#just because there isn't really anything I can say that applies to all of them and I don't want this post to be too long

[salemlunaa]

"OH WELL, IM NOT GONNA BE HERE FOR LONG, IM GONNA SHIFT ANYWAY" girl...

let's break down why this mindset, although very common, isn't super healthy...

I saw a post earlier where op talks about how they are un phased about all the bad things happening to them because they "won't be here for much longer”, which is so real and it honestly made me laugh so hard but, i must admit, this way of thinking can also have an unhealthy side.

I, personally, have also been victim to this mindset, and honestly i can tell you nothing good comes from thinking like this. You experience something bad, hurtful, embarrassing, slightly traumatic (which, bear in mind, you wouldn't have experienced if you hadn't procrastinated and tapped in to the void) and you tell yourself "it's okay, i'm not here for long anyway", you abandon responsibilities (that, again, wouldn't be your responsibility if you would ve stayed disciplined and tapped in) and you tell yourself "it's fine, i'm gonna shift anyway" "i'm probably gonna get into the void tonight so it doesn't matter"

NO NO and NO

of course it's good to have the mindset of knowing, knowing that it's your last day here and knowing that the void is the only outcome for you, because that type of thinking is what allows you to shift consciousness and tap in to the void, but a lot of you say that shit without even properly applying your knowledge, a lot of you are gonna remain sounding like broken records, repeating this shit for years, i swear it will be 2028 and yall will still be saying "it's okay i won't be here for long", "im gonna shift anyway"

don't wait for shit to hit the fan for you to get serious about your desires, don't wait for your circumstances to get horrible for you to finally fix up and actually do something. If you really knew you were a god, you wouldn't be here reading this, you would be as pretty as you wanna be, and as rich and happy as you wanna be enjoying your dream life. Don't fall into a comfortable routine with your current reality, (which is really just your old story) because it's not worth it. I even see you guys making and scripting for a "better current reality" (another excuse to remain comfortable with procrastination), when you could have your DREAM life, you guys get swept up in your old story, just because it can be "alright" sometimes. And then when something bad happens, you repeat the same phrase "oh well, i'm gonna shift anyway", and then when things go back to being "alright", you get comfortable again, further procrastinating, when you could have ANYTHING. Who cares about your "alright", "mediocre" reality when you could have the best and more!!

like girl, don't stay comfortable until you're forced to get uncomfortable with a negative change in circumstances. You should be determined to shift consciousness ALL THE TIME, not just when things get tough or responsibilities pile up. Because again, if you had that consistent mindset you wouldn't be here.

get uncomfortable with what you have to achieve what you want, so that all you want becomes all you have

GET UNCOMFORTABLE NOW SO YOU CAN LIVE COMFORTABLY FOR ETERNITY, DONT WAIT FOR SHIT TO HIT THE FAN ᥫ᭡💋

[stop-breaking-my-heart-telltale]

What can I say? They're my favorite.

[laugtherhyena]

Playing Bomb rush cyberfunk has been a crazy experience so far because i feel like I've been enjoying the game just as much as I'm not doing so

[girlscience]

hm. maybe..... it's not that important?

[appsartstash]

Hello, 'tis I again.

Been working on an oc alphabet challenge on and off for the last while (mostly as an excuse to touch up designs or just actually get some designs down) and finally finished recently, so I'll be posting them over the next while.

[prokopetz]

On the one hand, it's true that the way Dungeons & Dragons defines terms like "sorcerer" and "warlock" and "wizard" is really only relevant to Dungeons & Dragons and its associated media – indeed, how these terms are used isn't even consistent between editions of D&D! – and trying to apply them in other contexts is rarely productive.

On the other hand, it's not true that these sorts of fine-grained taxonomies of types of magic are strictly a D&D-ism and never occur elsewhere. That folks make this argument is typically a symptom of being unfamiliar with Dungeons & Dragons' source material. D&D's main inspirations are American literary sword and sorcery fantasy spanning roughly the 1930s through the early 1980s, and fine-grained taxonomies of magic users absolutely do appear in these sources; they just aren't anything like as consistent as the folks who try to cram everything into the sorcerer/warlock/wizard model would prefer.

For example, in Lyndon Hardy's "Five Magics" series, the five types of magical practitioners are:

Alchemists: Drawing forth the hidden virtues of common materials to craft magic potions; limited by the fact that the outcomes of their formulas are partially random.

Magicians: Crafting enchanted items through complex manufacturing procedures; limited by the fact that each step in the procedure must be performed perfectly with no margin for error.

Sorcerers: Speaking verbal formulas to basically hack other people's minds, permitting illusion-craft and mind control; limited by the fact that the exercise of their art eventually kills them.

Thaumaturges: Shaping matter by manipulating miniature models; limited by the need to draw on outside sources like fires or flywheels to make up the resulting kinetic energy deficit.

Wizards: Summoning and binding demons from other dimensions; limited by the fact that the binding ritual exposes them to mental domination by the summoned demon if their will is weak.

"Warlock", meanwhile, isn't a type of practitioner, but does appear as pejorative term for a wizard who's lost a contest of wills with one of their own summoned demons.

Conversely, Lawrence Watt-Evans' "Legends of Ethshar" series includes such types of magic-users as:

Sorcerers: Channelling power through metal talismans to produce fixed effects; in the time of the novels, talisman-craft is largely a lost art, and most sorcerers use found or inherited talismans.

Theurges: Summoning gods; the setting's gods have no interest in human worship, but are bound not to interfere in the mortal world unless summoned, and are thus amenable to cutting deals.

Warlocks: Wielding X-Men style psychokinesis by virtue of their attunement to the telepathic whispers emanating from the wreckage of a crashed alien starship. (They're the edgy ones!)

Witches: Producing improvisational effects mostly related to healing, telepathy, precognition, and minor telekinesis by drawing on their own internal energy.

Wizards: Drawing down the infinite power of Chaos and shaping it with complex rituals. Basically D&D wizards, albeit with a much greater propensity for exploding.

You'll note that both taxonomies include something called a "sorcerer", something called a "warlock", and something called a "wizard", but what those terms mean in their respective contexts agrees neither with the Dungeons & Dragons definitions, nor with each other.

(Admittedly, these examples are from the 1980s, and are thus not free of D&D's influence; I picked them because they both happened to use all three of the terms in question in ways that are at odds with how D&D uses them. You can find similar taxonomies of magic use in earlier works, but I would have had to use many more examples to offer multiple competing definitions of each of "sorcerer", "warlock" and "wizard", and this post is already long enough!)

So basically what I'm saying is giving people a hard time about using these terms "wrong" – particularly if your objection is that they're not using them in a way that's congruent with however D&D's flavour of the week uses them – makes you a dick, but simply having this sort of taxonomy has a rich history within the genre. Wizard phylogeny is a time-honoured tradition!

[bamfkeeper]

NSFW Alphabet: Nightcrawler

a/n: At last, I thought this was going to take longer to write but I couldn't help myself. I was surprised that my sfw one did as well as it did, so naturally I had to do a nsfw one. I want to mention I tried to make it as gender-neutral as I can, I want everyone to enjoy my writing regardless of what you identify as. I hope you all enjoy. <3

Minors DNI. 18+ below the cut.

A = Aftercare (what they’re like after sex):

Kurt is very cuddly after sex. Whether he was top or bottom, he likes to snuggle.

If Kurt was on top, he will hold you and reassure you, saying loving things to you while giving you tender kisses on your cheeks and temples, and anywhere that he might've bit or marked. He will also get up and make sure to clean you, wiping a warm rag over your sensitive areas and praising how beautiful/handsome you are.

He would draw a bath or shower, and he'd absolutely change the sheets while you clean up. Kurt would also make sure to get you snacks or anything that you like to have for aftercare.

If Kurt was bottom, he would be rather clingy to you, not wanting you to go and wanting to hold you. He likes to be taken care of in a similar fashion to how he would care for you. He likes to hear your praise and he will want you close to him for the rest of the night.

B = Body part (their favorite body part of theirs and also their partner’s):

Kurt has a hard time loving himself sometimes, but he learned to from you. He likes to see your reaction to his body, so he learned to love his tail and pointy canines, since you always seem to react positively to them. His ears can also be quite sensitive if you kiss or lick them.

On his partner, he couldn't possibly choose a favorite body part. He loves your hands, how they feel on his velvety fuzz, how warm and delicate/strong they are.

C = Cum (anything to do with cum, basically):

Kurt has unique biology, so naturally that applies to his spunk too. He cums a lot, and he likes to cum inside you because he feels more connected with you. He also can't deny how incredible it feels, you're already so warm and tight around him, and when his hot cum spurts out and surrounds him, it just makes him want to orgasm again and again.

He isn't ashamed or afraid of cum play either. He will eagerly lick you clean, eating you out after he fills you up. He isn't shy about it. Sometimes he will do this instead of using a damp cloth just to be cheeky. And that typically leads to another round.

D = Dirty secret (pretty self explanatory, a dirty secret of theirs):

Kurt secretly wishes you walk in on him touching himself or masturbating so you can see how needy he is without you.

He's always wanted to try recording himself for you, but that would be something extremely sensitive and intimate you'd have to swear you never showed or told anyone about.

E = Experience (how experienced are they? do they know what they’re doing?):

Kurt isn't a virgin, he's been around a few partners so he is at least a little experienced. He might have only done vanilla things with past partners, or not, but he has had enough partners to know what he's doing.

F = Favorite position (this goes without saying):

The good hearted part of him wants to stick with missionary, he feels more connected with you that way, and he gets to see how your eyes roll back when he hits that sweet spot deep inside of you, watching you cling onto him, holding him tightly.

But the naughtier part of him wants to say doggy, he can really push himself deep and let loose that way. Especially if you like it too, he loves feeling your ass against his hips, watching you cling onto the blankets while he thrusts with abandon.

G = Goofy (are they more serious in the moment? are they humorous? etc.):

Kurt is obviously very playful, so being intimate with him would be loving and sweet, but he'd laugh every now and then out of pure love and joy. Sex can be a little awkward or messy, and he'd absolutely love those moments where you both let out a little giggle because of a funny sound that came from either of you.

There are times where he takes it more serious, but because it is such an intimate and vulnerable moment for the both of you, it feels more comforting when you can smile and laugh a little.

H = Hair (how well groomed are they? does the carpet match the drapes? etc.):

Kurt is covered in a layer of velvety fuzz, but he has a happy trail of longer hair that leads down to his crotch. He isn't crazy grown, but he had a good patch of longer fuzz where his pubic hair is. It is groomed well enough to not get in the way of your activities. The hair is also slightly darker than his skin, but not completely black like his hair.

I = Intimacy (how are they during the moment? the romantic aspect):

He can be incredibly sweet and tender, or go a little more intense depending on what you like or ask of him. Overall, his default will generally be loving and romantic. He likes to make the scene comfortable for you, making sure you are cozy laying down, the room will smell nice with candles, and he makes the atmosphere relaxing.

He likes to give you a massage before you have sex, rubbing out any nerves you might have or just to get you extra comfortable with him. He likes to do this especially when you are trying something new that you might be a little wary about.

If you are uncomfortable, he will hold your hips and gently move his thumbs in circles, speaking to you softly and making sure you're not in any pain. He is very patient and won't rush anything.

J = Jack off (masturbation headcanon):

Kurt doesn't masturbate a whole lot, but when he does, he gets a little crazy. He will touch himself when he's gone on missions or when you're not around to help him. He whines for you, his hand moves up and down and lightly twists to add extra feeling. He likes to pay special attention to his tip.

Sometimes if he really misses you and can't hold out, he will hump himself into his bed and imagine you are there with him. He can get very needy when you're away, and sometimes he just can't help himself.

K = Kink (one or more of their kinks):

Kurt is German, so he has a handful of kinks he likes that are out of the ordinary.

He has a religious and corruption kink, the idea of the blasphemy turns him on and he didn't even realize it until it was an accidentally discovered one night when you two were having sex. You decided to talk dirty to him, and while you generally leave his religion out of it, you said something that made him stiffen and instead of saying something to you about it his cock seemed to harden in your grasp and leak out extra precum.

You learned that he really enjoyed feeling like you were corrupting him. You don't go crazy, but you speak to him about his religion and corruption just enough to make him a mewling mess. Especially if you are roleplaying and he is a priest and you are the sinner corrupting his mind. He gets into it.

He might try some light bondage, nothing too crazy, but tying you up or having himself tied up might be fun. He doesn't like to use anything that would hurt, so no rough ropes or hard metal cuffs. He sometimes wraps his tail around your wrists to hold them above your head or behind your back.

He has a secret breeding kink, hence why he loves doggy so much. He feels like he can let go and pound into you, filling you up and moaning about how many little bamfs you will have (regardless of gender lol it's all for play anyway).

L = Location (favorite places to do the do):

He likes to do things in the comfort of his or your bedroom for the most part, but he isn't opposed to doing it other places. He wouldn't mind going to the roof at night for some fun, or teleporting to the woods, or to places like the danger room when it's unoccupied. (Professor X totally didn't see you two on the security footage).

But mostly just likes to stick to the bedroom. He can enjoy you fully there without feeling rushed or worried about being caught or seen, and he can properly take care of you there.

M = Motivation (what turns them on, gets them going):

Praise towards him gets him riled up like no other. Telling him he did good in something, but really putting emphasis on it makes his cheeks turn purple and his underwear feel tight.

Also learning to speak things in German to him turns him on like crazy, especially if you learned how to say something dirty on your own and randomly saying it to him. He will pounce on you immediately.

N = No (something they wouldn’t do, turn offs):

Kurt wouldn't want to hurt you or be hurt himself. He takes intimacy seriously, despite him being able to be playful. He would never harm you.

If you treat him poorly or go too far with your dirty talk to the point where it sounds degrading, he won't enjoy it. He's been through a lot of negative experiences and a lot of it was verbal, so anything that sounds similar to that will be a no go for him.

O = Oral (preference in giving or receiving, skill, etc.):

Kurt is a giver, so he would jump on you any chance he got. His tongue is incredibly skilled, he knows just how to lap and flick, can mix licking and sucking perfectly. He knows where your clit is and finds it every time, teasing that little button with the swirl of his tongue and sloppy kisses. He loves to tease you, holding your hips still while he buries his nose into your pubic bone and eats you like a starved man.

On the other hand, he knows how to work around a dick, he likes to give teasing kisses and kitten licks before taking you fully and sucking. He will gradually build up to deepthroating, he likes to look up at you with you fully in his throat because you make the best noises for him.

P = Pace (are they fast and rough? slow and sensual? etc.):

Kurt is very adaptive to your preferences. He will pretty much do whatever you ask, whether it be slow or fast, rough or gentle. However he doesn't ever get too rough with you.

If Kurt is bottoming, he usually likes it slow and steady, he likes to feel every thrust given to him. But sometimes, he gets so pent up and horny, he wants you to fuck him good.

Q = Quickie (their opinions on quickies, how often, etc.):

He wouldn't mind doing them. He likes to pull you away, sneaking you behind a wall or teleporting you to an empty room and getting a quick fuck in.

Kurt would prefer to have all the time in the world with you, but he understands that sometimes you just need a quick release, and so does he.

R = Risk (are they game to experiment? do they take risks? etc.):

Kurt is pretty open minded to things, he'd be willing to try just about everything once.

S = Stamina (how many rounds can they go for? how long do they last?):

His stamina is very good, I mean he was a trapeze artist and that takes a lot of strength and stamina to do. He can thrust and fuck for quite a long time.

As far as how many rounds he could do, probably only two or three, but he prefers to have one big orgasm inside you rather than dragging it out for too long.

Kurt can last for a while, but generally he only lasts from 10 minutes to an hour, not including foreplay. Which doesn't sound like a lot, but 10 minutes of constant thrusting does get tiring.

T = Toys (do they own toys? do they use them? on a partner or themselves?):

He does have some toys for himself. He has a small bullet vibrator he likes to hold on the underside of his cock, right beneath his tip, it drives him crazy and gets him there fast.

He has some other toys for exploratory things like anal, but wouldn't bring them up with you unless you expressed interest.

If you own toys, he would be down to using them on you for sure. He encourages you to show him how you like to use them so he can learn what you like too.

U = Unfair (how much they like to tease):

Kurt is a huge tease. He likes to bring you sooo close, then stop and watch you whimper and squirm. That cheeky grin, watching you unravel and become more and more desperate for him gets him going, so when he does finally penetrate you, you're nearly cumming just from that. But when he does allow you to cum after teasing you for so long, it feels so incredible.

Vise versa, Kurt cannot stand being teased, he is a puddle if you bring him close and then stop. He begs and whines, but knows you're only doing it because he did it to you, and his sweet sounds are so good to listen to.

V = Volume (how loud they are, what sounds they make, etc.):

He can be very loud. Kurt makes an array of different noises when you are together. All of which turn you on even more because he isn't afraid to be loud with you.

He will whimper and whine, moan and groan, and mewl with pleasure. He begs for more from you, talks dirty in German to you, and his accent makes him sound even more desperate sometimes.

W = Wild card (a random headcanon for the character):

Kurt doesn't cuss a whole lot, but if he's super into it, he will let out a spray of German curses while he is inside you or you inside him, and generally right before he's about to cum.

X = X-ray (let’s see what’s going on under those clothes):

Germans have nice sizes, so Kurt can range from 7-7.5 inches depending on how long it's been since he had sex and how horny he is.

His cock is blue like him, obviously, and his head is a purple-ish blue that grows brighter when more aroused. It's a very pretty cock, and he blushes like crazy when you tell him that.

He is girthy, just enough to stretch you good when he penetrates you. You will need a second to get used to him, but he won't hurt you terribly.

When he's erect, his cock springs up and curves upward slightly.

Even flaccid, he is still large, his length flaccid is about 4 inches.

Y = Yearning (how high is their sex drive?):

Kurt can go without sex for a long time. He has bursts where he is horny a lot and his drive is high, but then he has bursts where he isn't. It depends on his own hormones and his partner. He would never pressure you if he is horny and you aren't, he always wants you to feel comfortable.

Sex isn't a necessity in the relationship, and while he can get pretty kinky and lustful, he ultimately sees sex as another way to connect with his partner in a way no one else can. Being vulnerable and intimate like this makes him feel so special and he hopes that you feel that way too.

Z = Zzz (how quickly they fall asleep afterwards):

Kurt can fall asleep quickly after sex, but he won't allow himself to unless you are completely satisfied and taken care of. He goes through his entire aftercare routine before he will lay down with you.

Once you are cleaned up, fed and given water, he will slip in next to you and curl up right beside you, whispering 'I love yous' and gentle praises, laying sweet kisses along your temple and forehead.

Thanks for reading <3

*BAMF*

dividers by @/adornedwithlight

[cobragardens]

Notes on the Scene in Job's Basement

Crowley is not tempting Aziraphale here. He's experimenting on him.

Getting Aziraphale to sin, or even getting him drunk, is not Crowley's intent in this scene. Eating food, taking pleasure in food, drinking alcohol, and even being drunk are not sins in most of Judaism or Christianity (and they're certainly not sins in British Christianity, regardless of any church's doctrine). When Aziraphale turns down alcohol, Crowley just suggests he try food instead; so it's not important to Crowley what Aziraphale tries, but it is important to him that he try something.

This scene is also the first time (chronologically) we see that Crowley likes to drink and likes to be drunk.

We know from

and from

as well as from Book Omens and Word of God that angels have no instinct beyond curiosity pulling them toward eating or toward gender. From this we can reasonably presume they have no instinct toward Beverages either.

That means that in this moment--

--Crowley is very likely the only metaphysical entity he knows on either side of the divide, or even knows of, who has ever experienced a physical pleasure.

And he probably has some Lingering Questions about it, like we all did the first time a physical pleasure blew our minds. Like,

Is it this strong for everyone?

Is there something wrong with me?

Am I going to hurt myself if I do this, like, a lot?

And it's not like the poor creature can ask anyone, because the answers for humans aren't necessarily going to apply to him.

So when he sees an opportunity, Crowley gets that one angel he knows who'll talk to him to try a human thing, and then he watches to see if physical pleasure hits the angel as hard as it hit him.

And that's why he looks so creepily pleased when it does.

Apparently it is this strong for everyone and there isn't anything wrong with him. Now he can relax and get sloshed without worrying, and he even has someone to talk to about how rad human stuff is.

A Dip Into Speculation

We know because we're shown this isn't the first time Crowley has gotten drunk that, watching Aziraphale, Crowley understands what he's seeing. I think it's really interesting that Crowley doesn't laugh at Aziraphale at any point during this scene, and he doesn't correct the way he's eating, either.

Maybe it's because this is what it was like for Crowley the first time. Maybe he got so drunk he passed out and woke up in a puddle of his own sick. Maybe he got so drunk he passed out and didn't wake up at all, and there was Paperwork and he had to get used to a whole new corporation just when he'd got the hang of having legs in the old one. Maybe somebody had to show him how to use a fork or whatever they had going on for eating utensils in Ancient Mesopotamia. I distinctly remember having to learn as a small child to chew with my mouth closed. There is every possibility Crowley doesn't consider the way Aziraphale is eating to be worthy of ridicule because whatever Crowley did the first time was worse.

Maybe he wants to leave Aziraphale set up for later embarrassment over his table manners. Aziraphale was a judgy bitch about the wine.

Or maybe it's something like Let him have this one. There can be rules to it later; let him just enjoy it, once, like a little kid with both fists in their birthday cake.

Maybe it's desire. There is some textual evidence for this. Once Aziraphale learns to eat properly, the way he does it is very attractive, and we know Crowley loves watching him do it.

I don't think it's overreaching even to interpret David Tennant's physical performance of Crowley watching Aziraphale eat as one of sensual or erotic pleasure. I mean--

I'm not saying it absolutely has to be erotic, but it's not a reach, or even a full extension of the elbow, to read it that way.

There's another meta somewhere [I'll link it when I find it again; if you know this meta, please drop it in comments!] that discusses how this exchange in Job's basement is filmed like an erotic scene.

Like Crowley, we all want to kiss this face.

Aziraphale isn't eating prettily, but he's eating lewdly, ravenously, desirously, and it's lit like romantic sex, not like gluttony. Whether that's funny or poignant or hot may depend on the viewer. Here's how Crowley's handling it:

Srs tho, any frame of this scene could have been painted by Artemisia Gentileschi.

Or maybe--and this is my favorite of the available interpretations--maybe this is what it was like for Crowley the first time and he doesn't interfere because he wants Aziraphale to come out of this as someone who's had the same experience Crowley's had so Crowley won't be so totally alone in having had it.

[howtofightwrite]

Have you read GRRM books? He claims swords needed to be “especially designed for women’s hands” how true is this?

About as true as all of those, “girl guns.” Because, as you know, a woman cannot hold a Glock unless it's pink or sky blue. Which is to say, not even remotely true.

You might get a situation where a child would be unable to operate a weapon designed for adults because the grip is too cumbersome, but even this is going to be something of an outlier. Even years later the Nicholas Cage's line from Lord of War (2005) sticks with me, when describing the AK he narrates, “...so simple a child could use it, and they do.”

Just like basically any other common grip you encounter in your daily life, from screwdrivers to steering-wheels and cell phones, selling smaller, or more colorful ones, is strictly a marketing gimick.

Now, is a legitimate context, but it doesn't really have anything to do with the wielder's sex. If they had the money, the time, and the desire for a perfect grip, they might commission a smith to produce a grip specifically for their hand. Though, the only place I've ever come across this was in competitive fencing. I have seen cases where someone modifies their blade's grip with tape or other materials to better fit their hand, or the addition of a leather (usually shagreen) wrap over their grip, but even that is somewhat unusual. (Shagreen is leather from a shark or ray, and it grips the skin, making it easier to hold, especially when wet.)

Ironically, girl guns do illustrate the one case where have some weight: Weapons as fashion accessories.

I know I've complained about weapons (particularly handguns) as fashion accessories in previous posts, but the truth is that using weapons like this is not new behavior. In the early modern era, one of the ways the rising middle class liked to display their status was with a sidearm. (In this case, referring to a sidesword or, later, a rapier.) I've looked specifically into women carrying sidearms at that point in history, but it really would not surprise me in the least if they did, and if there were, that at least some of those swords were specifically designed to be more delicate and, “feminine,” per their owner's tastes. (Though, to be fair, a more delicate grip on a rapier would be fairly impressive, as the grips tend to be pretty thin.) This is a case where you might want to look into it further, if it really catches your interest, but I've never really run this down before.

If you're still dubious, feel free to wander into nearly any HEMA event, and you'll have a better than average chance of a woman being willing to prove this idea false with a Zweihander, that may in fact be taller than she is. (Historically, Zwiehanders could be over 2 meters long, and chances extremely good that you're shorter than 2 meters.)

I know I'm regurgitating previous posts here, but it really is worth remembering that swords are much lighter than people think. Zweihanders are some of the heaviest battlefield swords from history, and even the heaviest examples weigh less than 9lbs. Women in HEMA can, and do, use them effectively. Swords aren't about being big and heavy, they're about being a (in this case) seven foot long razor blade.

Since we're on the Zweihander specifically (and this may also apply for some of the other greatswords, such as the Scottish Claymore), this is a case where you might have a custom weapon forged for you. However, in this case, that's more about the right blade length, then worrying about the grip being too thick or too thin. Ideally, you want the blade length to match your height (roughly), this is because of the drills with the weapon itself, though you could adjust to a longer blade if that's what you had.

Now, to be clear, the idea of someone, particularly a noble, having a blade custom forged for them specifically isn't strange. That's something that did happen, both at the noble's request, and also as diplomatic gifts from other nations. Examples of the latter resulted in beautiful art pieces that you would never take into battle.

If you had a situation where you couldn't use a sword because the grip was too large (for, whatever reason), there are ways to fix that. In an ideal situation, you could simply pop off the pommel and grip, and then replace the grip with one that was a better fit to your hand. If the tang itself was the problem (this is the metal core of the grip, and is part of the blade, which the pommel attaches to), you might be able to shave (or file) down the tang, and then replace the grip with a new one, fitted to the now smaller tang. I'm not particularly wild about modifying the tang directly, simply because there is a (minor) risk of reducing the structural integrity of the sword in the process. Though, replacing the grip (especially on a sword with a threaded pommel) is very doable, and unless someone, somehow, screws up catastrophically, it should be a pretty trivial modification. (Again, replacing a sword's original grip with a new shagreen grip does make a lot of sense if the owner wants that improved grip.)

But, to the original question, it's not really a thing.

-Starke

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[colleendoran]

How Do I Do Stuff

The question was phrased a little strangely, and I don't want to embarrass the person by posting exactly what was said, but I'll answer it and hope this clears everything up.

I do almost all of my drawing by hand. No, I don't trace in Photoshop. Not a judgment on those who do, but I come from a generation of artists who did not use Poser programs or other digital tools. We learned to draw using a technique called the Sight Size method. I know a lot of people assume everyone - including the old masters - traced everything using optical tools, but while it is true some people did, it is just as true that most didn't, and you can draw with great accuracy if you learned how to draw the old fashioned way.

Sight Size breaks everything down into its barest components of geometric shapes and you build from there. Once you learn it, you never forget, and it applies to everything you will ever draw.

I learned it using a set of Famous Artist Course books my mom had since she was a kid, and they are still the gold standard. They're often on ebay. If I were you, I'd buy them.

I actually find using figure reference really annoying because I like exaggerations and modifications from reality in my final work.

This page from Neil Gaiman's Chivalry was drawn and painted without figure reference of any kind.

I don't know why people assume I trace all the time. If you were to try to use photographs to replicate these figures, you would find they are slightly off. There is no tracing here.

This is not to say I never use reference. This page, for example, was referenced from a photo of my mother. Isn't she pretty.

But this page of Sir Galaad was drawn and painted without reference.

He's pretty, too.

If he were real, I'm sure a lot of people would be very happy about it. But he's not. And had I reference, the art would have gone a lot faster. I had a time trying to nail this face that is very alive in my head but doesn't really exist.

Back in the ancient days, all cartoonists had to learn to draw and paint extemporaneously because reference was limited and digital tools didn't exist. While some high end artists had photography studios and professional models with costume and sets on hand, small fry like me were limited to what was in the house or available at my small local library, which was no bigger than a few rooms of my current house.

Artists kept extensive "morgue files" or "swipe files" which were collected from magazine clippings and photographs so we would have as much of what we might need on hand for quick reference. These ephemera collections could get unwieldy. I have thousands of photographs I've simply never sorted. I finally dumped most of my files this past year.

Have I ever traced anything? Of course, especially if I have to re-use a shot or setting over and over. Making extra work for myself is just silly. It's my job to make pictures, not to perform magical feats, like copying one shot after another over and over without making a mistake.

However, for almost 15 years of my career, I refused to copy or trace anything, and did not even own a lightbox. On the one hand, that forced me to learn to carefully examine what I saw. On the other hand, it was a stupid hill on which many deadlines died.

Only after I realized many professional artists had lightboxes and overhead projectors did I finally break down and get one.

The one thing I use my lightbox for more than anything is for tracing my thumbnail sketches to the final drawing paper. Instead of trying to capture the liveliness of the original sketch by copying what I see - only bigger - I blow the thumbnail up to the size I want the final art to be, then I trace over the thumbnail using a lightbox onto the final drawing paper.

Here's a look at thumbnails from the graphic novel Neil Gaiman's Snow, Glass, Apples.

I enlarged these on my computer to fit onto 11"x14" paper, and traced the thumbs before finishing the art which was drawn in pen and ink and colored in Photoshop.

While I obviously made some changes, the essence of the thumbs is there in the final work. Tracing my thumbs retains some of the looseness of the original sketches, which is often lost otherwise.

So, there is a valid purpose to tracing at times, though in my opinion, too much tracing can weaken drawing ability, substitute for developing skills, and make the work kind of stiff.

If you want to, I'm not your judge. But it's weird to me that people think I must be faking my skills in some way.

Ironically, the word cartoon comes from the Italian word cartone, which is a large heavy sheet of paper - also, the origin of the word carton.

Preparatory sketches were made on this paper which was then transferred to the final work surface via either tracing or by stamping little holes in the paper through which dust was sprinkled, recreating the contours of the drawing for the artist to follow.

So the origin of the word cartoon comes from a process often used...for tracing.

[coddda]

Light's relationship with his father is such a heartbreaking multi-faceted tragedy to me I hate it so so so much.

Soichiro loves his son so much, and while he's certainly not a perfect father I know that he cares deeply about Light. He wants to prove Light's innocence so badly but he can't let go of the underlying doubt that he might really be Kira and it gnaws at him. He does not know that from the very beginning he was being used by Light, whether it was to obtain information about the investigation, or to get to L, or to strengthen the foundations of his own lie that he wasn't Kira, this entire time he was simply another resource. He'll hang onto this doubt for years, even after L is dead, even if he doesn't express it in the latter half of the series, until he himself is on his deathbed, with what he believes to be undeniable proof that Light isn't Kira. (It's a lie, of course.) He dies happy, but it's on the foundations of blissful ignorance. His own son brought him here, brought him to the point where he had to sacrifice half of his own remaining life span, to his own death march, and was still trying to use him even now to kill someone else, but he doesn't know that. Soichiro said that what was evil was the power to kill others, and that whoever used it was cursed. Light was that cursed man, of course, and he tried to bring that curse onto Soichiro too by making him kill in his last moments. Soichiro was happy regardless, because he didn't know. He'll never know. (In the manga/anime at least. More on that later).

Light loves his father but it's not enough to turn him away from the terrible decisions he's made, if anything it only fuels them. His idea of "justice" is a twisted model of what he parroted from Soichiro, and he uses his father as another pawn (and a powerful one at that) in his plans. If he can prove that Kira is justice then perhaps his father will no longer call Kira, and therefore Light, evil, so he just needs to ensure that Kira becomes justice, right? It's Light's own actions that land his own father in the hospital for a stress-induced heart attack and yet he says only a few minutes later that he's the happiest he's ever been in his entire life. Even after Soichiro denounces Kira by calling him evil, even after he calls the Death Note's power evil, even after he unknowingly tells Light that he is cursed. When Soichiro dies Light is too deep in his own plans to actually properly process the fact that his own father is dying past what it means for his goals, but at the same time he still cares enough that after the fact he'll genuinely cry, only to brush it all away later. (Personally, I don't have a single doubt in my mind that Light's crying in that scene was genuine and I Will die on this hill). Soichiro had unknowingly denounced Light one last time just before his death, openly relieved that he "wasn't Kira after all", which also reveals that he has had doubts about Light this entire time, even after L died. By the time he's caught at the Yellow Box Warehouse Light will have denounced his father too, seeing him as someone who was made to be a fool, someone who was naive, even, too earnest for his own good. He won't realize that part of this description of his father might have applied to Light himself, back when this all started. Light takes after his father so much in so many ways already, so why not in this way too?

Ough. And honestly the other adaptations never miss out on this tragedy either, and I love them for that. (spoilers for the musical and 2006 live action movies I guess?)

In the musical we see Soichiro express his doubts and conflicts about who to believe, Light or L, if the son he raised really is a murderer, if everything he knows about him is just a lie. Like, there's an entire song about this, and you can tell how torn he is about it all, how badly he wants Light to be innocent but about how he also needs to face the truth no matter what it is, but at the end of it all he doesn't even get the answers he wants. At the end of the musical the only thing he finds is two corpses, Light's and L's, with no answers. No last words, no closure, only dead ends and a dead son and a grieving daughter. It's so awful I hate it here.

And the live action movie is fucking Insane. Like, wow. Okay. (Spoiler for the ending of Death Note The Last Name I guess) In the 2006 movies/novels Light writes Soichiro's name in the Death Note himself, and it's such an inconcievable move that it leaves even Misa shocked; Light tries to make Soichiro give him the Death Note for the last part of his plans, seeing his death as a "necessary sacrifice" (insert tangent essay about why I think 2006 live action movie Light is actually the most "coldhearted" Light Yagami, despite how infamous anime Light is). It doesn't work, and Soichiro does end up finding out that Light is Kira this time, and they have a confrontation, but he doesn't even sound truly hateful towards Light for it. He Never seems to outright hate Light for it, even after Light calls the whole confrontation a waste of time and instead tries to continue killing with the piece of the notebook in his watch, even after he tries to get Ryuk to kill everyone. When Ryuk inevitably writes Light's name and he collapses, Soichiro still reaches out for him and holds onto him as he's dying. Light literally dies in Soichiro's arms, still looking for the validation that he was right, that this wasn't all for nothing, that he was doing the good thing, trying to make Soichiro understand that he was trying to enact justice based on what he learned from him in the first place. Soichiro not only learns but sees for himself what his son has become, and Light dies in his arms leaving no closure for either of them. Soichiro will announce Light's death in L Change the WorLd on the news without saying his name, saying instead that it is only Kira who is dead, even though he and Light are one in the same. Sachiko and Sayu will never get to know the full truth about what happened to Light, instead Soichiro will lie and instead tell them: "Light was killed by Kira."

And then holy Shit the jdrama. If I write about it here this post is gonna literally double in length and also I don't really wanna spoil it but. Man. Man. If you watched it you know. Holy Shit dude I Cried.

It's the fact that, canonically, Soichiro will die oblivious to what Light has done, but even in the instances where he does find out, it doesn't make it any better, and it doesn't make him love Light any less, it just gives him more to grieve.

It's the fact that there isn't a single universe where Light doesn't use his father for his own gain, whether to gain information, or to try and control him with the Death Note, or make him write in the Death Note himself, and not a single time will he realize just how far he's strayed from Soichiro's ideals, and not a single time will he not forsake him for it by the end of the story.

It's the fact that, despite everything, Light will always refers to Soichiro as "dad/my dad" (informal) rather than "father/my father", even after he has been "denounced" (and this is true in every language that Death Note has been translated in, as far as I could find. Man, isn't that so cool! :) <- Through tears).

Anyways that's what I've been thinking of how's your guys' days going

[genericpuff]

say sike right now, she's actually going back to The Doctor Pepper Show-

Like, this is just "What if The Doctor Pepper Show and LO had a baby?" Because at this point it's very clear Rachel only knows how to write from inside her own head, which is full of unresolved salt towards her childhood and medical fetish shit. The imagery in the first panel is very LO, and the imagery in the second is literally The Doctor Foxglove Show-

Evidently she's been reskinning the same shit for years-

Listen, I've been, for the most part, keeping my lips sealed on a lot of Rachel's old projects and what I've dug up on her previous works, for a few reasons:

1.) We were all cringe on the Internet at some point in time and a lot of these older works, such as Freak Scene Surgery and The Doctor Pepper Show, would have been from when she was in her late teens / early 20's. I'm not here to judge Rachel's personal preferences or whatever kind of fetishes she's into. It's totally normal, expected even, for a lot of creators to have older works they're trying to bury or disconnect themselves from because it's simply not them anymore.

2.) Ultimately I've been focused on discussion around Lore Olympus and Rachel as she currently operates as a creator, so I don't want to go digging up her old skeletons as any sort of "gotcha" towards LO today. Ultimately a lot of these works don't have anything to really 'do' with LO as it exists today.

That said, the reason I'm bringing it up now is because these new series... are bridging that gap that I've been avoiding for ages now. The gap that's filled with skeletons of Rachel's past that she's trying to both disconnect herself from but now fall back on with LO come and gone. It almost goes to show that her being a one-note pony goes back since far before LO - these are literally the only ideas she's able to come up with at this point, and it's painfully obvious in how both these new "graphic novel pitches" are pretty much the exact same and could apply to the same character, and that character may as well just be Persephone, i.e. Rachel, all over again.

Like, I'm calling it now, Patients in the Dark is just gonna be more "moms are bad" rhetoric, and Eleanor's Deathbed is gonna be Hades and Persephone, but replace Hades with some death god and Persephone with a training mortician, which is basically also still just Foxglove training to be a doctor, and Icy Shaw bragging about fondling corpses.

If anything, now that Webtoons is no longer carrying her around on their shoulders, this is gonna be Rachel's moment of "put up or shut up". She can either actually put in an active effort to write something that's decent, or she can flounder under the weight of her own tired mediocrity that's been knocking at her door for years now. As much as she's using her labels that were bought for her to sell these books which aren't even in real development yet-

-Webtoons isn't gonna be there to buy her Eisners forever. This is entirely on her and the imprint that Webtoons shoved her into. Her process is still the same, she's learned nothing from the experience of making LO, she's just got the money and awards now and is trying to run with it, but all she has are the same tired pitch lines that she's been using for decades now and just so happened to work with LO because LO had both Webtoons and the appeal of it being a Greek myth "retelling" to carry it into fame.

I'm gonna go into a bit of a tangent here, but it's been weighing on my mind since I found out this news and have been discussing it with pals within the ULO circle. Rachel once said in an interview that she wanted to use her platform to raise awareness of issues regarding sexual assault, mental health, and "the patriarchy":

"Who do you know that hasn’t been sexually assaulted? The number is depressingly low, right? Why is that? There is no short answer or an easy fix. I have a platform. I can tell a story that will hopefully educate and help others feel acknowledged and vindicated." - Rachel Smythe, Interview with Gossamer Rainbow

"...obviously I'm very feminist, and that sort of stuff really matters to me, um, the best way to approach this question is… I began, the pilot was written in sort of mid-2017, and I think what I wanted, what I wanted to achieve, and I don't even know… probably in 5 years time I don't know how I'm going to feel about this but I'm taking the risk, I really wanted to write a story where, uh…this female character goes through these things and I think what I wanted to do, what I wanted to achieve, was like a really common, I can't speak for like, men, but I can definitely speak for like, you know, if you're sitting in a group of your female friends and you're like "Hey! Who's been sexually assaulted?" … The response is going to be really depressing… Most female people that you know have probably experienced sexual assault to, on one level or another, and I'm like, for me I'm like "Why is that? Why?" And is it because there is a lack of information, lack of education, like what is it? And I'm lucky enough to have a platform and I'm like, if I could just provide some information in story format, would that help? Is this what I can contribute? So I feel like, especially, when writing sexual assault in media often it's… it's a way for the main male character to be, like, uplifted to hero-ness by, usually like, violence is the way to fix the problem, and that's not the approach that I want to take… um, I think [sighs], oh god, sorry I've lost my train of thought, [sighs], yeah, I think a lot of the time in movies when they, like, show rapists or something it's generally someone who's jumped out from behind the tree at a lady in a park and it's not really how it is like 90% of the time [laughs], so I just wanted to make something realistic where people could at it and be, like, "hey, nagging someone into sex isn't cool" or like removing all of their opportunities to say no isn't cool, or for someone to look at it, and just like feel validation, this is me trying, trying my best to make a difference with the platform that I have, and yeah, this is my roundabout answer for it" - Rachel Smythe, Interview with The Comic Source

And yet not once has Rachel actually used her platform for good outside of herself. She just asks the question, "Sexual assault?" and then writes off the answer "yes, it's bad!" and it especially shows in LO where the resolution to the one plotline she kept around to draw in readers was "assaulters are sent to the timeout corner!" Sure, it works for the readers who are simply seeking validation that their experiences aren't unique to themselves, but is it actually doing any real work to talk about the systems in place that leads to people like Apollo being created? Is it doing anything to address purity culture as it exists and the double standards that exist for women who are navigating sexual relationships? Is it doing anything to take the discussion outside of the narrative and put it into action through support of women's shelters, charities, mental health support for men, etc.? Not really. Like many of Rachel's ideas throughout LO, she simply goes, "Men, amirite?" and the answer is "yeah men suck!" and nothing more. The answer to the entire SA plotline is "rape is bad, don't do it" when anyone who could even relate to that conclusion in the first place already knows that.

Ultimately the activism she claims she's trying to do doesn't actually service the issue at hand - it just services herself and her own insecurities, her own unresolved trauma, her own need for validation through Eisners and merch sales. She asks the question, "Who hasn't been assaulted?" so that when she responds to the women who come forward and relate to Persephone, it's with the intent of getting them to read LO and buy her merchandise. She winds up making herself the center of other people's experiences, even ones that she cannot relate to. At BEST her attempts to "use her platform" as a means of starting discussion around ongoing societal issues like the patriarchy and sexual assault towards women is about as effective as Bell #LetsTalk, it's purely performative, self-profiting, and offers nothing of real tangibility.

If she just wants to write her own self-empowering personal works, that would be fine. Plenty of creators do it. Art is, at its core, self-expression. But it's extremely telling that she's built a platform off her self-expression, and twisted it into what she believes to be "activism" and "feminism", so that she can continue to profit off it in her future works such as this, which, again, are just reskins of her previous projects which were largely centered around the fetishizing of abuse towards women.

I don't want to claim that this is what it is, but... how much of the "feminism" in LO is done purely through the lens of victimizing women? Why is there more effort put into torturing female characters like Hera, and Demeter, and Minthe, and even Persephone to a certain degree, than there is into actually addressing the larger issue that she's claiming she wants to shed light on and resolving her questions with actionable answers?

That is the only question I will leave you all with. I am absolutely 100% not planning on touching these works with a ten foot pole, even if they should come to fruition. With the recent realization that she was into artists like Trevor Brown, alongside the fact that we've known for a long time she's into Lolita and there are very clear parallels to draw between it and LO, I think it's safe to say at this point that Rachel's work is not something I want to continue to support even when it's "hate reading". Again, I'm not going to outright accuse her of anything, but I feel like the writing is clearly on the wall here and I'm taking that writing as my warning to steer clear.

I didn't want to discuss the elephant in the room - her older works as they exist in the distant past of the early 2000's - but she's now riding the elephant.

[saffigon]

I'm a trans man and I'm having a hard time understanding one of your posts.

How can trans Men be lesbian? The definition of lesbian is non-man loving non-man.

I understand he/him lesbians, because pronouns don't equal gender.

But to me calling a trans man a lesbian for liking women seems... against the whole point. Wouldn't that be against their gender identity, since lesbian is non men loving non men?

I am genuinely trying to understand this and don't mean to come off as rude. I am also in the lgbtq community, I'm bisexual and transgender. I try to get your points.

Also if I understood the entire post wrong, MB. I'm just trying to make sure i can accept everyone.

Trans men have had a connection to the lesbian community for decades. The line between butch and transmasc "non-man" lesbian and male lesbian is blurry sometimes. If you want historical evidence, Alison Bechdel has some comic strips from the 1980s and 1990s where male lesbians are present. Trans men who like women often identify as lesbians before they realize they're trans, and so they have an established connection to the lesbian community and continue to identify with it as they transition. Some also feel that their attraction to women is inherently queer and don't really feel like their attraction is "straight". Not all straight men identify as lesbians or lesboys, obviously, but it's an option for those who feel like it applies to them.

Also, "non-man" and "non-woman" just create a new binary that's exorsexist and based in racist ideology if applied generally. Not everyone fits neatly into the "non-man" or "non-woman" categories. Multigender people, for example, may be both man and woman, and don't fit into "non-man" or "non-woman" neatly. To say a multigender person who is both man and woman is "non-man" or "non-woman" erases at least half of their identity. Or demigender people who identify with a binary gender can be both not that binary gender and that binary gender. So saying a demiman is "non-man" is to erase their identity as a man and to say they're exclusively "non-man" is to erase their identity as nonbinary. This is also true for genderfluid and genderflux people who are sometimes completely binary men. To say they're exclusively "non-man" is to erase their identity as a man and to say they're exclusively "man" is to erase their identity as nonbinary.

Post by @this-is-exorsexism and @our-lesboy-experience found here

I'm white so I'm mostly going to point to this post by @moonshinedyke to explain the racism surrounding "nonman" and "nonwoman" as terms. Historically, "nonman" and "nonwoman" have been used to degender Black people and the term also degenders Two-Spirit people. As he points out in the post, it's fine to use the definitions for your own attraction, but using them to define the label as a whole is antiblack.

This isn't to like shame you or anything, just to give explanations and resources as to some things. I would recommend checking out the @/our-lesboy-experience blog to learn more about lesboys in general. This Carrd also has a good amount of information.

As for my own experiences, lesbian was the first queer identity I had. I started identifying as a lesbian since I was about 12. I realized I was trans when I was about 15. I've strayed away from the lesbian label because I felt it was "too gendered" both in definition and in the association. As I've gotten older, I've started to connect with the lesbian community again and feel comfortable identifying as a butch lesbian alongside being a trans man. My girlfriend identifies as a bi lesbian, and we consider our relationship both to be a lesbian one and to be a straight one. My attraction to women is both lesbian and straight and it fluctuates between what it is from day to day. I also identify as bigender and have some connection to lesbian identity because of my gender identity being a little funky.

A better definition of lesbian would be queer attraction to women. It includes people of all gender identities and is generally a good faith way to understand lesbianism.

[demon-country]

I'm kind of surprised that this isn't a more common opinion, but I really do think that Blitz started coming over way more often than just the full moon for sex and also that he started staying the whole night as time went on. Like, even if you want to claim that Stolas doesn't love Blitz, he only loves the idea of being loved - which I highly disagree with - Blitz ain't that kinda person. He doesn't catch feelings after only like, what, 12-ish days spent having marathon long sex, and a couple of times spent being vaguely together in public? Ain't no way, Blitz is too guarded for that, and even though BDSM breeds a lot of trust just by virtue of it being about trust more than it is about sex, there's no way those things alone would make Blitz start to fall in love enough that he lists Stolas among the people he doesn't want to live without and die alone, or enough to do literally all of The Full Moon and Apology Tour.

On Stolas' phone there is also a picture of a horse that Blitz drew, laid on Stolas' bed, showing that Blitz felt comfortable enough at Stolas' palace and in Stolas' company that he was willing to draw Stolas a horse. That speaks of intimacy, that speaks of familiarity, and that speaks of trust that Blitz would share something he loves doing with Stolas. It also speaks of them having the time to do things other than sex when he comes over.

Now, to be fair, Blitz himself says that Stolas liked to do things like call him a lot to ask about his day and whatnot, and liked his sinstagram posts all the time. And while their now-defunct official Instagram posts aren't strictly canon, Viv did say that the stuff there was true to what the characters might do. So if we take what Blitz said in Oops and applied it to something Blitz posted on his sinstagram account, then Blitz used to book out an entire hour on his daily schedule just to talk on the phone with Stolas. Spending an hour or even half an hour almost every single work day for around a year and regularly talking on sinstagram is definitely significant and would also foster familiarity and plant the seed that Stolas does care for him, even if Blitz's self-hatred and Stolas' more unfortunate comments prevented him from truly believing it.

But I don't think it'd stop with that. Sex is the only way Blitz feels he can really spend time together with Stolas, and it's the only thing he knows for certain that Stolas wants from him and is always down for. If he was catching feelings - and Ozzie's, The Full Moon, and Apology Tour all show that he most definitely was -, he'd start desiring to be around Stolas more often, which would almost definitely lead to him making excuses to come over and have sex.

Of course, he couldn't just admit that even to himself, so he probably would have excused it to himself as something like being too busy to find someone else to sleep with. Oh you know he's just so busy with work and taking care of Loona, and going out to find a fling when he has a perfectly willing booty call he can go see basically whenever he wants is just way less convenient. Why put in the extra work finding someone he's interested in when Stolas is a smoking hot great lay who's down to do pretty much anything and everything? Not that it means anything though! He could totally go get someone else if he wanted to, he just... doesn't. Because he's too busy for that, of course.

And why go to some rando's place if he's just gonna have to get up and leave right after? With Stolas he can stay the night in a giant ass, comfy as fuck bed (with a super soft, super snuggly bird. Uh, not that he cares about that though! It's certainly not like he's touch starved or anything, haha no of course not that'd be crazy! >_>), and in the morning if he sticks around long enough he can either get another round in or some fancy brand coffee.

Like, that's all just an example of how he might explain it to himself, but however he actually did, I'm of the opinion that he used to not stay the night, but most of the time by the end of it he did. Blitz doesn't fall quickly, but once he does he falls hard, and given how desperately he clings to Stolas in The Full Moon and Apology Tour, I'm not sure if he'd be able to stop himself from spending whatever time he could make excuses for with Stolas. The only reason he doesn't post-Ozzie's is because of Stolas' supposed rejection and, after Western Energy, because he feels unworthy of it and is scared of what his perceived failure to protect Stolas might have changed.

That's how I see it, anyway. But I guess it's a pretty unpopular opinion? This got way longer than I thought it would...

[suzukiblu]

Ko-fi thank-you sentences for 🦄 behind the cut; Billy adopts Conner and it actually goes pretty good! (( chrono || non-chrono ))

“Like–they didn’t read to you or let you watch movies and stuff, you mean?” Billy asks with a frown. “Just put the whole things in your head at once?” 

That sounds disorienting, and also kinda mean and lazy on Cadmus’s part. But maybe it wasn’t as bad as it– 

Lynn looks down at Tawky; flips his ear back and forth again and rubs the pad of his thumb across the inside of it. 

Billy . . . frowns, again. 

“No,” Lynn says to Tawky’s ear, as opposed to actually either of them. “I mean they didn’t tell me stories at all.” 

. . . wow, yeah. Billy is definitely committing fifty-two floors’ worth of arson. 

“Oh, okay,” he says, making a few mental notes for himself about, again, arson. Like, just the whole process and everything. “Well, they suck, then. We’ll just have to get you some different types to try, I guess. Like with the food and all, you know? It’s a library, anyway, it’s not like it costs money to borrow stuff or anything.” 

“It’s just stories,” Lynn says to Tawky’s ear, not lifting his eyes at all. “They’re not–important. To . . . I don’t need things like that.” 

“Why do you think that?” Billy asks with a frown, though his inner arsonist is already pretty sure it’s Cadmus's fault. Pretty much positive, in fact. 

Pretty definitely positive. 

Lynn shrugs. Rubs the inside of Tawky’s ear. It’s really soft, Billy knows; Tawky’s fur always feels nice to touch. He wonders, actually, how much stuff Lynn even has touched so far. 

He wonders, again, if anybody’s ever hugged him before. 

He really hates the thought that maybe no one has. He really hates . . . 

He just really hates that that’s even a thing that might be a thing at all. 

“Weapons don't need to know stories,” Lynn says. “They just need to do as they're told.” 

. . . in retrospect, arson might be half-assing what Billy should do to Cadmus. 

“This isn't so you can be a weapon,” he reminds Lynn carefully, resisting the urge to clench his fists in his lap. “Remember?” 

“‘This’,” Lynn echoes. He still doesn't look up. 

“I'm taking care of you,” Billy says. 

“Maintaining me,” Lynn says very, very quietly. “Containing me.” 

“I really hate that somebody made you think that's what that means,” Billy says tightly. Lynn ducks his head lower and looks towards the wall. 

He doesn't say anything back. Billy bites his tongue, trying to figure out what he should–do, or say, or . . . 

The truth, obviously, but how to say it's a lot harder. 

“This isn't, like–a containment thing. That's not why I'm taking care of you,” he tries, because it's the best place to start he can think of. The wisdom of Solomon covers a lot of knowledge, but not necessarily always how to apply that knowledge. “Like, we wanna know where you are so we know you're safe, or at least know you've got your phone just in case, and the curfew thing is–like, normal kids get curfews. So people know where they are, and that they're not in trouble or anything. And like–so people know when to get help for them, if they might be in trouble.” 

Lynn doesn't say anything, still. Billy's not sure if that means he's just thinking, or if it means he hasn't said the right thing yet. 

He really hopes it's the thinking thing, but . . . 

“Honestly the other idea was putting you up in Mount Justice,” he admits. “But it doesn't have any windows or anything, and I don't even know if anyone else was gonna be there most of the time, and–”

“Windows?” Lynn . . . frowns, his eyes flicking back to him. 

“Um, yeah,” Billy says. Lynn stares blankly at him for a moment, then slants his eyes towards the apartment windows and–hesitates, a little. 

“. . . you mean there's no sun,” he realizes slowly.

[miraculouslbcnreactions]

When I first saw a Miraculous Ladybug salt post it was the usual Lila takes away all of Marinette's friends Adrien does nothing Marinette becomes super successful Lila gets exposed blah blah blah

When I see posts like the ones you post where people give actual constructive criticism about the characters and not favor one character over the other has made me realize that these are fictional characters and its not their fault they are the way they are. Also they're 14 what kind of 14 year old makes good choice's? Especially when they have the fate of the world/universe on their shoulders

If anything the character I really blame is Master Fu. He was obviously meant to be some sort of mentor figure for them or at least Marinette's mentor. He was the one to tell and encourage Marinette to keep everything a secret from Adrien. Comparing him to other mentor like figures in the world of superheros he isn't really all that helpful.

Compared to DC Ladybug and Chat Noir do not have any adult superheros to help them. In DC younger superheros have entire superhero families to help them out and if not that than they have other adult superheros to help them or they have an actual team. We know that other miraculous holders exist and the order is back I have a vague idea as to why they can't help but I still find it weird as to why they are around if not to help. Like phones and the internet exist do they not?

Sorry for they rant, I want to know what your thoughts are on this?

Your rant was fine! I don't think that I've talked in depth about mentors as a concept and I should both because I love mentors and because Miraculous has completely failed to give us any good ones. This is a writing failure not because good mentors are required, but because the show chose to have mentors characters and then not use them.

Before I get into the topic at large, I want to start with a brief discussion of mentors in shows aimed at young children as Miraculous' intended audience is young children and that fact is worth keeping in mind when discussing what Miraculous did wrong and some of the ways that you can fix it.

Shows aimed at kids generally avoid adult characters in major roles for the very obvious reason that the intended audience is kids, so you want the kid and teen characters to be the stars. This doesn't mean that adults aren't allowed to save the day or have important roles. It just means that they should be used sparingly. This is why mentors are a great addition to kids shows. They allow adult characters to be deeply involved with the plot without anyone expecting them to intervene because that's not their role in the story. They're not here to be the hero. They're here to guide the hero.

One of the powerful things about this setup is that it allows the writers to give the real kids watching at home real advice about real life problems. For example, if Marinette comes to Fu to talk about feeling alone and overwhelmed, then he can give her real, practical advice that would apply to anyone who is feeling alone and overwhelmed, but no one expects him to directly intervene because he's supposed to say hidden.

A lot of these elements apply to mentors in media aimed at older audiences, the rules just apply for different reasons, so I'm going to stop reminding you that Miraculous is for elementary school kids and focus on the failed mentor issue as it would be an issue no matter what Miraculous' intended audience was.

When it comes to bad mentoring, a lot of people focus on Fu and I get why. At first glance, he's the classic wise old Asian man who is supposed to be there to guide the protagonist on her mystical journey (not getting into the racism issue here, just know that I'm aware of it and that Miraculous dropped the ball on this in a lot of ways even though they absolutely could have made it work.) But Fu isn't the main focus of my ire because, while the writers seemed to have designed him around the mystic Asian trope, they never actually wrote him like a mentor.

He doesn't train Marinette and Adrien in the ways of the miraculous. He just sneakily gives them their miraculous and then disappears from their lives for quite some time. So he's not around to get them properly started on their hero journey. That's strike one for the mentor role.

Strike two is the fact that we never actually see him mentoring Marinette. I don't think that she ever went to him for advice? If she did, then it wasn't a big element of their relationship. When I think of Marinette and Fu, I picture her going to him to grab a miraculous or two before booking it back to the ongoing fight and that's about it. The guardian training she supposedly had was all off screen, so we have no idea how close they were or what he even taught her outside of potion making. Even that wasn't really him teaching her something. It was them working together to figure out a puzzle because Fu never completed his own training, making it impossible for him to properly train a successor.

Strike three is the fact that - outside of the King Monkey incident - Fu never gets directly involved in helping team miraculous. He's never gives them feedback on fights or works with Ladybug and Chat Noir to strengthen their bond. He doesn't even help them track down the two missing miraculous or hand out the temporary miraculous on Marinette's behalf, a choice I still find super weird. "This fight is super hard and we need help, so I'm going to leave Chat Noir to fight alone while I go get said help!" is absolutely nonsense logic and one of the many examples of the writers desperately needing to let Marinette hand her responsibilities off. Why wasn't this Fu's job?

This brings us to fix one: if you want the guardian to be a mentor - which is a role they arguably should have - then the guardian needs to be actively involved in Marinette and Adrien's lives in an on screen way. For this to work in the context of Miraculous - a show that really wants to focus on the teen characters - then the guardian probably needs a teenage apprentice who isn't Marinette and that apprentice will be the one doing the mentoring.

My pick for this is Luka for two big reasons. The first one is that his calm personality is perfectly suited to a mentor. The second one is that it seems insane to me to have the snake be a temp holder. The snake should be watching every fight, but staying out of the actual fight so that they can use their power whenever it's needed. That's the perfect role for a mentor character to fill. Someone who is active in the plot, but only ever as a support because their power stops them from getting more involved.

Moving on to the bigger issue.

As I said up above, Fu doesn't actually get my ire. While I wanted him to be a mentor, he never once filled that role and he didn't really need to because the show already had mentor figures that it was actively using and using poorly. Those figures are the ancient magical creatures that follow our heroes around, dispensing terrible advice whenever they feel like it. That's right, as much as it pains me, Miraculous' biggest mentor failures are Tikki and Plagg.

The miraculous did not need to have magical creatures associated with them. They could have just been magical jewelry that Fu handed out and explained. Instead, the writers chose to give us the Kwamis and I don't disagree with that choice. I like the Kwmais! The problem is that they're used in the most lackluster, asinine ways you possibly could.

The Kwamis are not presented as oblivious to the world and unable to give advice. They give lots of advice! The problem is that advice tends to suck! I can think of many examples of times where the Kwamis made everything worse, but let's look at the one that grinds my gears the most: Plagg's actions in season four.

In Rocketear - the episode where Nino gives Adrien an incredibly inaccurate picture of why he knows Alya's secret identity - we get this:

Adrien: I still can't believe Ladybug entrusted Alya and Nino with those Miraculous. Plagg: Of course she did. She's the Guardian. Adrien: But they're a couple and they know each other's secret identities. Plagg: So...? Adrien: So, why does she make it a rule that we can't know each other's identities but it's okay for them? Plagg: She's the Guardian, the Grandmaster Cheese Ripener, and you and I are just cheese on the platter. She decides what's on the menu.

Hey, Plagg, maybe don't tell your clearly upset and vulnerable teenage holder to just suck it up and deal with it when he's feeling alone and betrayed? Maybe encourage him to talk to Ladybug about his feelings so that he can get the full story? Knowing that they learned their identities during the Scarlet Moth incident would probably do a lot to smooth over Adrien's hurt feelings.

What's even more rich is that the episode Kuro Neko lets Plagg go off on Marinette for not appreciating Chat Noir:

Ladybug: What's gotten into him? I didn't do anything. Plagg: Didn't do anything? Well yeah, you did! You've been neglecting a very classy piece of camemebert on your plate for too long! And as a result it got runny, and moldy! Ladybug: What? Cat Noir never gave me any camembert. Plagg: Of course not, Cat Noir is the camembert! For a while now, you've been neglecting this camembert— I mean Cat Noir, and going on adventures with the all other cheeses! Ladybug: But he should be happy about it, it gives him more time off. Plagg: Cat Noir doesn't wanna have time off, Ladybug! He is in love with you! And your persistent calling on all the other heroes has broken his heart.

Dude, if you saw all of this going on, then why didn't you say something??? You and Tikki are in the same location for multiple hours five days a week. Go tell her how your holder is feeling and figure out how to fix the situation! Or be an actual mentor and encourage Adrien to talk to someone about his feelings! At the very least, cut up a wheel of cheese, sit down, and listen to your kid so that he feels less alone!

Also what exactly do you want Ladybug to do to fix the problem you presented? Let Paris burn until Chat Noir decides to show up to today's fight? Refuse to use the temp heroes even if it means losing a fight? None of those are valid solutions when the problem presented in the episode is Chat Noir missing fights. Especially when we know that he's doing it on purpose. Why are you yelling at her instead of working with her to come up with an actual solution? You are such a terrible mentor...

To be clear, I don't think any of this is intentional. I don't think the writers want Plagg and Tikki to come across as actively hurting their teenage charges via bad advice. I think Plagg and Tikki are supposed to be seen as good and helpful, but they can't fill that role because they're tools of the narrative and the narrative has really wacky views on what good advice is. Thus nonsense like the example I discussed above or Plagg and Tikki picking new holders instead of guiding their holders through an identity reveal.

I personally adore letting Plagg and Tikki be good mentors in my own stuff. It falls under the same category as Alya and Nino being terrible friends on screen. I acknowledge the problem and then delight in fixing it by writing the exact opposite setup because what is fanfiction for if not heavy self indulgence?