instantly got to work on this little AU of mine and I think I like it. Sorry if the storyline doesn't connect to the meaning of the song, I sort of bent the meanings a little so they would make sense for the plot line

introducing my Black Parade AU, The Party At The End of The World! Featuring My Chem's b-sides and demo's for The Black Parade (let me know if i missed any)

Characters in this AU:

Emily

The Parents (The Mother, The Father)

The Party-Goers

TW: Mentions of drug abuse, suicide, religious trauma, and death

My Way Home Is Through You introduces the main character, Emily, age 14. Emily hates being around her conservative religious parents (aka, The Parents) and therefore tries to get away from them. "My Way Home" is nowhere near Emily's living space, but rather at other people's houses. Emily uses partying and drug abuse as an unhealthy coping mechanism so Emily's "way home" is through drug usage and partying. "You wanna hold my hand / Could you sign this photograph / 'Cause I'm your biggest fan" could be a metaphor for extreme religious people who devote every minute of their lives to God, Jesus, and the Holy Spirit, followed by "Would you leave me lyin' here?" being how Emily believes her parents care more about their religion than their own child.

The Five of Us Are Dying introduces The Party At The End of The World for the first time in a dream Emily has. Emily has this dream at a very dark point in her life. Her parents abuse has gotten worse and this is around the time when The Parents start to believe that Emily is "possessed by the devil" (which she obviously isn't...... she's just growing up), which causes them to "beat the devil" out of Emily, you probably know what they're ACTUALLY doing in reality though......... So Emily is given a chance to talk to who are known as The Party-Goers (which is literally just this AU's version of the people in The Black Parade), who try to persuade Emily to keep on living saying that things will get better and that living's not all that bad. However, Emily doesn't believe them and states that she "doesn't care" and that she doesn't see how things could possibly get better. The last line "I don't care at all!" is what the main girl tells the party-goers before waking up from her dream, which states that she doesn't care about what the party-goers have to say, her mind is set.

Party At The End of The World goes into more detail about what The Party At The End of The World is actually like. In the original Black Parade, death comes to The Patient in the form of a parade, hence The Black Parade. However, death comes to Emily in the form of a Party, hence The Party At The End of The World. This party has that warm nostalgic feeling that a childhood party would have while also appealing to Emily's teenage interests. The party-goers state that they "aren't afraid" of the main girl's "condition" because her parents would describe her rebellious behavior as a "condition" or "curse from satan" and would drag the main girl to church on multiple occasions to have her "exorcised" or "blessed." The party-goers come to the main girl in another dream after realizing that they can't convince her to keep on living and therefore introduce the party at the end of the world as her safe space once she follows through.

Kill All Your Friends very briefly summarizes the next 3 years of Emily's life until she's 17. Long story short, things haven't gotten better. If anything things have gotten worse. The Parents continued to live in the delusion that Emily is "possessed by the devil" and believes she's "giving into satanism." The abuse hasn't gotten any better and neither has Emily's drug problem. In those three years, Emily attempted suicide twice, and was in the process of planning her third attempt. The last line in the song refers to the main girl finally taking her life and joining The Party At The End of The World, fearful for what happens next.

All The Angels narrates the night Emily took her life. The "she" in the lyrics refers to The Mother and her reaction to finding Emily's body in her bedroom (The Mother is unaware that Emily is dead at this time). "All the angels" refer to The Party-Goers watching over The Parents knowing that they're the reason why Emily killed herself and don't understand why they're suddenly crying now.

Heaven Help Us follows the perspectives of The Parents, Emily, and The Party At The End of The World shortly after Emily takes her life. The Parents constantly beg Heaven for help, guidance, answers, anything as to why their daughter committed suicide while the party at the end of the world mocks The Parents' obliviousness. The breakdown part of the song is the only part in the main girl's perspective where she literally breaks down in the afterlife after hearing her parents continue to pay more attention to God than her. She realizes that no matter what she did, her parents would have always cared more about religion than her.

Emily (which is where i got the name idea for the main character, obviously) A few years go by after Emily commits suicide and The Father finally starts to realize the severity of what happened to his daughter. The Father starts to call out to Emily to "come home" to him because he feels severe guilt for what he did to her, but ultimately gets no response and has to live with the constant guilt that his little girl is dead and gone forever.

fellas, how would y'all feel if i made a storyline featuring the black parade b-sides and demo's (just for funsies) that was similar to the concept for the black parade but followed the story of a different character (not the patient)?

[amzyspinkarch]

I like the living legends but what the fuck are two grown men doing participating in a high school fight??

[o-vera-nalyzing]

if we only get like one episode of ayda being back i’ll actually be so upset u don’t understand

[hanzajesthanza]

this looks like a long time but initially it said 1 MONTH 15 days

[male-duckk]

thinking abt joe/carlos

[sskk-manifesto]

Ep 5!!!

[nenoname]

while the only redeeming quality of love god really is the stan joke, it does emphasize how bad mabel is at matchmaking and also how much romance sucks actually

[rearranging-deck-chairs]

rewatching 13s era for me is not so much diminishing returns as it is something opposite and eviler...............increasing losses? increasing losses