#not because of them but because learn how to act in society. which is something that the internet made us forget. and same with larry signs

[headspace-hotel]

How to begin a sustainable way of life

This is a draft of something I've been writing for a couple months. It is mainly focused on the culture of the USA. Feel free to repost or otherwise share, with or without credit.

Do not tell people what to do—help them do it! 

Give the gift of relief from being forced to engage in society’s unsustainable ways of life. 

“People need to eat more plant-based foods.” ->Talk about your favorite recipes, give others recipes, cook for them, and grow vegetables and plants in your garden and give them away as gifts. 

“People need to repair their clothes.” -> Offer to repair others’ clothes, and teach people how to repair their clothes. 

“People need to buy less clothes.” -> Give them old clothes that you don’t want, help them repair their clothes

“People need to buy less plastic stuff.” -> Learn to make things that can serve the same purpose, such as baskets, and give them as gifts. Let people borrow things you own so they don’t have to buy their own. 

“People need to stop using leafblowers and other gas-guzzling machinery.” -> Offer to rake the leaves. You can use them as compost in your own garden. 

“People need to be more educated about nature.”-> Learn about nature yourself. Tell people about nature. Be open about your love of creatures such as snakes, spiders, and frogs. Do not show awareness that this could be strange. You are not obligated to quiet down your enthusiasm for creepy crawlies to demonstrate awareness that it is weird. Point out at every opportunity how these animals are beneficial. 

“People need to use cars less.” -> Offer rides to others whenever you must go somewhere. Whenever you are about to go to the store, ask your neighbor or your friend who lives along the way, “Is there anything you need from the store?” 

You cannot control others’ behaviors, but you can free them from being controlled. 

If you think to yourself, “But this would be so difficult to do!” ask yourself WHY? Why does your society coerce you into less sustainable ways of living, forcing you to consume excessively? After thinking about this, consider that it is less simple and easy than you thought to make more sustainable choices, so why would you judge others for not doing it? 

Do not act alone—act with others! 

Environmentally friendly behaviors that can be done alone, without collaborating with or consulting another person, are the least powerful of all. Whenever an “environmentally friendly” behavior is suggested, figure out “How can I give this as a gift?” or “How can I make this possible on the level of a whole community?” 

“Personal choices” do not work because every single person has to make them individually. If you are focused on making your own personal choice, you are not focused on others. If you are not focused on others, you are not helping them. If nobody is helping each other, most people won’t be able to make the “personal choice.”

You inherently share an ecosystem with your neighbors  

            Start with your neighbors, the people physically close to you. You live on the same patch of land, containing roots from the same plants and trees. You can speak to them face to face without traveling, which means you can easily bring them physical things without using resources to travel. 

            Always talk to your neighbors and be friendly with them. Offer them favors unprompted and tell them about how your garden is doing. Do not be afraid to be annoying—a slightly annoying neighbor who is helpful, kind, and can be relied upon for a variety of favors or in times of need is a necessary and inevitable part of a good community. If you make the effort to be present in somebody’s life, they will have to put up with you on some occasions, but that is just life. We cannot rely on each other if we do not put up with each other. 

Simply spending time with someone influences them for good 

Every hour you spend outside with your neighbor is an hour your neighbor doesn’t spend watching Fox News. Every hour you spend talking with someone and interacting with them in the real world, eating real food and enjoying your real surroundings, is an hour you don’t spend only hearing a curated picture of what reality is like from social media. 

            Isolation makes it easy for people to become indoctrinated into extremist beliefs. When someone spends more time alone, watching TV, Youtube, or scrolling social media, than they do with others, their concept of what other people are like and what the world is like comes more from social media than real life. TV and online media are meant to influence you in a specific way. Simply restricting the access these influences have to yourself and others is helpful. 

A garden is the source of many gifts 

If you grow a garden, you can give your neighbors and friends the gift of food, plants, and crafted objects. This is one of the foundational ways to form community. When you give food, you provide support to others. When you give plants, you are encouraging and teaching about gardening. It is even better when you give recipes cooked from things you grew, or items crafted from things you grew. You can also give the gift of knowledge of how to grow these plants, cook these recipes, or craft these objects. 

More on gift-giving

            Some people are uncomfortable with receiving items or services as gifts. They want to feel like they are giving something back, instead of having obligation to return the favor hanging over them. 

            It can help to ask a simple favor that can be easily fulfilled. People generally like the feeling of helping someone else. 

When you give someone a gift, it can help to say something like “Oh, I have too many of this thing to take care of/store/eat myself! Do you think you could take some?” This makes your neighbor feel like they are helping you. 

When allowing others to borrow items, you might not get them back. Don’t worry about that. It just means the item found a place where it was needed the most. You can ask about the item if you think it might have been forgotten, and this can create an opportunity for a second meeting. But don’t press. 

If the person you give to insists upon some form of payment, this is a good opportunity to negotiate a trade. 

Ask to be given compostable or recyclable things 

Ask your neighbor to save compostable scraps, biodegradable cardboard and paper products, and any other items that might be put to use. Use them in your own compost pile. Or, start a compost pile at the edge of the yard where you both can add to it. Remember that “wet” compost like vegetable and fruit bits needs to be mixed with twice as much of “dry” and “woody” compost like cardboard, leaves, small twigs, paper and wood bits. 

Use the front yard for gardening

Overcome the cultural norm that the front yard is only decorative. Use the front yard for gardening so you can be seen by others enjoying your garden, and others can witness the demonstration of the possibilities of land. In the front yard, anything you do intentionally with your land can be witnessed. It also makes you a visible presence in your community. 

Grow staple foods 

Don’t just grow vegetables that cannot be the core component of a meal themselves. Grow potatoes, dry beans, black eyed peas and other nourishing, calorie-dense foods. Grow the ingredients of meals. You could even build a garden around a recipe.

Invite neighbors and friends over to eat food made from things you grew 

Be sure to send them home with leftovers.  

Grow plants for baskets 

Containers are one of the fundamental human needs. If we had more containers, we wouldn’t need plastic so much. You can learn to make baskets, and to grow plants that provide the raw materials for baskets. 

If someone rakes their leaves, ask to have the leaves  

If you see someone putting leaves in bags, don’t be afraid to ask if you can have the leaves. More likely than not they will be happy to agree. 

Collaborate with neighbors to plant things in the no-man’s-land of the property line 

In the border land between your neighbor’s yard and your yard, it is almost always just mowed grass because no one can plant anything without it affecting their neighbor. But these border lands add up to a lot of space. It would be much better if you talked to your neighbor about what would be nice to plant there, and together created a plan for that space. 

Give others the freedom to wander 

Make it clear that you will not get mad if the neighbor’s kids play in your yard or run across it. Invite the neighbors onto your land as much as possible. Tell them they are allowed to spend time in a favored spot whenever they would like.  

The power of the hand-made sign 

If there is a yard sale, you always know about it because of the hand-drawn signs placed around. Therefore, a cookout or unwanted item exchange can be announced the same way. In rural areas I have seen hand-made signs that say: FIREWOOD or WE BUY GOATS or EGGS. This is one of the few technologies of community that remain in the USA. If someone who looks to buy and sell can put up a hand-made sign, why shouldn’t you?  

Religious people or people with strong political opinions like to put signs everywhere. If they have the confidence and courage to do so, why shouldn’t you? 

So if there is a message you would like everyone to see, use the simple power of the hand-made sign. Proclaim “BEE FRIENDLY ZONE!” above your pollinator garden with all the confidence of a religious fundamentalist billboard. Announce to the world, “VEGETABLES FREE TO ALL—JUST ASK!” “WE TAKE LEAVES—NO PESTICIDES.” Instead of YARD SALE, or perhaps in conjunction with YARD SALE, you can write, PLANT EXCHANGE or SEED SWAP or CLOTHING SWAP. Who can stop you? 

Someone has to do it for society to change  

Some of these ideas might be eccentric, strange, or even socially unacceptable, but there is no way to change what is normal except to move against it. Someone has to be weird. It might as well be you. 

[nooradeservedbetter]

Oh my god alright unpopular opinion(s) time. I need to write it down or I explode.

Bearing in mind that bringing explicit signs to concerts is cringe as fuck and people shouldn't do it, because of self-respect and manners, because if it's not something you would tell a random stranger, then it shouldn't be something you tell your idol:

There's a double standard behaviour from fandom when it comes to Harry experiencing this kind of behaviour (there's a huge outcry by everyone except the het harries ofc) and Louis experiencing it (little to no reaction, I've seen people laugh but I like to think it's not the same people being outraged over Harry) which is kind of... sus;

When defending Harry, the argument is that "he is soooo uncomfortable with it and he shows it" and he's... Not. Like, sometimes he is at least annoyed, like when he called out Chloe with "I think about you when I fuck my boyfriend", but other times he jokes around that, has a wtf reaction but a funny wtf reaction

Case in point a dirty joke in Edinburgh 1 in which the sign was referencing golf and it went like "if you need 9 holes we're three people", he did a double take, laughed, then thought about it, went "but that 6" because his gay ass self forgot that vaginas existed, then kept laughing to himself. Amused wtf reaction.

And still everytime there's the outcry people are like "he's uncomfortable therefore you should stop". No. "You're embarrassing yourself therefore you should stop", more like. Regardless of his reaction.

Also since I'm here, comparing this to the treatment women in the industry go through is absolutely ghoulish and shows a fundamental misunderstanding of what power structures are in society, but this is another story.

[beloveds-embrace]

Nah, I didn't have a kink for men grovelling (/lie) I have a kink for men suffering. I need reader to have her own happiness

Reader suddenly switches and starts acting more energetic again. For a while the boys like it bc not they don't have to face the consequences of their actions and can escape the guilt if there's no constant reminder.

But something's wrong. It takes them a while to notice - or rather, they take a while to notice BC noticing shatters their illusion that everything is well and they aren't bad people

She's still not eating Johnny's prepared meals but she's gaining weight again and it takes a while to notice BC he's not in charge of stock but some ingredients have been disappearing at nights. Some that can be eaten right away, but funnily enough he also finds himself low on ingredients that need to be prepared. It just so happens that he notices when he makes one of his more easy and filling dishes most all of the ingredients he reaches into are much lower than last time he made it.

She still seems unkempt but her hygiene improves. Her hair is brushed and Gaz hears the showers, though he knows that none of her maids have taken up their duties again. She also still doesn't wear any of her dresses, not that the boys see her enough to notice, but Gaz knows how difficult those are to put on on your own. So when he swears he hears the rustling of fabrics or sees a glimpse of her holding a dress through a crack in the door, even though he knows he saw all her maids elsewhere, he tells himself he just miscounted.

She's more energetic sure, but she's hardly more happy, in fact there seems a determination that borders on desperation to her if anyone watches her for long enough. Not that she lets them. She doesn't leave her room during the day still but once Simon was awake and saw her walking the grounds in the middle of the night. If he had looked again the next night he'd have seen the same, but, well, who wants to face their mistakes

The boys notice, because of their guilt, but choose to ignore. Price, on the other hand, doesn't notice at all

Well, he notices his reputation dwindling. And seeing his wife less and less often. But he doesn't notice any of the changes and doesn't even realise she's began to leave her room again as no rumours change

He does, however, pay attention to his boys.

When Gaz seems jittery at meetings, when Johnny lingers at the table, when Simon stalks the halls more frequently, with the attitude of a predator ready to strike fleeing prey.

So when they tell him they haven't seen her in a while, he's confused. He thought they all hadn't seen her in weeks?

At their explanations - which devolve into pleas - he goes to check up on his wife. Only to find her room empty.

See, she knew she wouldn't have to worry about anyone interrupting her or noticing her, and realised how much of a power that was.

Learning how to cook by spying on the cooks and Johnny, finding little recipe books for when he would leave. Stocking up on food.

Beginning to take care of herself, but only just enough. Dresses that were heavy and difficult forgone in favour of stitching old tablecloths and sheets into simple and freeing garments.

Walking the grounds as much as possible at night to build up her strength again. Background training in dancing and standing with heavy garments for long periods of time helping in building her cardio back up.

She'd had to have a little subtlety in hiding her intentions around the boys, but her real weapon was her husband.

Her husband with an extensive library with books about survival, hunting, wilderness guides. Her husband with plenty of money and expensive items scattered across the place. Her husband with maps and notes of the nearest towns and their prospects and differing prices.

Her blind husband who didn't notice as his wife planned her escape right underneath his nose.

And finally, her. Just her. No husbands or titles or maids or society breathing down her neck. Her, free and already behind a mountain in the distance on the back of a working donkey - the Duchy's fine horses would have gathered too much attention. She stopped for supplies and to sell her goods where possible, but left as quickly as she came, knowing the village folk would write her off as a thief but any who knew would be able to trace where she sold the items. Best to ditch them at her journeys start rather than end.

Not that she knows where it will end. Not that she cares. She could die tomorrow and would still take her last breath more free and happy than she's ever lived before.

(idk maybe she joins some bandits or meets a wandering knight or jumps aboard a ship or something and makes it far far away. Maybe she becomes a stable hand to a Grand Duke and his dashing young right hand man Mr Parra (can you tell my bias). I need her to have a happy end tho, so that if/when the 141 find her they have to realize that she really is better off without them.)

Holy fuck. I’m in awe of you??? Of your brain?? This was amazing to read omg thank you so so much!! You’ve already written so much of her with the 141, so i wrote a little bit of her with rudy! I hope you’ll enjoy this as much as I enjoyed reading your ask! 🫶🏻💕 also i feel like i will never learn how to do a decent ending that isn’t abrupt as fuck 💀😭

Dukedom au masterlist

The sun poured golden light through the arched windows of the estate, its brilliance softened by sheer, embroidered curtains. The atmosphere was serene, the kind that made one’s soul settle into quiet contentment. Seated by the window, harp nestled against your shoulder, you plucked the strings with practiced grace and ease. Music spilled into the room, lilting and wistful, speaking of stories not with words, but with melodies.

Grand Duke Alejandro sat nearby, sharp eyes softened by the rare tranquility your melodies provided.

He had been the first to notice your talents, taking you in when you stumbled upon his estate seeking work. What began as small performances to soothe his guests had blossomed into something more. You were now a cherished member of his court- an artist whose music could bring grown men to tears and whose presence brightened even the darkest days, and your past a thing of, well, the past.

You glanced up briefly, right as Rudy entered the room. His eyes immediately sought yours, like a compass pointing north, a warmth in them that never failed to make your breath catch. He wasn’t the Grand Duke, but he carried himself with a quiet power- a man who commanded loyalty and admiration with ease, especially yours. And though his duties often kept him busy, he always found time to sit and listen to you play even if only once a day, as though your music was as essential to him as the air he breathed.

Never before had you felt so cherished.

Today was no exception to his focus. He lingered by the doorway for a moment, his gaze enthralled, before moving closer to you.

You smiled, the motion soft and genuine, your fingers never faltering on the harp strings even as you leaned towards him the way a flower leans towards the sun.

When you finished, Rudy (and Alejandro) applauded, the corners of his mouth lifting in a smile that felt like the first rays of dawn. “You outdo yourself every time, mi querida,” he murmured, his voice low and rich. You felt like you would melt into his should he choose to cradle you.

Alejandro chuckled from his seat, always ever so entertained by the two of you. “You’re lucky I tolerate your interruptions, Rudy. I’d have her play all day to myself if I could.”

Rudolfo grinned but never looked away from you. “A day very well spent, I’d say."

Your cheeks flushed, but there was no embarrassment in it. Just a gentle warmth, the kind you hadn’t felt in years. Rudolfo’s attention wasn’t like John’s distracted glances, Simon’s intense, disdained looks, the unseen glares of Johnny and Kyle. It wasn’t tainted by resentment or obligation. He saw you- truly saw you- and cherished what he found.

You fell into an easy conversation, one Alejandro occasionally joined, though he often just watched with an amused glint in his eyes. It was clear to anyone who observed you that something unspoken yet profound was growing between you and Rudolfo- if not already at full bloom. Alejandro wasn't going to intervene, he knew his friend had a lovely little proposal awaiting just the right moment.

Though not everyone was quite as content as you.

They hadn’t expected to find you so far from the duchy, let alone flourishing like this. The rumors of your presence in the Grand Duke’s court had been thin whispers, barely heard, yet they had clung to them in their desperation for answers.

Price led ahead, his jaw tight and his expression grim. Duke Riley followed close behind, his unease well-hidden. They entered the estate under the guise of seeking an audience with Alejandro, but their true purpose to themselves.

It was Simon who first spotted you through an open doorway, seated at your harp. For a moment, he froze, his breath hitching as he took in the sight of you.

You were radiant. Your hair, no longer a tangled mess, shone in the sunlight. Your once sickly complexion was now warm and healthy. And the way you played- it was as though the music flowed from your very soul, unburdened and free. The few times he'd heard you play back at the Price duchy were nothing compared to the melodies you now strung.

“Bloody hell.” John muttered, his voice barely audible and just as shocked as Simon.

John stepped forward, his presence imposing, but before he could even make his way towards you, Rudolfo appeared beside you. He leaned down to speak to you, his expression gentle and fond, and you laughed- a soft, delicate sound that made Price’s chest tighten.

They watched as Rudolfo offered you his hand, which you took without hesitation, without any fears. He guided you to your feet, his thumb brushing over your knuckles in a way that spoke volumes, more than any words would or could.

The two of you looked at each other with such affection it'd make the stars sigh in envy.

Simon and Price could only stand there and stare. No words would come to them.

Much latwr, when they returned to the manor, Johnny and Kyle were waiting, their expressions anxious. “Did you find her?” Johnny asked, voice tight.

Price nodded slowly, his gaze distant. “We found her.”

“And?” Kyle pressed.

Simon shook his head, lips pursed. “…she’s not coming back.”

[willyoubemycherryy]

Intimacy Cues (C. Kent)

Summary: Who better to teach you how to talk body when you never learned the language?

Contains: smut AND plot so it’s long,depressing past, the college au you all secretly needed, struggles with physical touch, struggles with any form of intimacy, one mild panic attack, Clark is understanding but hot, dumb ideas, hugging, bonding, kissing, making out, it starts off shaky then soft but quickly snowballs into horn-e central, size kink, slight dumbification, strength kink, first kisses, virginity kept but not for long just give me till the second part, Clark is a little infatuated, they’re so nasty about each other my word, grinding, kissing (no forreal), prayer bc we all need it

A/N- my stomach is fine, it wasn’t a tumor but a blockage because of something I ate that never digested, causing my tummy to bloat and swell but they fixed me up so I’m back😈

. .* ੈ✩‧₊•

“Nononono- no, stop!!”

This might be the worst decision of your entire life.

Clark pulls away again, looking down at you with his eyebrows drawn together in concern but also exasperation because-

“Hey! It’s okay- you’re okay. Remember…you were the one who asked for my help.” He didn’t say the obvious “but we’re not getting any farther” part out loud but it echoes through your head all the same and you breathe out a deep sigh; regretting it with the depths of your very being but, yes. You did ask him for his help.

Help with what? The answer would’ve ended your social life if anyone who wasn’t Clark had found out.

You needed his help with…closeness- intimacy.

Growing up you were always awkward. Not in a charming way or even unconventional, you just simply didn’t make the cut based by society’s standards. You were always too gangly, too weird, too timid; so imagine the surprise come middle of highschool to now college where you’ve finally grown into yourself.

You know how you like to dress and which clothes look hottest on you, you know what hairstyle suits best for your face shape, you’re still weird but you’re also sarcastic which somehow equals charm to people and you’ve also managed to come out of your shell a bit. Becoming more confident from people naturally gravitating towards you after your blooming stage and even more after letting your friends convince you to join your college’s cheerleading team. You’d become everything you wanted to always try.

Pretty, popular, and fun. The problem?

Thanks to how much of a late bloomer you were, you never got the chance to get comfortable with others intimately during your formative years. Nobody liked you in that way and you were terrified of embarrassing yourself so there was nothing. No first kiss, no first dance with a boy, hell- even now you still get uneasy when others stare at you too long. Hiding behind your image as a college sweetheart made everything you were still to unsettled to try easier. Don’t misunderstand; it wasn’t that you never wanted those things, it’s that you’re not used to others suddenly picking you for those kinds of things after being invisible and missing out on them for almost all your life to the point where you don’t know how to deal with it when those moments do happen.

Still, you acted like everything was fine.

Playing the role of pretty cheerleader- the flirty tease that was favored by many even though that favor was shallow as a tear on a hot day. You pretended. And it was working, nobody knew…or so you believed.

Cue to one of the football teams parties where you’d been flirting with a guy, coy smile painted on your face as you giggled softly whenever he spoke, batting your pretty eyes at him in your little mini skirt. It had been going well until he suddenly leaned closer, focusing solely on you and when you felt the heat of his skin from how close he was- it felt as if the color had drained from your face, leaving you frozen as you became so uncomfortable it was visible; nerves screaming at you to flee until you listened. Spinning on your heels and bolting, trying to calm your breathing enough to will the cotton out of your ears.

You didn’t realize it then but a certain pair of blue eyes had been watching the whole thing. He’s always seen you. Which is funny because you almost always actively avoid him. In fact, he’s seen you enough to know that this isn’t the first time you’ve had that reaction and one day after a particularly rough week of endless pondering over you; he decides to just ask you after practice is over. Clark waits until his and your friends leave, it being only you and him on the field when he starts to walk over to you. The sound of incoming footsteps make you look up and when you see him, he can hear the very second your heart stops; skipping a beat before it quickly begins to thrum out of rhythm.

Honestly, there genuinely are not enough words to describe how attractive Clark Kent was. He was so incomprehensibly beautiful that you avoided Clark altogether just to avoid getting a headache from staring at him for too long especially since the real suffering started when he’d smile. Seemingly perfect pearly white straight teeth but when his grin broadened, his sharp canines would show, leaving you breathless every time. The type of good looking that was flat out overwhelming. Besides being apart of adjacent stereotypes, you two didn’t go together but there was no animosity.

Clark stops and you have to look up at him because of his hulking size. At almost 6’4 he nearly dwarfed you and his proportions matched. Thick, beefy everything- everywhere and you swallow before forcing a smile on your face. While you preferred to avoid him for the sake of keeping yourself out of the psych ward from how crazy he could drive you; you were still curious as to why he came to talk to you. He takes a moment to just look at you, cerulean eyes almost glowing but he doesn’t realize how intense his stare is until you start to shuffle on your feet- dainty hands twitching nervously at your side and that’s when he speaks.

“Hey…I know we don’t usually talk or anything but are you okay?” Even his voice is dreamy but confusion draws on your face because you felt fine; nervous, like you were around any guy you thought was cute, but fine. Clark elaborates at your expression,

“Y’know because of what happened at the party last-”, that seems to jog your memory enough to snap you out of it, eyebrows shooting up as dread overtakes over your face. You whip your head around, making sure there’s no witnesses when you grab him by his sweaty shirt, dragging him all the way behind the bleachers as you slam him against the metal. Clark is caught so off guard that he just lets it happen; lets the pretty thing half his size drag him as you pleased. Your eyes shift as you glare up at him.

You’re positive he’s talking about your little freak out with close proximity guy, the one that made you leave the party completely; walking so fast you nearly burned a trail in the carpet. Heart pounding, you start to spiral.

He wasn’t supposed to see that. He like everyone else- was supposed to be too drunk to notice anything.

Your nose scrunches, full lips curling in a snarl. “I swear if you say anything to anyone-!” You’re threatening him so fast, Clark falters, raising his hands in defense, debilitating blue eyes widening as he starts to plead his case.

“No no-! I didn’t! I-“, He stutters at your harsh gaze, the feel of your hands soaking through his shirt, warming his chest. He needs to hurry up and explain himself before you start disliking him. “I was just worried! Whenever I see you and a guy, even if you act interested-“, he rushes out, panting as he talks even faster, “the second they get too close you look like you’ll vomit!” Your hostility melts into shock and even more confusion and you let go of his shirt, stepping back as you study him, his words stuck in your mind.

“How..? Are you- you’ve been paying that close attention to me? When do you even see me?” You’re at such a loss for words that it’s hard to string them together to properly question him.

“…I”, he swallows harshly, “I always see you.” It’s pure adrenaline that motors his mouth- he thought he was over the time when lovely faced girls made him nervous but you were unexpectedly feisty. It lit something tingly in him. Your eyes search his face and he spills. “I see how you flirt but you’re sarcastic too. Everyone is so taken by your pretty that they don’t even notice, they just call it ‘wit”, he manages to catch his breath enough to sound less panicked now that you look like you won’t kill him, “I see how even though you’re a flyer, you hate heights-”

“H-how-?”

“Your right leg shakes when they lift you, no matter how stable your base is.” Your mouth opens and closes but nothing comes out, heart racing when his voice goes soft,

“But what I’m saying is- so what that you’re not really what you give off? It’s nothing to be ashamed of. ‘Jus curious why you think it is…”, he blinks those long lashes at you and you find yourself explaining the tale of your sordid social past.

By the end of it he’s stunned speechless.

You? Just how bad was your awkward phase for nobody to be interested in you? Wait so that also probably meant that-

“You’re a virgin?!”

You slap your hands over his mouth with a speed equal to his own, face flushed as you shush him, hissing in a low whisper.

“Jesus Chri- shut up! Are you trying to tell the entire campus?!!” You let out another heavy sigh.

“…yes, I am”. You let your hands fall to the side, refusing to look at him while he’s trying to process; silence filling the space between you. You’ve accepted that your ego will never recover from the most gorgeous being on the planet knowing about all your…truths. That you looked and acted the part of a vixen just to hide that you secretly weren’t.

“…so you’ve never done anyt-”,

“No.”

Well then.

You can’t take another long drag of awkward silence, turning to face the boy who knew you probably more than anyone else did.

“Look- I would’ve loved to remedy this but I-”

“Can’t stomach whenever a guy gets too close due to previous deep rooted societal wrought insecurities…” Bingo.

“Well for what it’s worth,” he gives you one of his disarming grins and a flush creeps up your neck; warming your ears, “I think you’re doing fine now.” You snap your head down to see that you two are standing fairly close or at least closer than you normally allow and you don’t have that itch to get him as far away from you as possible. That’s when you get the idea that- “Oh my god! You can help me get over my thing! This is perfect!”! You’re practically vibrating with glee, excited to finally have all your firsts without that looming of touch related dread haunting you. Clark however is swarmed with various images of him “helping” you and can’t keep his ears from reddening at all the different scenarios where he’d be required to be close to you and begins to stutter.

“W-well, I wa- not that I-! I don’t think that’s a good idea, I mean w-we-”, you cut him off before he can weasel out of it, eyebrows creasing in frustration. You unconsciously step closer, your sweet smell bathes his senses as he stares you down, trying not to gulp too hard. “Please, Clark?”, you start and he swallows harshly at how his name sounds in that whiny tone from your lips.

“It can’t be anyone else because you’re the only one who knows! We’re not close now but we could be-“, and the double meaning makes him tune out completely as he only watches your plump lips move; not even registering the sound coming from them. He was thankful you didn’t ask him why he watched you so closely because the answer was one he wasn’t ready to even admit to himself.

Your lips stop moving after a while and them paired with your begging doe eyes make him cave, Clark nodding in hopeless defeat. He was supposed to be over the influence of pretty girls.

“S’okay, I’ll help you out. Your secret’s safe with me.” The corner of his mouth tilts up in a lopsided smile that was somehow both attractive but made you feel safe and you smile shyly back. You were nervous but you know Clark is a good guy- reckless as hell with his charms- but a good guy. What could go wrong?

•

•

•

Standing in the middle of your dorm room with your arms wound tight around yourself is when you find out that alot can go wrong.

Clark came over and you two came up with a starting plan that seemed the easiest: talk and slowly close the distance between you two until he was touching and looking at you without you getting uncomfortable or pushing him away. It sounded simple enough at first only…. you severely underestimated how you’d react to Clark. The way his deep mellow voice sounded in your ears, how he always held such steady eye contact as he moved towards you, that heavenly jawline tilting when he’d think too long. Already, Clark was big from afar but up close he was even bigger. Strong arms and broad shoulders; chest so thick it was noticeable through his shirt. You were used to others falling at your feet but Clark stood fine and it affected you in ways you didn’t prepare to deal with, so you tried to do what you always did- ignore it.

Matching Clark’s light conversation as you two eventually get more comfortable, gradually gravitating towards each other with slow short steps. The air shifts when you exhale and the breath tickles his chest. This is when you normally get squeamish but you merely hesitate for a few minutes before taking a deep breath and pushing yourself by letting him keep his distance.

His hand twitch and he shuffles a bit closer, biceps flexing as he reaches out, resting his hands on your shoulders; your conversation quiets as he stares at you with perfectly blue lidded eyes and then you feel the stirrings of restlessness under your skin. That impeding urge to get away. Despite the way you feel, the slow atmosphere helps you tremendously to not pull away but your pulse spikes all the same. His hands felt nice. You take another deep breath as you try to come to terms with what you were feeling.

Clark was a guy.

A guy who was standing in your bubble, touching you- looking at you.

A million emotions fly across your face at record speed and Clark doesn’t move any more for the next couple minutes. No, he waits for you; large rough palms warm on your bare shoulders while his pinky idly messes with the thin strap of your top. Your skin was soft. The heavy rise and fall of your chest has him focusing on you more intensely, trying to get a read on how you felt until you break the silence with a shaky exhale.

“We can keep going- you can keep touching me.” He knows you don’t mean it that way but his ears burn anyways as he nods. Taking a second to think before taking his hands off you to take yours, ignoring your big eyes look as he places your hands around his waist- inevitably moving closer and his voice softens like he’ll frighten you away if he were to speak any louder.

“You can touch me too. Promise I don’t mind…this is for you after all.” You suppress a whine because being so close was already hard with you fighting every instinct yelling at you to get gone and go somewhere where nobody could comprehend you but now with Clark staring at you like that, it was even harder. Your eyes flick about the room as you flatten your palms more against his back, mentally rolling your eyes back at how his muscles feel. You don’t even realize you’re biting your lip but Clark does, instantly alert the second he felt your small hands nervously press against him, his eyes zeroed in on the swollen skin dipping under the pressure of your teeth. He feels bad because while he was supposed to be helping you, he couldn’t stop thinking about how sexy you were being so shy but hardheaded enough to build up the grit to go for what scared you because you wanted it.

Without taking his eyes off your face, he rubs his hands up to your neck, making you squeak before smoothing them back down your shoulders; repeating the motions with a gentle hum.

The room feels hot- you felt hot and jittery but it’s too much. Unable to keep the waves at bay, goosebumps trickle over your skin and your eyes scrunch in panic as your breathing picks up. He was close. Close and touching you. You can’t bring yourself to look into his eyes because you know when you do, you’ll be naked for all to see and you scream.

“Stop!”

Nobody can see you-nobody’s supposed to be seeing you, the girl who was never even chose last as you were overlooked entirely no matter how badly you wanted to reach out. Maybe that’s what started your fear. Maybe you were scared of losing experiences because of rejection.

Clark doesn’t move away but he isn’t touching you anymore and you aren’t touching him as your hands fly to the sides of your head, trying to calm yourself down and guilt pours over him. He wants to hug you; comfort you but he knows that pulling you against him in a hug will only worsen things right now so he waits. Closing his eyes to help you feel at ease, listening closely to the beat of your heart until your breaths quiet and he hears it fluctuate back to normal. He keeps his eyes closed until he feels your small trembling hands slide back around him and instead of putting his hands on your shoulders, he moves his arms around them; resting them against your back but not pulling you in yet. It’s quiet besides the hushed sounds of him cooing at you and your breathing. The air now has an underlying current and you shift in his heavy arms, inhaling deeply as you finally look up at his face. Shyly, you cut the silence; voice soft as how you feel.

“…you can open your eyes now..” Clark feels his own heart speed up before he responds, low tone matching yours and electricity hits you when it clicks. This is intimate.

“Are you okay? We can stop and try again some other time; I don’t wanna upset-,”

“I want you to look at me.”

His eyes pop open at your command, peering down at you in such a way that your breath catches; anxiousness rising up you again but you stay right where you are. Willing yourself to embrace the exposed way he makes you feel.

Under the heat of his stare it’s like he’s seeing everything you’ve ever hid or been but his hold is steady enough to let you know he’s there with you and he’s not going anywhere. You still feel naked but more than that, you feel safe. Comfortable enough to not shy away from his warmth, you take another breath; looking up at him through your lashes- making his head fuzzy.

His eyes shift from their usual blue to the shade of the sea after a storm and you’re swept away, logic going with you as you slowly glide your hands up his sides to his where his arms hold you. Feeling every dip and curve of his strong build until you reach his hands, repositioning them around your lower back. You move closer but because you two were already standing so close- your chests touch and Clark stops breathing. The soft swell of your breasts move against his body with your every inhale and he finds his senses filled with you.

Your gaze is torn away when you turn your head, looking down as you drop against his chest. Arms looping around him making his own instinctively curl around you, holding you tight to the firm but soft muscle of his chest. You both pause for a few minutes- waiting for the urgent panic but it never comes. Instead, you melt into him with a relieved sigh, warm breath bleeding into his shirt. You two were officially hugging.

And you were in heaven.

You never knew close contact with the opposite gender could be so delightful. Clark was just so big and warm and smelled so good, you bury your face into the meat of his pec almost deliriously, sighing happily. Fuck, you really had been missing out. His arms are firm and heavy against your back, effectively locking you against him. The endorphin rush hitting you has you practically purring; the sounds of your bliss vibrating Clark’s chest and he smiles, letting you get your fix as he enjoys the way you fit into his arms.

Unsurprisingly, you two stay like that for a while. Fitted against each other in the silence of your cozy bedroom. He sees the top of your head move and he’s suddenly looking into your eyes, pupils blown so wide that your eyes are black. Clark has to bite his lip to keep from smiling at how cute you look. Your eyes flit down to his mouth to see the peek of his fangs that always show, letting out a small breathy ‘oh’ when you do. You’re still reeling in all the best ways as you rest your chin against his chest, unabashedly looking at his handsome face.

Clark raises a perfectly shaped eyebrow at the phantom hearts in your eyes and the way your small feet are standing on top of his larger ones while you make no attempt to separate your bodies, completely content with his proximity. He likes you so he likes your closeness and he’s even more elated that you seem to like him being so close too. Speaking lowly so he doesn’t disturb you, he checks if you’re still on the planet with him.

“This okay, sweetheart? Y’enjoying yourself?” The petname slips out but you don’t move or rush to correct him as your blood simmers, a numbingly pleasant heat washing over you so strong it’s hard to think. Running your hands in a slow caress up his back, you feel the muscles flex as his arm twitches and a smile grows on your face as you blink dumbly- brain currently taking a break, you mumble sweetly,

“Mmhm, yeah never better.”

And it’s true. You’ve never felt this safe, this free with anyone that wasn’t immediate family or your best girl friends. He was touching you and seeing you but you didn’t care because you knew whatever he was seeing and touching, was safe as it would ever be with him.

Clark huffs out a laugh at your belated response, moving one of his hands in a warm caress up your back, feeling you shiver and he bites his lip again. You were so alluring without even having to try and he breathes to reign himself in since he was currently the first and only to have you melting like this from a hug alone. If a hug got you like this he could only imagine how beautifully you’d respond to-

“Um, C-Clark?” Your soft voice brings him back as he hums, flicking his eyes down lazily at you.

“Yeah, baby?” Your sweet little gasp makes him realize that he just called you another nickname but you don’t seem to mind, flustering prettily in his arms. He leans down closer to your face, only to hear you better, eyes patient as he stares at you.

“I know this is supposed to be about me but how do you feel? You’ve been so good with me..I just wanna make sure you’re okay too.” Clark smiles, moved that you’re worrying about him even with all his experience.

“Yeah I feel good but how about you? Want me to let go or we can try something different?” He would’ve asked if you wanted to stop but he was going off your body language and it was telling him distance was the last thing you wanted and he was right as you shook your head before resting your chin back into his chest, looking up at him with those pupil eclipsed doe eyes.

“I feel great but…”, your voice gets smaller as it takes on an almost needy tone before stopping altogether. You snap your face back into his chest and he’s even more curious to get it out of you but you just can’t say it.

“You really don’t need to be embarrassed. Clothed or naked, we all start somewhere”, he whispers against the top of your head, stroking your back soothingly as you try to talk yourself into asking him before you chicken out, “with me you can start wherever you want and you know I’ll never tell. Or make fun of you..”,

His voice is tender with warmness and it turns your reservations to raindrops as you look back into his eyes. Steeling your nerve, you ground yourself with the way you feel in another persons arms for the first time in your life- his arms and decide to go for it.

“You said- we can try something different?” Your heart begins to race again as Clark’s starts to pound. He can’t keep the heat out of eyes as he returns your stare, nodding.

“Yeah. We can do whatever you want.” His breath wafts across your face, forehead resting against yours and the rate at which you find yourself needing him- scares you. You’ve been depraved of this kind of contact to the point of fear since forever but now…

“Then…can we-“, you blink rapidly, not wanting to verbalize it but not wanting to go without even more.

“Can we kiss please?”

Clark has to shut his eyes. You looked so sweet, felt so soft and even though you couldn’t keep the neediness from seeping into your words, you still asked so politely. Blood rushes through his ears as he feels a familiar stirring in his groin, taking a deep breath because it wouldn’t do for him to lose control now, his voice is heady with pure want when he answers,

“F’course. I’d love to kiss, baby.”

Large hands settle around your waist as you get pulled completely flush to him, legs almost intertwining while your pelvises touch; bodies glued together. The languid heat of arousal thrums through you, making your head spin.

Your lips part when Clark presses his forehead more firmly against yours, lighting you from the inside out when he dips his neck to slot his open mouth over yours.

Immediately your chest burns, heart feeling like each pump is gasoline, fueling the fire hes started in you. Clark’s full lips slide against yours, alternating between suckling at your top lip then bottom lip slowly, coaxing you to follow his lead, groaning his approval and the sound turns you up as you press yourself harder against his body. You feel so good you’re thrumming- heat steadily pulsing through you.

Your heads move from how hard you’re kissing, slick sounds coming from your mouths intensifying as you get rougher, delicious shivers all up your spine. Clark presses his lips fully against yours, moving them open wider with his own, hot breaths mingling as he licks hotly against the opening of your mouth. A bolt of pleasure hits you so hard that you gasp, wrenching your mouth off his as you moan- the needy little thing so whiny it makes his cock fatten in his pants as you pant against each others lips. Fuck. He can smell how wet you are. The sweet, heady smell makes his mouth water with him tossing shame clean out the window.

“Can I put my tongue in your mouth? Please, pretty girl?” You move your arms around his neck to get as close as possible, nodding desperately.

“God, yes-!” His mouth is back to consuming yours before you finish. Opening your lips with the force of his swollen ones, he sucks your bottom lip before lapping his tongue into your mouth. You twitch in his hold, even more turned on when he doesn’t have to move to keep your squirming in place, casual show of strength making you lightheaded as he swallows your moans. Wet smacks fill the air, your grip on him tightening when he sucks your tongue into his mouth. You get wetter and he can tell, growling in pleasure as he suddenly lifts you; your legs locking around his waist as he uses his hold on yours to grind you against him. The result is instantaneous. You melt like cotton candy, chest shaking against his from your pleasured moans as your shared spit wets your lips. Still aware of the fact that you need to breathe, Clark pulls away with a suck of your lips- staring at you hungrily with dark eyes.

He can’t even remember when he picked you up but the tiny undulations of your hips let him know it was a welcome decision. You looked so good. Lips puffy n slick, doe eyes teary and blown out, wet as fuck with your hard nipples poking through your top…you could ask him for every one of Saturns rings and he’d get them for you.

Clark takes a deep lungful of your tantalizing scent before he checks on you again.

“How was that, sweetheart? Y’first kiss right?” You nod, cupping his face. You can’t help the way you smooch more pecks onto his pink lips, aching as you answer.

“It was so good”, you drag your nose down his jaw; kissing his ear as you whisper into it, “you feel so good, Clark..”. You have him completely hard at this point, thick and fat as his tip oozes pre when you start to whine. He almost feels bad that you’ve waited so long, being so pent up wasn’t good and you deserved to feel good everyday.

“What’s wrong baby?” The low timbre of his voice makes your pulse skyrocket, causing you to absolutely dissolve against him, hips twitching as he helped you rub yourself on him.

“I-I need..-“, you let out a soft cry and he quickly soothes you. Kissing you deeply before pulling away, licking his lips of your taste as he verbalizes exactly what you need.

“Need to cum?”

The heat in your chest blooms up to your face as you nod, suddenly growing shy but still comfortable. You purr as Clark presses a sweet kiss to your cheek, looking at you with pretty lidded eyes.

“Would it be okay if I made you cum princess?”

The utterly wrecked moan that comes out of your mouth has goosebumps scattering up his arms, holding you tighter as you nod vigorously.

“I need words baby”, he whispers. Giving you another kiss to tempt you and it works. He was too irresistible and he knew it.

“Yeah, you can make me cum Clark.” And with that he carries you over to your bed, laying you on the plushness as he takes over your mouth again with a hungry groan, your hands touching everywhere until he pulls away- fangs on display as he smiles making fire sweep through your veins.

Massaging your legs, he rises on his knees- taking off his shirt as your mind checks out from how hot he is, shifting restlessly as the ache in your pussy throbs with the best pain. Whining his name, Clark cooes at you; big hands moving to pull your clothes off. Your nerves are going haywire but you need this- need him to make you feel things, lifting your hips to help him slide your shorts and underwear off, spreading your legs as you let him get a good look at your messy wet hole twitching in need.

Clark swears, hooking his hands under your knees and bending them towards your chest. Exposing you more as he licks his lips, keeping his eyes glued to your cunt.

“Atta girl, jus’ lay there nice n pretty and I’ll give you what you need..”

[autolenaphilia]

I’ve talked in a post years before about how male/female socialization is a myth, especially if you argue transfems are “male socialized.” But I’ve read and learned since then, so let’s have another go at it.

Of course what I must recognize is that claims that transfems are male socialized are not good faith arguments, it’s a transmisogynistic canard wielded as a cudgel against transfems. What it is is an accusation that transfems are lacking in the feminine virtues, it’s the old accusation that queer women are too mannish to be proper women. Most often “male socialization” is a claim that we are not demure and submissive enough. It’s a club that taken out whenever we dare disagree with our betters, tme people, or dare assert ourselves in any way. It’s then said that we are “talking over people”, “taking up too much space” or even have “male energy.” This is ubiquitous even in supposedly transfem-inclusive spaces. Even cis women are often falsely perceived as talking too much, due to misogynistic biases, and transmisogynistic biases make this effect even worse for transfems.

But let’s humor the argument for awhile, because I’ve seen transfems internalize the transmisogyny of “male socialization.” And socialization is a real sociological concept, which can be use to lend respectability to the claim that transfems are male socialized.

However actually looking at how socialization is defined reveals the problem with the “male socialization” myth.

Socialization as concept is not simply something that is done to the individual, but actually refers to how the individual internalizes the norms and ideology of the society in which they are raised, “the process beginning during childhood by which individuals acquire the values, habits, and attitudes of a society” as merriam-webster helpfully describes it.

This means the individual’s response to society’s norms defines socialization. It’s not just how people treat you, how you are raised, it’s how you react to how they treat you. And this is equally true if we are to speak of gendered socialization, where a person’s internal gender identity and preferred gender expression, not just their assigned sex by their environnment, defines that person’s gendered socialization.

And it’s obvious that any attempt to “male socialize” transfems failed. If “male socialization” has any meaning it must include that it results in the male individual adopting a male identity. And for transfems, the results speak for themselves. A transfem saying “I was not male socialized, because I’m a woman and not a man” is in itself a valid argument.

The fact that transfems prior to transition can for a long time believe themselves to be male doesn’t mean they were “male socialized” either. Because again, the individual’s own response, both in thought and behaviour to how others treat and teach them is part of socialization. It’s not just the end result that is different from cis men, it’s how we get there too. That’s why some transfems speak of “transfem socialization” because even when we are treated like boys, we have different responses to that than boys and men do, and that is it’s own form of socialization.

The thing is, transfems tend to experience their assigned sex and the masculinity socially expected by them long before their trans realization, as deeply unpleasant. It’s gender dysphoria, but we are not given the words to articulate those feelings. We don’t know that gender dysphoria exists, that transition are an option, or even that trans people exist, except possibly as deluded and perverted men in dresses. So these feelings are instead repressed. This results in dissociation from emotions that are distressing and difficult to understand.

It can often be difficult for us to act according to the norms of masculinity and we are often abused by parents, schools and other children for our femininity.

Now of course there are many boys and men, who are effeminate and gender non-conforming, and are often uncomfortable with the masculinity they are expected to perform. But that just further proves the point that to speak of a monolithic “male socialization” is wrong, because even boys and men vary widely in their responses.

And a central problem with neatly divided male/female socialization, is that while expectations are different depending on assigned sex, we aren’t given separate messages about gender. Basically all children in the same culture are taught the same things about masculinity and femininity, and the misogyny that comes with it. Children who are supposed to be boys are taught what girls are like, and supposed girls are taught what boys are like (and the message is, broadly speaking, girls are inferior to boys).

Trans girls can therefore often internalize the message about femininity, what girls are like, and apply it to themselves, even long before we view ourselves as women. Long before we realize we are trans, that transition is an option, we often feel a painful longing for womanhood, and femininity, tinged with unrecognized dysphoria. The unrealistic beauty standards imposed on women can be especially devastating for trans girls who have internalized transmisogyny. We hold our own bodies to standards that are cisnormative and which are so unrealistic that even cis women can rarely reach them, and it’s used as a tool of repression and self-harm, to tell ourselves why we never could be women. Eating disorders are common among trans women even before transition.

This description of pre-transition transfem lives probably seems surprising to people who never listened to transfems describe their own lives, and this includes other kinds of queer people.

The double standard of how transfems pre-transition lives are described and how basically every other queer group’s closeted lives are described is stark. Like it’s now widely recognized that cis gay people who were closeted and didn’t believe themselves to be gay were suffering in that closet from the self-denial that belief involved. Claims that cis gay people were “heterosexually socialized” and that they enjoyed heterosexual privilege by self-denying in the closet are never made because they are obviously absurd and offensive. But not so for trans women’s own experience of repression and the closet. This is of course rooted in transmisogyny. As Julia Serano pointed out, “AMAB trans people are denied the closet”

[lgbtlunaverse]

I've been wrestling with two beliefs I hold simultaneously but that I previously (incorrectly) thought were contradictory: that sexuality is inherently harmless, but also that specific kinds of sexual desire have been used to enact and justify grievous harm. The notion that men's sexuality is more important than women's consent, that white men's sexual access to white women must be protected from the "threat" of men of color, the idea that this specific kind of desire is so inherent to a proper society that if you have the wrong kind of sexuality you deserve to be shunned and harmed.

How can sexuality both be inherently harmless and measurably harmful?

Anyway, the answer is very easy, and part of why I feel like we should stop treating sex as something completely unlike other things and horniness as unlike all other emotions. Because I realized that, oh, right, this happens to other feelings too.

You know another feeling that is not inherently dangerous but is frequently used to enact and justify violence? Fear.

Fear is not inherently evil. Not even if it's irrational and your level of fear does not correspond to the level of danger you're actually in. In fact, irrational fears are such a common phenomenon we literally have a word for them: phobias. Which you are not evil for having. (Am I calling phobias the fear equivalnet of kinks? Kind of... I guess)

But fear and discomfort are used all the time to harm people. Let's say some random white woman is walking home late at night, and she notices a man is following her. This man might just be walking in the same direction by coincidence, but there's a small chance he's following her on purpose. It is quite natural for the mind to wander, and we frequently fear what we do not know. Discomfort or fear, in this situation, is neither inherently harmful nor unusual. However, if this white woman has been inundated her whole life with 'stranger danger' narratives and stories of women being brutally kidnapped, assaulted, and murdered by strangers. (Even though the vast majority of female victims are killed by someone they know, most often a romantic partner or family member) and she then, by the flash of a streetlight, spots that the man following her is black, and she has also been fed a narrative that black men are inherently violent and dangerous, that feeling of discomfort is enhanced and distorted until she believes she is in genuine danger and calls the police.

Statistically speaking, that guy really was just walking in the same direction, and is unlikely to be a threat. However she has now seriously endangered him, and justified it by the fact that she was scared.

A man justifying sexual assault because he couldn't help it, he was just so attracted to her. (And she led him on! She was barely dressed!) Is weaponizing his horniness in exactly the same way as people who call the authoroties on a disabled homeless person because they were "acting weird" are weaponizing their fear.

And all emotions can be weaponized this way. Anger is used to justify domestic violence ("you shouldn't have provoked me") Happiness and fun is used to jeoparidize safety (the last 30 years of olympic games have had a death toll among construction workers of over 116. The 2022 world cup alone has an officially admitted death count of 40, but the real cost is likely in the hundreds) disgust is used so often it's hard to restrict it to a single example (queerphobia, ableism, fatphobia, racism, misogyny, it's everywhere)

Sexual desire is just one way among many where the comfort of the powerful is valued above the safety of the opressed. It's not unique, but instead painfully common. And it's useful to keep this in mind not to devalue it or deny it's happening, but because we can borrow tactics and learn from similar situations rather than getting stuck on endless debates on whether porn is intrinsically evil or not, which will get us nowhere.

[rationaliity]

dr ratio vs. the genius society | an analysis

this'll also be a comparison between ruan mei and dr. ratio so warning for that one too, just in case.

i saw this post by @chronical-lover

and firstly, i just want to say thank you, especially about mentioning how aeons don't care about humans because youre so right. i wanna expand a little bit on the comparison between his character and the genius' that we've met this far.

ratio ultimately failed to be recognized not because he wasn't smart enough, but because he was too human. he's human first, scientist second. he'll always be human first, he doesn't have it in him to act without emotions no matter how much he wants logic to dictate his every move. his entire character is that he believes every one has a human right to be alive, to learn and to grow. he's there to guide them, not necessarily in the nicest way, but still.

i think contrasting him with ruan mei in the story quest was a perfect idea. when you meet ruan mei, she's kind. she makes the trailblazer feel comfortable, even for just a little bit. she offers companionship, tea, and a conversation. but she does not care about the trailblazer or her creations, something painfully obvious in her actions. when the trailblazer was facing up against ruan mei's failed attempt to make a replica of the emanator of propagation, ruan mei was no where to be found. but you know who was, just in case he had to step in ? veritas ratio. even though both knew that the replica wasn't likely to hurt the trailblazer, ratio was there.

" since you're here, i won't intercede. but should you fail, i will be forced to prevent some avoidable misfortunes "

( i hate this man so much )

but he was there. he witnessed the fight, and once the threat was over, it was time to get going ( his words, not mine ). he was there to witness you fight, and should he had needed to, he would've stepped in to prevent us from any actual danger. however, when we approach ruan mei after the fight, and we look reasonably upset from her, we don't get an actual apology. she says she regrets her actions, but her words aren't actually about putting us in danger. she was upset that her experiment fell short, that she had made another predictable outcome.

" you look.. upset, correct ? i regret my actions. there's no defending what i've done. time and again, my experiments have fallen short, and they've always yielded predictable results. i made a clone but it.. doesn't hold a candle to the emanator. "

she did say that she would be there if the danger proved to be too great, but she was not. veritas, however, was. both of them said that they would step in if needed, but only one of them was actually in a position to do so. only one of them took preventative measures to make sure that you were safe from harm. and that is not the genius ruan mei, no matter what her words say.

ruan mei has a flowery way of speaking. not to say that she necessarily minces her words, she's upfront about a lot of things. but she lures the trailblazer into a false sense of security. she's introspective, and questions her own actions a lot. but she's never apologetic about the way that her actions put other people in danger, just that they don't yield the results she wants.

ratio, however, is curt. we meet him originally as a brooding, mysterious figure. he's mean, he doesn't use a lot of words to get his point across. he says what he means, and he's a fan of effective communication. he doesn't have to worry about himself, he knows who he is and how is actions affect himself and the people around him, and that leads to people assuming that he's egotistical ( which he might be , a little bit. as a treat ) but the reality is that ratio cares more about the people around him that he'll ever let on.

and that's where he fails. that's the fundamental difference between him and those within the genius society. ruan mei, herta, screwllum, and the other geniuses do not care about anything other than results. and yet ratio is kind. he's inherently kind, his actions are all for other people. he's saved a dozen worlds with his inventions. he's a scholar within the intelligentsia guild, and a doctor saving his patient's lives every single day. he wants to guide people from the shadows towards the right answer, he wants to make them use their brains and think.

he does not act without considering other people. he can't be a genius first, and a human second. and that's where he fails to gain nous' recognition. it's not that he's not not intelligent enough to be a genius, it's that even in his pursuit of knowledge, he has not forgone his humanity.

and perhaps, in nous' eyes, that's the difference between the mediocre and the genius. to erase every part of you, your emotions, your empathy, your humanity, in the pursuit of knowledge is what separates a genius from the masses. not having those barriers allows you to really dig deep into subjects that would otherwise be considered taboo or dangerous, because you don't care about how the outcome affects people as long as you can study it. as long as you can get answers out of what you're studying, it doesn't really matter what the test subjects are feeling.

ratio is too human, too caring, to ever be considered a genius in nous' eyes.

[lanasheart]

LOV members and their love languages ~

★~`

Shigaraki ~

DEFINITELY an Acts of Service man.

Do NOT expect this man to try and touch you.

If he really loves you, I doubt he'd dare touch you as he wouldn't wanna accidently decay you.

Plus, this man absolutely hates it anyway. The only person he wanted to touch was his mama.

He would totally kill anyone you ask him to, either if he's jealous or if he has the urge to kill.

Or, he'd just invite you to play League Of Legends or Fortnite with him and Spinner.

(which isn't bad because he could definitely carry you in fn)

He would try and learn everyday how to be a good boyfriend. (He pays way more attention to you than you notice.)

He enjoys receiving Physical Touch, but to an extent.

You could touch his face, or anywhere really, but definitely not his hands.

He just doesn't want to lose you.

Touya ~

Acts of Service and Words of Affirmation.

He'd probably be super surprised if you told him your feelings

But he'd be open to a relationship since he'd be down to try something new.

SECONDS into the relationship he's making up so many nicknames for you.

'Babe', 'Darling', 'Hottie', you name it, he's calling you it.

And, he'd definitely kill someone for you.

I think he'd be more down too than Shigaraki would be.

He'd probably be all of the other love languages too, because don't tell me this man won't steal you a thousand dollar ring.

If you were also a villain, he'd totally BEG Shigaraki to let you go on missions together.

He likes Quality Time the most, since Endeavour never gave him any.

So, if you watch this man shoe you his special moves, he's gonna fall 2x as much in love with you.

Toga ~

Himiko literally seeks acceptance through unconventional love.

So I'd think her love language is Physical Touch or Acts of Service.

Along with the others, she'd be more than happy to kill someone for you or more likely impersonate someone for you.

Plus, she'd definitely have to avoid the temptation of using her knives on you.

So, if you told her she could use them, she'd be the happiest girl in the world.

She would be turning into you everyday.

As a means to show her love for you.

She'd want to be you, and feel what your body feels like upon her own accord, like if she was you.

If not, she could find out every little detail about your body by Physical Touch.

She definitely cuddles. (no one can change my mind!)

She likes receiving Words of Affirmation the most, so if you call her beautiful or pretty, she'll go feral for you.

Jin/Twice ~

Quality Time man.

Even a few weeks into your relationship, he'd be down for you to move into his little apartment, if you wanted to.

This would literally be so big for him, he'd spend every single day next to you, even if you were just cooking or cleaning.

If you were showering, he'd literally comes in and sit on the sink to talk to you.

You would definitely have some deep chats about the state of society, or the people you both retrospectively spend your other time around.

I think this man would somewhat enjoy Physical Touch.

Even if it's holding your hand on a busy subway, or leaning your head on his shoulder as he smokes his cigarette.

He would go feral.

It would be difficult to keep his clones' voices under wraps, but if you love him for them too, he'd be happy enough.

Iguchi/Spinner ~

Gift-Giving, definitely.

Although this man spends probably all of his time playing League Of Legends with Tomura, he'd definitely put some time aside to get you presents.

Whether it's something expensive that he's stole, or something small that he's recently heard you talk about.

Such as a new plush, or figurine.

He probably thinks it's more romantic to actually buy the gift, instead of stealing it, so trust me when I say this man has multiple piggy banks in his room.

He would try and ask Tomura for help, but we all know this man wouldn't give good advice.

'buy her League' shut tf up Tomura.

He would buy you both games he'd think you'd like, and would help try to teach you to play.

If you already play games, he'd buy you everything in the game, like DLCs or extra skins.

He most likely enjoys receiving Words of Affirmation.

He didn't get complimented much growing up, so when you do it for the first time, he's super confused.

But, he relaxes more into it and loves when you call him pretty.

Mr Compress ~

ATSUHIRO MY BABY

He'd totally be into Gift-Giving.

I mean, this man comes from a bloodline of thieves, and you think he won't steal you everything you want?

He would literally go to every store in Japan to buy you the most perfect rings, or necklaces, or clothes to make you look even more stunning than you already are.

He'd make sure you had matching things too, like jewellery or clothes, or even small little trinkets to remind yourselves of eachother.

Your room would literally be filled to the brim of everything he's gifted you, also because you would never throw it away.

He'd swear he doesn't need anything in return, but he'd be more into receiving Acts of Service.

Even if this is making him food or coming to see him if he lives a long way away, he'll appreciate every little thing you do for him, no matter how important it is to yourself.

Muscular ~

Muscular would probably just be into Physical Touch.

This man is 6"6, so if your any shorter he would be making fun of you everyday, by ruffling your hair or leaning his arms or head down on your shoulder or head.

Even though he is huge, he'd love to hold hands, if you even can.

He'd LOVE showing off to you, by picking you up or throwing you over his shoulder with ease.

He might have a small feeling that you dislike his muscles or eye, but if you disregard that, he will be all over you again.

Just make sure that you don't get smushed underneath him and his muscles.

Because we all know he would not be careful at all.

He'd be into Physical Touch too, as he would definitely like having his muscles appreciated by your hands.

If you ask him to flex or show his muscles, he will be down within a millisecond and will show you them in every position possible.

hey guyss this is my first proper post to give you a taste of what I wanna do [even if this is not a lot or very detailed so far], so pleasee give me some feedback, and help me so that I can grow my account. feel free to ♡ !!

[lay-z]

I'm sad for some reason I think I'm getting close to getting my period, so... I'm yearning for a fictional man and I'm hurting, because I can't have him 🥺❤️‍🩹 Also, I'd like to explore some slow burn type of romance and keep Simon's past traumas in mind! Pairing: civvie!F!Reader x Simon 'Ghost' Riley Warnings/Info: Reader is demisexual; cussing; tw: mental issues; insecurities; slow burn; awkwardness; humor Word count: 3.5k The one where two broken people connect.

You've already decided that you've given up on finding, not love, but companionship.

You've given up on love a long time ago, long before you'd reached your late 20s.

An old, creative and gentle soul, weighted down and scarred by childhood bullying, constant criticism by your family, societies bloody beauty standards and things you suffer from which you didn't even know how to describe let alone name in your youth.

Demisexuality? Body dysmorphia? Eating disorders? Anxiety? Insecurities, so deeply rooted, that they border on self-hatred?

And no, you never went to therapy – no. Gods, no, because if you go to therapy, you're mental, right? And how can your poor mother tell the rest of the family that you're mentally unstable? That something is wrong with her little, darling daughter? Hm?

So, no therapy, because your hyper-independence got your back. You're used to that, learned it in your younger years; always there for others, but no one ever stepped up for you, except yourself. Yet you're cursed to be an empath, so you never stopped caring for others, even if it killed you inside.

Giving. Giving. Giving. Tearing yourself apart to please and give up the love that brimmed in your kind heart. Never receiving anything good and soft, like some cheap whore, until there was little left of love to give.

Now you've turned cynical, cold, and lonely – or that's what you keep telling yourself to keep the façade up. Hiding behind humour and feigned nonchalance, because you're an entertainer. Always have been. You would've been an amazing actress, but when you were younger, your mother told you that you could never be the love interest, so why bother go to acting school and actually do something you enjoy?

You rarely wallow in self-pity anymore; only occasionally, right before you get your period and your hormones make you feel sad and depressed, make you break and hate yourself. Quiet and in secrecy, in the safety of your dark bedroom, or in front of the bathroom mirror – just to play out a sad scene in your delusional mind. Probably with a fictional man, someone who'd never hurt you – in your alternate universe.

Accept. Adapt. Overcome. Repeat.

It isn't ideal, but you've found coping mechanisms that work for you, albeit some unhealthy ones and you've survived so far. Emphasis on survived, not lived.

You're so deep in your thoughts, on the brink of dissociation, that you don't even realize you've been staring – again.

Your eyes flutter briefly, focusing back on the here and now until you realize what or, rather, who you have been staring at like some creep.

Fuck.

It's that man with the skull mask, not a ski mask, but a balaclava – you've googled it the first time you'd seen him around the café. You'd even researched if face coverings like that are illegal in the UK – turns out they're not, unless you refuse to take it off when a police officer orders you to.

He's staring right back at you; dark brown eyes unblinking, skin around the eye holes covered up by some black smudge – combat or war paint, probably. Sitting at the table right across from you by the cafés large windows; incredibly out of place for such a soft and quaint establishment. Nursing a tea, looking menacing and intimidating with his massive physique and black clothing, yet his eyes hold something more than stoicism in them. You know, because you see it yourself when you look into any mirror.

Bottled up emotions, a myriad of them, simmering just below the surface like a dormant volcano, ready to erupt someday.

You narrow your eyes then, force yourself not to tilt your head to the side like a curious puppy would do, because you don't want him to know that you're actually perceiving him this time – and not merely daydreaming and brooding like you usually do. Cursing internally, when you eventually lose this staring competition that you've completely just made up in your mind, because his eyes are too intense and he's obviously immune to social awkwardness, you reach for your lukewarm  matcha latte, taking a small sip as you turn your head away to stare out of the large shop windows, pretending to watch passers-by.

You force yourself to focus on the shitty UK weather outside, resting your chin on the back of your hand, elbow propped up on the cheap table. Rain and wind and colourful leaves grazing the wet pavement as the seasons start changing and autumn begins creeping in. You like autumn, prefer it over summer every year – and your mind begins to drift again, distracted by random strangers outside, grey clouds in the sky and fat raindrops pitter-pattering against the windows.

Meanwhile, his eyes never waver from you, and Simon catches himself wondering, what you might be thinking about now.

Time passes, and you try to keep your routine up – going out for a coffee once or twice every week, so you won't die of loneliness or isolation. At least, the café is nice, the baristas as well, it's not far from your flat and it's usually not that crowded nor busy.

Or so it was during summer.

Now, all people want to do is drink their coffees and teas inside, apparently, since the temperatures have dropped, along with the leaves.

After ordering your matcha latte, you turn around to see that your favourite spot by the window has been occupied in the past six minutes of standing by the counter. If only the lady in front of you had ordered her bloody tea and biscuits a smidge faster, but nah, you're not that lucky.

Groaning internally, you move to the table across from your fave, pulling one of the two plastic chairs out with more force than necessary because you're petty and annoyed. It's loud – not too loud, actually, but louder than it usually is – and you curse yourself for going out. You should've just stayed in this afternoon, curled up on your couch, playing some Baldur's Gate or so.

Some minutes pass after receiving your hot beverage and you've managed to drown out the noises and successfully ignore the sudden hubbub around the café.

That is until you notice a looming presence next to you; aura thick like molasses and prominent like the smell of gasoline, you don't know if you like it or not. It does catch your attention, though, and you turn your head to the left, eye-level with his denim-clad crotch, perhaps a little too close for the acceptable social standards.

Furrowing your brows in both confusion and offense, you have to tilt your head back and lean back in your chair to meet his eyes. How can those eyes be soft and aloof at the same time?

"Uh, hi?" You say then, brows still furrowed; not a greeting but an out for him to excuse himself for getting too close and fuck off again.

"Yer in me seat." He counters bluntly, voice incredibly rough and accented and muffled by the fabric of his mask as he gestures at the table with his gloved hand and holding a small coaster with a steaming cup of tea on top of it in the other one delicately. It looks comical and stupid, yet somehow endearing.

You're dumbfounded for a moment, blinking up at him in disbelief before finding your wit again, nodding your chin at the two chatting women sitting at your favourite table.

"And they're in mine," you say matter of factly, "If we go by that logic." You add dryly, picking up your latte, because the conversation is surely over.

He stays by your side, unmoving like a marble statue, dark eyes flickering somewhat nervously between you and the empty chair across from yours. Simon doesn't know how to properly interact with a civilian anymore; let alone a female civvie, and he ponders for a moment if he should just leave again, have a cuppa at his own flat.

But Simon's therapist had advised him, pleaded with him, to at least try and make a friendly connection with someone outside of his military comfort zone and well, here you are. At least your face is familiar already and you look harmless...safe.

"May I...sit with ye, lass?" He almost grits through his teeth, doing his best to ignore the way his heart beats hard against his ribcage as he waits for your rejection.

You pick up on the vulnerability in his voice, his demeanour, as if asking costs him some courage; truth be told, it would cost you some, too. Perhaps it's the fact that you've become silent acquaintances over the past few weeks; meeting up at this place without even meaning to. Each of you alone, always.

You stop in your movements, lifting the rim of your mug just to your lips before lowering it again, holding his gaze without taking a sip.

Sit with me? You muse to yourself, surveying him up close briefly and for the first time, at least consciously. He shifts on his feet some, heavy black boots – always boots, always layers of dark clothing, always the skull balaclava, no matter the temperature.

However, despite his looks, despite his authoritative and all-consuming aura and your better judgement, you nod once, cursing your intuition and empathy, nudging the empty chair away from the table from beneath it with your foot – a wordless permission, or perhaps an invitation?

And Simon exhales a long breath through his nose, jaw unclenching slightly as he gives a curt nod, sets his tea on the table and takes a seat on the offered chair. Easy.

And that is that.

The next time you're at the café, you breathe a sigh of relief to find it relatively empty for the time, except for some elderly customers and students working in silence on their laptops.

You're delighted to find your favourite table empty again and you order your usual matcha latte with coconut milk before eagerly sinking into the chair at 'your' table with a contented sigh and a good view on the people and life outside the cosy café.

Then your peace is once again disturbed by the soft clink of a tea cup being placed on the table, followed by the empty chair across from you scraping over the old hardwood floor, before he slips into the seat with a quiet huff.

"Your table is free," you tell him immediately, leaning to the side to look past his massive frame at the unoccupied table behind him.

"Aye, I know," he responds gruffly, folding his forearms on the table while he looks outside the window, "Figured we can ah safe space by sitting together." He suggests with a nonchalant shrug, though internally, Simon's stomach is clenching with nerves and anxiety. He despises feeling awkward and being in situations he cannot control.

Yes, it does feel incredibly awkward, but deep down you're too nice to tell him to fuck off, because he hasn't given you a reason to do so. When you were forced to share a table last time, you sat in somewhat comfortable silence, though you'd definitely finished your drink faster than usual back then before uttering a polite goodbye and slipping away.

"I guess so," you mutter in return because he's already sat down anyway.

Silence ensues, but you can't ignore the sudden tension of unasked questions and the pressure of social interactions. Then, it's too quiet in the establishment, and you both suddenly and silently hate it.

"Ye enjoy observin' people?"

His question catches you off guard because he sounds genuinely interested in you answer, and it's unnerving.

"Yeah, you could say that," you answer curtly, crossing your legs at your ankles under the table and leaning back into the cheap chair to feign nonchalance, even though you're currently anything but, "I find it relaxing."

"That's...strange," Simon retorts, quirking an eyebrow behind the safety of his balaclava, because he does that, too, and he never thought you'd blatantly admit that. Is people watching a thing among civvies? Then you shoot him an offended look and he can't help but cringe internally.

"Didn't mean it like that, lass." He assures you in a mumble, eyes flickering down to his steaming cup of Earl Grey tea.

Your first instinct is to mock him for his silly mask, ask him if he's a thug or cosplaying as one or some hooligan, but you bite your tongue, because you know better, and you feel like he could make you regret your sass. Especially if one of those assumptions proofs true.

"And what do you always do around here, hm? Never see you read a book or newspaper, let alone play with your phone," you ask instead, not even hiding the accusatory undertone as you turn your upper body towards the window. You're involuntarily dismissive, because it's been a while since you talked to a stranger like that, let alone a man.

"Same as ye, lass," he grumbles, "Thinkin', observin'...enjoyin' the peace." As if internal peace could ever be achieved in his case.

There's another moment of awkward silence and your mind is racing, riddled with anxiety, though unbeknownst to you, so is his. Simon is so out of his element and yet he forces himself to stay, unless you blatantly tell him to fuck off – which, deep down, he hopes you will.

"You're not some creep are you? 'Cause I swear, I'll clock you if you try anything or follow me home after this," you tell him with an edge to your voice, like you mean it. You're not opposed or afraid of violence. You grew up with older brothers and cousins.

Simon snorts at your threat, genuinely. He's taken off guard by your fierceness and he's absolutely sure you're serious about this, and he hates to know that he's capable of taking you down if he wanted to, even if you'd fight tooth and nail. It makes him feel guilty, makes his gut twist and churn because of those dark thoughts coming up in his brain like some black pest, even though he'd never ever do anything to hurt you.

"'m not," he assures you, eyes flickering over to study your face, your expression. You look tense and standoffish, and he can't help but admire that; to know that you're not afraid, that you can take care of yourself if push comes to shove.

"Name's Simon." He offers it like an oblation, a small yet important piece of himself, putting his given name and some trust into the hands of a stranger, and asking nothing in return.

You're once again dumbfounded and yet your mistrust and suspicious nature get triggered; squinting your eyes as him, your heart and brain are in utter turmoil.

"Didn't ask," you eventually retort coolly, like a proper arsehole, even though, deep down, it hurts yourself, hurts you to be rude like that, especially as you see something flicker in his dark eyes. Surprise? Hurt? Anger? You can't tell, but he leans back in his seat, gives a curt nod, accepting your snappish response just like that, and you think he'll leave, but he stays seated.

"I'm...sorry," you utter suddenly, fidgeting with the hem of your grey oversized hoodie, "That was...unnecessarily rude." You admit with a deep sigh. But was it, though? He's a stranger, some bloke with a mask, who just randomly decided to sit with you and introduce himself–

"It's fine, lass," he says, pulling you from your spiralling thoughts with his deep gravelly voice, "A reasonable reaction, really."

It is, Simon thinks. He might have questioned you about your thoughts on self-preservation and your survival instinct, if you wouldn't have reacted the way you just did.

He contemplates lifting his mask to finally take as sip of his tea, but like always, it costs him every ounce of courage to do so while you're looking at him so shamelessly with your alert eyes and that slight frown on your face, and Simon rubs his gloved palms over his thighs below the table to soothe himself as you keep scrutinizing him.

But then you utter your name in return, albeit hesitantly, and his eyes flicker up to meet your gaze, noticing the hint of curiosity in your eyes.

You don't see him, Simon, for several weeks after that and after some contemplation, you decide that he must've found a new café to hang out at or perhaps he got arrested eventually. You don't care either way.

But then, why do your eyes keep flickering around the shop whenever you drink your matcha latte? Why do you stare at the empty chair at his 'favourite table'? Why do you keep wondering what happened to him?

You don't want to accept it, don't want to acknowledge it, but deep down, you actually enjoyed having a proper chat with him the last time you saw him. When he so randomly decide to sit with you and introduce himself. You swiftly fix the slight purse of your lips as your mind keeps pondering about this stranger and you force yourself to enjoy your hot beverage until you can get back home and feel accomplished for actually having spent time outside your comfort zones, namely your flat and workspace.

But it's lonely. Always lonely.

In those few moments you'd shared with Simon, despite the awkwardness and that uncomfortable feeling of being perceived by someone, you'd realized that something has been missing in your life. Perhaps you should give your parents and siblings a call back; perhaps you should answer all those ignored messages in your phone; messages that have become less and less, because the people closest to you will eventually stop reaching out. You know that spiel already, yet you're having so much trouble actually pulling yourself out of this hole of self-isolation, a hole that's become suffocating, draining the colour from your life while you keep telling yourself that you're fine, that you want it this way.

"Lass?"

His voice cuts through your overthinking mind like a hot knife through butter and your eyes immediately find his gaze, that unwavering, piercing stare of his.

"Simon," you say in return, more like a greeting if it wouldn't be for the shocked pitch lacing your voice. You can faintly see his tired eyes crinkle slightly as he rests one gloved hand on the backrest of the empty chair across from you and you wonder if he's smiling behind his mask.

"Remember me name, aye?" He asks gruffly, almost playfully, the tiniest smirk tugging at the corner of his chapped lips beneath his mask as he pulls out the chair, waiting for your permission.

"Tsk. Obviously," you answer with a scoff and an eye roll before giving him a short nod. "No tea?" You remark as he sits down without it, raising an eyebrow as you sip on your own drink.

"Err, no. Not stayin' for one," he answers, shaking his head, "Was jus' in the area," he lies, "Figured I could drop by and say 'ello." He adds with a shrug, feeling utterly stupid now, because Simon definitely was not in the area.

He came home from a deployment last night and wanted to check on you for some reason, see if you're still coming here, see if you’re doing alright – but of course, you are.

"Mhm," you hum affirmingly, though more suspicious than ever as you survey him. You want to spit out Why?,  the question burning on the tip of your tongue, but you’re somehow too distracted by his overall appearance.

The paint around his eyes has faded, as if rubbed and smudged too many times. He smells an awful lot of tobacco and something else you can't quite pinpoint. Even in his usual attire of some type of black jacket or hoodie, jeans, boots and his balaclava, he looks terribly dishevelled and messy.

"Where have you been?" You find yourself asking before you can stop your mouth from moving. "If you don't mind me asking." You add casually, for good measure.

“Deployed.” Simon answers offhandedly, sounding colder than he intended to, and you do pick up on the shift in attitude; he doesn’t want to elaborate.

“Okay,” you retort with a nod, though your curiosity is sparked, and you click your tongue, pondering, before you confuse him as you let out a little snort.

Of course, he's a fucking soldier, you muse to yourself, should've figured that out myself.

You can practically see him raise his eyebrows in confusion, noticing how the fabric of his bloody mask shifts slightly.

“Ye laughin’ at me for servin’ me country?” He asks and desperately hopes that you pick up on the teasing tone in his voice, though it’s still hoarse from barking orders at his men for days on end.

“No,” you answer uncharacteristically soft, flashing him a rare genuine and sheepish smile, “I always wanted to join the military myself.”

Simon doesn’t know if it’s the smile you shoot him, catching him off guard, because he’s never seen that expression on your face before, let alone that sudden twinkle in your eyes as you admit that you’ve thought about enlisting in your past, but he suddenly feels even more intrigued by you; this secluded, lovely civilian in front of him, and he finds himself asking then,

“Why didn’t ye enlist?”

Perhaps he should get that tea after all.

Part 2 ?

[ash-says]

Tips for Dysfunctional Family Girlies Part 2:

1) Get your basics straight. Education. Boundaries. Financial independence. Further breaking it down and linking it if you get proper education at some point you are bound to get an awareness of this world, if you are able to adapt and improvise yourself and develop your emotional intelligence and get your boundaries straight you will save yourself a lot of unnecessary drama and problems. Education (formal and informal) both will help you in gaining opportunities and if you are financially independent, you are holding the power to make your own decisions.

2) Develop thick skin. Your mom is calling you names. Slut, whore and what not. Your dad doesn't trust you and abuses you physically. So, what now? Are you going to let them define what you are or internalize the anger and use it as a fuel to become successful? Choice is yours.

3) They say you don't owe an explanation to anyone. Sorry to burst your little bubble. Actually you do. We live in a society and have relationships that we need to maintain for survival. This hyper independent stuff is only good to read. We have responsibilities that we need to fulfill. If you don't owe an explanation to anyone then don't cry about a closure from someone too. If you can live by this go ahead and practice it.

4) Stop isolating yourself. That's it. That's the point.

5) First kill the fear inside you. Being a rebel outside the house is no good. Be disciplined. Know how to manipulate your family members in your favor and if you can't just find the weak points and threaten. I know it's difficult to implement but you learn through trial and error. Plus something is better than nothing.

6) Stop glorifying people who treat you with kindness and love. That's the bare minimum. Just because you didn't get it served in a silver spoon doesn't mean it is not served in a silver spoon. People can have ulterior motives and even if they don't fix it in your brain that's normal. No rose colored glasses allowed.

7) Don't be afraid of indulging in your sexuality. No I am not saying go and have sex with people. I mean it in a deeper sense. Connect with the repressed sexual side and try to find healthy outlets. Don't dim yourself to fit in others'expectations or to ease someone's insecurity. Be unapologetic about your wants and desires. Know yourself. It's a powerful energy source if you know how to use it positively.

8) Cry, cry and cry. Wail like a child. No need to keep it all in. No need to act like a macho woman BUT only in front of your god or your belief system. Max in front of your truly trusted people.

9) Question everything as easily as breathing. Doubt every thing. Every action. Every person. What proof do you have to not doubt ? Stop giving benefit of doubts. Stop looking for excuses on how they could be good and instead look for ways in which they can harm you. That's your lottery to be poised and composed. It's just what it is.

10) Obsession. We have it in loads. That's natural to us. So the trick here is to be obsessive. Hella obsessive but about things, topics, goals, subjects, inanimate things,etc. God forbid but never be obsessive about a person. Not even over your dead body. Why? For that I need to make another detailed post I think.

[yarrayora]

i like how falin being a maiden to be saved, a reward to be coveted, isn't a point to criticize in dungeon meshi. because we have various other female characters who are written as having their own agency

we have marcille, of course, whose story can be observed since chapter 1. how she's not depicted as the "girl team member" but "part of the team". when you're writing a protagonist group where there's only one female character among the male cast, you can always feel this sense of alienation in the writing, like she doesn't belong in the group as the story focuses on the rest of the boys. the way masashi kishimoto writes team 7 is a major example

but marcille is still allowed to be a "typical girl" who doesn't want to eat gross things and enjoy feminine clothing without forgetting the fact that she's a multifaceted person. she's a researcher who isn't afraid to get dirty when it's something relevant to magic and her goal, even though she's also grossed out at the idea of feces being used as fertilizer for crops

and when falin comes back as a monster who can't speak, it's still not a point to criticize. oftentimes stories involving female characters losing their speech (or, well, becoming disabled in some way) is meant to make her vulnerable, a fragile 'something' to be protected. but this is not an argument about how chimera falin is super strong, because that's a shallow way of thinking that ignores the fact that being a Girlboss doesn't ensure your female character is written as a fully realized person. this is about the fact that almost right after that Izutsumi joins Laios' party.

She joins late in the game, so it'll be easy for her to only be tacked on as an afterthought. A notable example would be Okumura Haru from Persona 5, where her character gets overshadowed a lot by the other party members' more colorful personalities, as if the writer wasn't sure how to integrate her into the already developed dynamic.

there's also how she's written as a sweet and shy girl yet the way her school uniform is designed betrays that image. it's heavily customized even compared to the trendy girl like ann which means it's impossible for her outfit to not go against school regulation. not something an obedient girl would have done. which makes me wonder if they couldn't decide on her writing until last minute.

but Izutsumi is different. her involvement and her own personal story arc eventually intertwines to the overarching plot. she hates having her options limited. she hates having responsibilities to uphold. she hates eating veggies! she hates that people expects her to do things their way! she wants freedom to do whatever she wants!

but in the end she learns that to have the freedom to choose, she has to uphold her responsibilities. starting from the simple things like taking care of her health by eating balanced meals, not just the ones she enjoy. she has to do work to get enough money for her food and travels. and she has to learn how society works so she can live independently. she has to learn which desire she has to prioritize that she can balance out with her responsibility as a living being.

her own self-realization culminates into her giving advice to laios that leads to him steeling his resolves to become king.

so you have Falin, who gets turned into a monster that cant communicate her desire and needs while under the mad sorcerer's control, and in exchange you get Izutsumi, the 'beastman' who knows exactly what she wants and throws a tantrum about it without shame, not understanding that what you want isn't always what you need. i think it's a really cool parallel!

this is a prime example of how tropes that get associated with misogynistic writing can be used as a proper tool that serves a narrative when you have more than multiple female characters having their own character arcs

in fact, you can apply this to pretty much every other things. when you're writing gay characters, having only one of them and they act camp can make people raise an eyebrow at whether this is meant to be a caricature of gay people or not. having two of them and one acts camp and one acts normie can be read as a bias against gay people expressing themselves. writing multiple gay characters, all with different personalities and desires will avoid accidental stereotyping.

even the minor female characters, be it the canaries or namari, help show that the way the narrative treats Falin isn't born from thinking that women are an alien breed compared to men. that her lack of agency means something for the themes involved.

[heartfullofleeches]

The Blacksmith

Yan Deity HCs [Request]

Tw: Self Harm

-

- Blacksmith isn't what most would gods would consider being one of their own. For the better part of its existence, The Blacksmith has functioned akin to a machine rather than his own individual self. Acting on orders given by those above him was all he knew until the punishment of gods through extensive torture was shunned upon by many. Blacksmith was free to do as they wished, but they're generally stumped to the workings of society outside of what their created purpose.

- Love as humans and even some gods express it is unfamiliar to the Blacksmith. Their creators greatest mistakes was teaching it the painful side of love without the innocence of something puee. He was instilled with the knowledge that any sign of weakness should not be allowed. That being said, a strange warm fills its chest whenever you treat it kindly. He does not deserve the gesture- Are you toying with it because you truly believe he is beneath you?

"My Lord.... I do not understand the purpose of this so called "hug" you have bestowed upon me.... I did not ask you to stop."

- There is no room for error in Blacksmith's eyes. As he adapts to the mortal understanding of affection, Blacksmith showers you with gifts and gestures to prove they are willing to even the playing field with you. If he brings you something you are allergic to or simply not a fan of its wise to keep sharp objects from him until you can calm him down and assure him it was a common mistake.

"May the spill of my blood grant me your forgiveness.. Had I heard you clearer I would not have made this mistake."

"It's cool, dude- Pizza is pizza."

- The Blacksmith is immortal and heals relatively quickly, which is why if you bother to patch them up when they do get hurt their brain just kinda shortcuts for a while. You are the mortal in the situation. Those supplies would be better saved for you. Is this what it means to care for another out of the generosity of one's heart(s)? Is this love? Logically, when you are injured they must return the sentiment.

"Please hold still, My Lord. The cast is almost complete."

"Isn't this a bit excessive? It was only a splinter."

"... Negative."

- The Blacksmith has a hidden profession of making music boxes. It is a tad embarrassed due to the macabre nature of the other objects it creates, but as they learn more if your world it develops a small obsession with the melodies they produce and their mechanisms. He leaves ones he is most proudest of in your bedroom - expecting you to somehow have no clue how it ended up there.

- Blacksmith can easily remove their helmet - they just don't want to. He has been described as beautiful by gods who have met it after the incident due to their eyes, but as for the appearance of its face as a whole no-one knows. It wears the iron maiden to atone for its sin of nearly condemning an innocent god, but it also believes those gods were liars and that its face will disgust you. If you argue back that are gorgeous regardless of if you've seen it or not, The Blacksmith has no choice but to take your word as truth since they trust you not to lie to them.

- Enjoys classical music. Cannot dance to save it's own skin, but would greatly admire your dancing no matter your skill level.

- One rule you must keep in mind is to not give Blacksmith access to the Internet. He will absorb modern lingo and relationship advice like a sponge. It confuses him greatly, but considering you are from this time it might be the key to winning your heart.

"Have a good day at work...Pookie."

[poweringthroughthis]

love in three acts | kim mingyu, wong yukhei

nsfw, mdni (ftm reader)

ship: wong yukhei (lucas) x male reader, kim mingyu x male reader

(requested!)

desc: forced to act like only friends in public, (name) is sick and tired of his boyfriend's ignorance. Maybe another hot guy what it'll take to set his boyfriend straight and appreciate (name) more.

warnings: feminization, reader's genitals are referred to as pussy/tits, dirty talk, sweat, strength kink, muscle worship/kink, voyeurism, cross-dressing, manhandling, pussy slapping, pussy eating, spanking, breastplay, vaginal fingering, vaginal s*x

act i.

Life is not what it is portrayed to be in cinema. (name) learned as much now that he was well into his 4th semester of college. Society has romanticized the college experience to such an extent that one dives in, expecting alcohol, parties and an enchanting love life to be the frontrunners, while in actuality, it is assignments, exams and stressful days filling the void most of the times.

Nothing changes if you don't make it happen yourself. Your dream life doesn't manifest one day magically, and your love life doesn't become one for the books by itself either. You need to start living the way you want to. That, is the only viable form of happiness in today's world. At least that's what (name) taught himself during one of his loneliest nights, freshman year, which culminated with a self-therapy session.

Then the nerdiest, biggest pushover of a guy, (name) was now a changed man. He had the biggest glow-up: his slender curves, thick thighs and pretty eyes, putting everyone's wildest dreams to shame in comparison. He embraced his true self fearlessly, taking control of his life and living the way he wanted to. He had definitely been happier ever since then, but he believed it did little to better his dating life as he was still boyfriend to a man seemingly afraid to love him in public.

Wong Yukhei is a lot of things, but inherently smart, he is not. Which is why he doesn't understand why his boyfriend is upset with him right now. "W-what do you mean?"

"Seriously Lucas? We've been over this before. Every time I as much as I lean into you in public, you go off to do something else with your friends. It's like we're strangers in public." (name) explained, perplexed.

"It's not like that! You know I love you. It's jus-just.." Honestly, Lucas didn't know himself why he'd been subconsciously dodging his boyfriend's advances while they were out. It's not like he never indulged in PDA with his previous partners. Maybe he'd been getting too caught up with his friends that he unintentionally neglected his boyfriend each time they were in the public eye.

"You know what? I need to go. Come find me when you have an answer. " (name) scoffed dejectedly, storming out of the empty classroom, leaving the flabbergasted giant behind. (name) started wondering if he wasn't attractive enough for Lucas.

If only he knew how wrong that assumption was. Because if that was the case, he wouldn't have the hunkiest man to ever exist (besides his own boyfriend), eye-fucking him from behind. The large man traced (name)'s every movement with great intensity: the way his hips swayed as he walked quickly, the way his skirt rode up just enough to show his supple thighs, even the way his ass looked perfect as he bent down to pick up his fallen stationery.

Kim Mingyu was a lot of things. And like every other guy, being inexplicably horny at the sight of a pretty boy, was one of them. he snapped out of his daze, dashing to (name)'s side, helping pick up his belongings from the floor, without failing to catch a peek of his bra underneath the dress. needless to say, he had to physically restrain himself from popping a boner then and there.

"Hey, you okay? Looking a little sad there" he offered his charming smile, making (name) look up as he straightened himself. His gaze fell on the handsome man's huge biceps, that flexed under the weight of his stack of books, threatening to rip his half-sleeved tee that was already too tight for his massive chest. It was hard not to, when a 6 ft hunk was sizing up his body shamelessly.

"I'm Mingyu. I'm in this faculty too. 3rd year"

"(name). 2nd year." Offered he, politely.

"Boyfriend problems?" Mingyu inquired, (name) taken aback. "Just guessing", he clarified, knowing fully well he eavesdropped into the couple's conversation earlier. What? He just wanted to see for himself who bagged this hot specimen before he could. Before (name) could respond, Mingyu moved closer.

"I won't pry into your personal life, but tell you what. Any man that doesn't appreciate you enough, is a loser."

He ran his hands all over (name)'s curves, finally slipping underneath his skirt to grope his ass and lift one of (name)'s legs against his groin, making the boy gasp.

"Someone who loves the beauty that you are, y'feel me?" His breath fanned over (name)'s face, the boy feeling 50 emotions at once.

"I,I shou-"

"Hey! What the fuck do you think you're doing?!" the duo turned towards the source of the voice: (name)'s seething boyfriend. Lucas stomped over to them, snatching (name) from Mingyu's grasp and wrapping his bulky arm around his waist, pulling the boy flush against his hard chest.

"Not so shy touching him in public anymore?" Mingyu teased. If Lucas wasn't mad jealous right now, he'd probably wonder how Mingyu knew about the couple's fight. But he couldn't care less right now. He all but dragged (name) back to the empty classroom, heels clacking against the tiled floor and slammed the door shut.

"What's wrong with you Lucas ?"

"ME? The fuck's wrong with him? How dare he lay his hands on MY boyfriend?" Lucas fritted his teeth.

"I might as well let him. Since YOU'RE so ashamed of touching me. I bet, with his huge arms and adonis-like body, he can easil-"

"You mean, these?" Lucas threw his stupid smirk (name)'s way as he flexed his massive biceps that threatened to spill out of his half-tee.

"Lucas! W- what if someone sees us? The door has a huge window" (name) stuttered, turned on by his boyfriend's manly display.

"I don't give a fuck anymore." Lucas said, taking off his shirt over his head in one swift motion, using only one hand.

Throwing shame out the window as all coherent thought left his body, (name) ran firm hands all over the muscle mass that was rock hard under the touch. He squeezed the giant pecs as Lucas made them bounce. "You like that?" He smirked.

"So fucking much, you're so big and strong for me." (name) moaned, latching his mouth to suck on the bulge of Lucas' biceps, the giant flexing them hard in (name)'s mouth. The musky scent of sweat filled the air making (name) hornier as the recalled how hot Lucas looked playing basketball earlier, all sweaty and pumped up.

He ran his tongue over all his muscles: the abs, the meaty chest, the armpits, licking every crevice of the result of his boyfriend's hard work.

Lucas moaned, throwing his head back, grabbing a fistful of (name)'s hair as he pushed him further towards his body.

"Yeahh, worship those muscles like the good boy you are."

"You're so fucking hot, baby. Look how fucking huge you are."

Lucas growled, turning (name) around harshly, removing the string of his dress with one hand, the piece of fabric falling aside at once.

"This little pussy is mine" He landed a smack on (name)'s hole, cupping him hard through his panties, the boy shaking from the recoil of Lucas' strength. "Gonna ruin it with my fat cock, baby."

"Yes, daddy. Do it, fuck me!" (name) cried.

Lucas delivered more slaps on his clothed cunt, (name) tearing up and thrashing from the impact, but Lucas held him in place with one hand and he continued using the other to smack his pussy. "Crying already? Wait till I'm done with you. you're gonna cry harder than now, begging me to stop, but I won't."

(name) sobbed at the prospect, loving every second of it. Lucas grabbed a fistful of the boy's ass, kneading the flesh hard, digging his nails deep into his plump flesh. "You have the fattest fucking ass" Lucas groaned, slapping it hard again, and again, and again.

"I'll make sure this fat ass bounces when I fuck you."

Lucas turned him around, grabbing him by the back of his thighs and lifting him up easily.

"Ah! Lucas, fuck! You're so strong."

"Yeah? Want me to throw you around? Use my muscles to manhandle you and fuck you real hard, huh? Like this" Lucas lifted him up in the air and threw him on the desk. He leaned in, pushing his muscular body flush against (name)'s soft one.

He grabbed the boy's neck, squeezing it hard and forcing him to look him in the eyes. "I'm going to wreck you."

"Please" (name) choked out.

Lucas released his grip, sliding the panties clean off and shoving three of his fingers in.

"Look at how small your little clit is, baby. This is so cute, I'm gonna enjoy stretching it out."

He rubbed his calloused thumb on his swollen clit, teasing it in circles as he pushed his thick fingers deeper, adding his pinky.

"Fuck! Oh my god, you're so deep. I can't.

"That's right. Scream my name. Make everyone hear that you belong to me." The giant rammed his digits harder, abusing (name)'s sensitive spot. His body jerked forward and fell on the table behind him, hands scrambling for support.

"Fuck! I can't, please-ah!"

Lucas didn't relent, adding his pinky to the mix, his knuckles rubbing against (name)'s walls. "Take it! Take it like a good boy."

The taller boy continued his merciless assault, ramming his thick fingers in and out of his boyfriend. (name) felt the familiar knot in his stomach as the pressure kept building. "Cumming, please-!"

"Yeah? Gonna cum? Gonna cum all over my fingers? Cum like the good boy you are."

(name) did as told, clenching and shaking, squirting all over his boyfriend's fingers. Lucas took out his digits slowly, admiring the mess, licking his fingers clean and tasting his boyfriend's juices.

"Fuck, you're delicious. Turn around."

"W-wait, I'm sensitive-!"

"I don't fucking care. I'm gonna eat this pussy till I'm satsified. "

(name) turned and laid down, the hard wood of the desk supporting his back. Lucas grabbed him by the ankles and hooked them over his broad shoulders, spreading his legs apart. His heels almost reached the top of the man's back, but it did not deter him as he leaned down and pressed a kiss on the wet slit, his warm breath fanning over (name)'s sex.

"You look so beautiful right now. Your tits spilling out of your bra, and your legs spread wide for me."

Lucas dove right in, burying his face in the boy's pussy, licking and sucking at the swollen clit.

"Ah, Lucas-fuck! So good"

(name) gripped the hair on the man's head, bucking his hips as he was sent to another realm. He felt the wet tongue prodding and sliding, the sensation overwhelming his body.

Lucas captured (name)'s labia in his mouth, suckling hard between his lips and pulling it back with a pop sound. The lewd action made (name) cry out as he was eaten out, his pussy abused and raw, the man's tongue lapping at his entrance.

"Lucas, I-I can't take it. Too much, ahh"

"Yeah? Like how I eat your fucking tight pussy?

Lucas licked and sucked his boyfriend's clit, slurping up the juices from the sensitive hole. "Fuck, I can do this all day."

"L-Lucas, wait! I can't! Please-ah!"

Lucas kept at his pace, eating (name) out, the latter feeling his orgasm approaching rapidly. "I'm-cumming! "

The giant smirked, completely pussy drunk. " Yeah? Eating this little pussy so good, huh? Go ahead and cum all over my tongue, baby. Cum on my fucking face."

(name) was a panting and moaning mess. He couldn't take the pleasure and pain mixed together, and it all culminated as he squirted all over his boyfriend's mouth, the giant swallowing it all up.

Lucas sat on the teacher's desk, pulling (name) harshly onto his lap. He massaged his tits through the bra, growing hornier and more aggressive by the second. He couldn't take his eyes off the beautiful view of his boyfriend in nothing but heels, the black material covering his breasts.

"Take that fucking bra off" Lucas growled, pinching the buds beneath the fabric.

(name) reached behind him and undid the strap, the garment falling and pooling around his waist.

"Fuck" Lucas whispered as he squeezed the soft mounds in his large palms. He brought his head down and suckled the rosy buds, biting them harshly and leaving marks around the skin.

"Oh fuck! Please, more!

"Yeah, you like that? My mouth all over your pretty little tits?"

"Mmm, yes"

Lucas continued his ministrations, slurping noises filling the room as squeezed and sucked harder.

"Oh fuck, I need you, now. Turn around and show me your pretty little ass."

(name) slid off his lap and turned around, his knees resting on the wooden desk and his palms spread in front of him.

Lucas unzipped his pants and pulled out his throbbing cock, already leaking precum. He gave his length a few strokes before sliding the mushroom tip across his boyfriend's pussy, the heat of the wet flesh driving him crazy.

"Please, put it in. Put it in!"

"Yeah? This is what you wanted all along, huh? Wanted to be fucked stupid in the middle of class? Wanted me to breed you full?"

"Fuck yes, please"

Lucas didn't waste any time, grabbing his thick member and pressing the head against (name)'s sopping entrance. The hole twitched at the touch, aching to be filled. He pushed the head in and watched as the hole stretched to accommodate his size, a moan escaping his throat.

(name) whined at the feeling of being filled to the brim. The cock inside him was massive, stretching his insides and reaching the deepest parts of him.

Lucas grabbed his boyfriend's waist and rammed into him, his cock disappearing into the warm cavern. "Fuck! You feel so fucking good, babe".

The man kept his pace, his thrusts getting deeper and rougher. He leaned forward and bit the boy's earlobe, whispering filthy nothings to him.

"You take my cock so well, huh? Such a fucking good little boy.

"Ahh, please. Faster"

"Yeah, you want me to fuck you faster? Wanna feel my cock in your stomach? Wanna be fucked stupid?"

"Please! I'm so close, please let me cum!"

Lucas grabbed his boyfriend by the back of his neck and pushed his face down on the table, his hips never ceasing their movements. Lucas' strength never failed to amaze (name). He always sent himself over the edge thinking how the giant could easily snap him into two.

"Ah, I'm- I'm cumming!

"Go ahead and fucking cum. Squeeze my dick, milk me dry."

(name) shook as he squirted all over the thick cock, his walls tightening and convulsing around his boyfriend's length.

"Ah, fuck!"

Lucas slammed his hips forward, his balls smacking the boy's ass cheeks. His seed flooded the insides, filling him up to the brim and painting his walls white.

He pulled out his length and watched the cum trickle down the boy's thighs, the sight making him twitch.

(name) laid exhausted on the desk, his eyes shut and his lips parted. Lucas tucked his dick back in his pants and carried his boyfriend bridal style, the boy resting his head on the man's broad chest.

Lucas kissed his forehead as he left the classroom, carrying his boyfriend to his car.

Little did they know, they were being watched in this classroom, yet again.

Kim Mingyu let out ragged breaths, his head against the cold wall of the lecture halls, eyes closed and lips parted. He was sweating profusely and his jeans felt unbelievably tight. As he came down from his high and removed his hands from over his crotch, he looked down to see what the stickiness was.

He was so crazy over seeing (name) being wrecked in nothing but heels that he came in his pants.

[demonslayedher]

Higher Stakes, Lower Tension: The Swordsmith Village Arc

Although we love it for a lot of the moments and how we got to know more characters through it, the Swordsmith Village Arc is not as popular as other arcs, and there was a lot less excitement for it compared to other arcs. I'd like to break down why I think that is, especially in comparison to the Entertainment District Arc, the tough act it had to follow.

Follow below the cut for: How lore was prioritized over momentum How setting and consequences trivialize hard-earned victories Drama and character arcs that feel incomplete How much deeper and more satisfying this arc had potential to go

Lore Over Momentum

This was an important arc. Setting aside the major accomplishment of ridding the world of two more Upper Moons, this arc was the impetus for everything that would come later, thanks to Nezuko's triumph over the sun at the very end. However, in the overall structure of the Kimetsu no Yaiba plot, this arc also laid important groundwork about Yoriichi, thereby making sense of many later developments that will come in the Infinity Castle and Sunrise Countdown arcs.

It was also a chance to develop on the importance of swords, which has been brought up on high-stakes occasions like when Tanjirou's sword breaks in battle against Rui or is at risk of breaking in battle against Daki. We learn more about the Corp and the lengths they go to in order to protect their source of swords, and Tanjirou makes it clear from the very start of the arc how reliant everyone is on the fact that these swords exist.

We know this, and for clarity's sake it is worth having Tanjiro state it both for what this says about Tanjiro and for how it brings a tidy and heartwarming resolution in his ongoing bouts of danger with Haganezuka, but it's hard to care about what is said instead of shown.

The danger the village was in was, actually, the highest-stakes battle we've seen thus far in the series. If the swordsmiths and all their know-how is wiped out, the battle again demons may be done for. But why are we not as worried for them as we were for the residents and customers of the pleasure quarters?

The Setting Lowers the Our Perception of the Stakes

This comes out in the emotions of the innocent bystanders, including and especially those heartlessly slaughtered. It's not so much because of a lack expressions of terror due to the swordsmith masks, for their body language and desperation to keep fighting and protecting the swords is clear. However, it's because they keep fighting that there is a certain stoicism that keeps us from feeling as bad for them.

This is something they always knew to expect, and they were prepared to live with the consequences of their mission.

The people of Yoshiwara, on the other hand, were simply trying to go about their nightly lives, and we taken completely off-guard by the attack. We can picture how much losing a hand is going to impact a proprietor's daily life, how traumatized a woman will be seeing her friend's head taken off right in front of her, and how even non-life threatening injuries were painful and cause for alarm with how much they bled. We see how their lives were turned completely upside-down within seconds.

On the hand, the swordsmiths buried the dead, and then scurried off to a shadow village, ready to keep working without many setbacks. The extra ending Ufotable gave this arc with the mourning swordsmiths taking time out of their busy moving process to go happily throw confetti still doesn't sit right with me for how it trivializes what happened instead of celebrating it.

While Yoshiwara is a well-known area now destroyed by enemies that usual lurk so deeply in the shadows that the many witnesses have always doubted their existence, in the Swordsmith Village every witness already knew the enemy, but no one knew the victims. Their tragedy is a hidden tragedy, and their annihilation would only have been known to a secret society.

This issue is similar to how storytellers often add somewhat obvious yet hard to picture tension about the fate of the world at stake, when something small and innocuous can be far more gripping because the stakes are easier to grasp and imagine. However, the scale of the stakes are not the only issue with building tension; the pacing is also an issue.

Lack of Narrative Build-Up

Previous arcs, especially the Entertainment District Arc, pulled this off really well. We go in knowing there will be a demon, but we don't know anything about this demon aside that Uzui's wives have gone no-contact, likely because of its interference. The arc deliver tidbits that give us the satisfaction of thinking this is it, we've found her, we've found the wives, we see she's dangerous, but then we're stunned to find out she's not even the one we should have been worried about all along.

Conversely, in the Swordsmith Village Arc, we know right away that these two are Upper Moons and they are coming. They have transformations throughout the battle that keep it challenging (at least in the case of Hantengu), but we never feel much of an elevated sense of danger or loss partway through.

Yes, we easily could have lost two Hashira that night, and it would have been devastating. However, we were quickly gratified to see their mid-battle recoveries. In Uzui's case we had to assume the worst, especially coming off the heels of losing Rengoku.

Speaking of our Hashira heroes...

Incomplete Hashira Arcs

The Mugen Train Arc was essentially Rengoku's full and, despite its brevity, very impactful character arc. Not even so much of an arc as a very loud statement of who he was.

The Entertainment District Arc, following on its heels, was like a call and response answer to the loss we and the Kamaboko boys felt. They get adopted as Tsuguko again, with more time to get to know and appreciate their mentor this time, one who is also still grappling with the loss of Rengoku and how to measure up to that. We also get a full look into the multiple sides of Uzui, from his past to his motivation to how he handles the biggest struggles, from the fear for his wives' to having to fight nearly to his death. The fact that we got to keep Uzui in some form, even if it is no longer in fighting form, felt earned and a relief.

On the other hand, we got important back story and got to know Muichirou and Mitsuri very well in this arc, but in a way that we the viewers had a physic link inside their heads instead of appreciating them through how they fight alongside Tanjirou. Tanjirou is of course amazed to see how Mitsuri fights, but as far as fearing for her safety is concerned, he saw her very quickly recover from the one fearsome hit before they parted ways on the battlefield.

Muichirou and Mitsuri both had surface-level interactions with Tanjirou without necessarily feeling a propensity to raise him like a Tsuguko, and then they face their own battles with narrow brushes with death and moments which force them to confront elements of their pasts, resulting in renewed confidence and relatively easily-earned victories without many consequences.

At least, as far as we know. As we find out later, they've already paid for those easy victories with the majority of their lifespans. Again, this arc is important to the overall plot of Kimetsu no Yaiba because those victories show how much more powerful the Corp is after the struggle defeating an Upper Moon, at long last. That was the battle that unlocked the mark, which will be the game changing in upcoming battles. Again, the lore is doing a lot of heavy lifting, but at the expense of satisfying victories.

And, because we still have future battles for these Hashira to fight, their arcs are not over. That makes their incomplete arcs feel lacking compared to the completed arcs that came before them.

But it's sure not just the fault of the Hashira for surviving in (what looks like) good health.

Those Villains Sucked

Don't get me wrong, I love Gyokko and Hantengu, at least when it comes to being as amused by them as I am by any other element in this series, and appreciating their character designs. In the wider scheme of Kimetsu no Yaiba, a series known for making us feel deep sympathy for the villains right after feeling so thrilled about them finally meeting their demise, we don't get that sense from these two. That's because they are as wretched as demons come, and they are fun to hate for all the suffering they cause simply by having been rotten to their cores. We don't get any backstory for Gyokko until post-canon publications, so that makes him seem a bit hollow, and in the case of Hantengu, he created all his own problems by being such a terrible person that we relish the chance to deny him the pity he so desperately always clamored for.

But as a Kimetsu no Yaiba arc, this leaves us hanging. Where are the little glimpses of who victims like Kyougai and Mother Spider were, or the gut-wrenching memories of Rui that forever alter our experience of him? Even worse for this arc, it comes right after the Daki & Gyuutarou flashback, once of the hardest-hitting of the whole series. Sure, Enmu never earned our sympathy because he was likewise rotten to his core, but he had more rizz about it.

As far as their impact on the arc is concerned, you could have replaced them with any other kind of challenge the characters have to face, and the results probably wouldn't have changed much. Daki and Gyuutarou were integrated with Yoshiwara both in their dealings and their backstories, Enmu was literally integrated with the setting (and trains always make great settings for added tension) and his powers brought out different sides of the main cast, Akaza drove that whole battle by virtue of his own personality and value set, Rui's preoccupation with 'family' dragged everyone into a hell of his own making.

Meanwhile, Muichirou could have annoyed the hell out of any talkative demon that had brainless minions to attack the villagers, and Mitsuri could have looked just as cool fighting a giant table made of all that wood. It's refreshing to see Tanjirou have so much anger and hate for a demon and not spare an ounce of empathy after finally taking its irritating little head, but he had more important things going on.

Nezuko's Ultimate Victory, Also Trivialized

Nezuko fully masters the sun within one chapter, so was anyone ever truly scared for her? I was spoiled long beforehand, but even if that had not been the case, the popularity of the franchise itself has shot that tension in the foot; we never really got to be sacred for her (though the art in the manga and anime really sells how hard-earned her victory was).

It's sad that we don't see much of Nezuko after she accomplishes the biggest feat a demon has every accomplished, and a lot of people have said her character was underutilized. I agree, though having her in the Fortress would have only led to more mayhem. It's hard to (but not impossible to) justify an additional arc to put her in battle since her transformation is the catalyst for everything that comes later, but the issue I have is that this transformation makes Nezuko so close to human that, realistically, if Tanjirou didn't want to or couldn't fight anymore, he'd already have the assurance that Nezuko leads a somewhat normal human existence again.

What I could have loved to see is at least one more instance of Nezuko being tempted to eat a human, like the danger we felt in the previous arc. That would be a very satisfying reminder of the stakes, and why Tanjirou must keep fighting to regain her full humanity. Making her hungrier due to her new state would be satisfying price to pay for her new ability, wouldn't it? Having that lurk in the background of an otherwise peaceful Hashira Training Arc would add as much satisfying tension as the Nakime eyeballs did. We expect Nakime to succeed in what she sets out to do, but we don't want to see Nezuko fail in that which is most taboo. One last burst of violence would also make us worry a lot more about how that medicine is going to work out for her (and anyone around her) in the few glimpses we get of her throughout the lengthy Infinity Castle Arc.

In Conclusion

Chapter 112 started with us in the heart of action and bloody devastation of the village, and then you turned the page to see a celebratory two-page title spread and announcement of the anime.

When this was compiled into Volume 13 later, Gotouge apologized for how this made it look like they were celebrating the death of the swordsmith who was killed up in the watchtower, and how insensitive that appeared.

But that's the sort of tension we were working with in this arc. It doesn't feel out of place to step away from this battle, because we were never that concerned about a bunch of giant fish with no personal vendettas against the men who were stoically prepared for just such an attack.

Despite all the heavy lifting this arc did for the plot, it's biggest pitfall is being a functional arc with a to-do list of things to accomplish. It succeeds in those things, but sadly, it didn't grip us with worry as well as it should have, despite the stakes.

Or, maybe this arc could have been saved with more lore.

Build more love for swords in the audience instead of only showing us Tanjirou's appreciation, show us swordsmiths who tremble with worry about what happens if their supply chain is cut off, or if they lose the know-how of someone like Tecchin because the rest of them carry the knowledge of how the swords they made weren't enough to save the swordsmen who wielded them, let them struggle with their own drive to create art that is also purposefully to contrast it with Gyokko's, show us swordsmiths who love their weapons but are too afraid to use them. Show us Gyokko's flashbacks and how he's always been callous toward others, show how it is his loss as an artist not just for how he can't break Haganezuka's focus, but for how his art is hollow compared to the mission of the swordsmiths. Show Hantengu having a twisted sense of righteousness well before Zouhakuten appears like a deity to serve justice by protecting him; let all his clones re-enforce his worldview about the strong protecting the weak with perverse religiosity that would make Tanjirou's stomach crawl. Show Mitsuri contemplating how she might not live up to Rengoku's example and how his loss still stings and how even Uzui was so terribly injured by lower ranked demon, show us Muichirou contemplating more how strangely easy the battle became to give us uneasy foreshadowing and a suspicion that something isn't right. Show us whatever the hell Genya was doing in the village all that time with people who he was too awkward to interact with and how he is fighting to protect the swordsmiths he snapped at in addition to his stated goal of wanting to earn Hashira status, and how he struggled to not let any well-meaning villages worry about how he refuses to eat, and how those villagers were undeterred by his brash exterior and worked around his lack of Breath of Breath by giving him firepower, for they are artisans whose ultimate goal is to enable the Corp.

This arc deserved more. It needed to Breathe.

[le-fruit-de-la-passion]

Does a bad ending ruin a good story? A comprehensive guide to my feelings on the Arcane finale

*Spoilers for Arcane season 2*

So. You just finished the show, and you're staring at the screen in bewilderment. Perhaps you’re even with some friends, shouting words of confusion to the rolling credits. Try as you might, you can barely hear them, because a single thought echoes in your mind and pushes away any other:

“What the fuck just happened?”

If this happened to you, then boy oh boy, we're on the same boat. If it didn't, well, I'm glad for you friend! We might not have been looking for the same things from this story. But this is my post, meaning I will give my opinions (which are objectively correct because this is my blog and I'm the mayor here) on everything that Arcane broke and failed to deliver in its last 2 episodes.

Let's start with characters, and why none of it mattered.

Jinx symbolized the fear we all have of not belonging somewhere, of not having anything to call home or anyone to call a family. Her anger stemmed from wanting to carve a place in a society and a world that had so harshly rejected her (i.e., Vi leaving her). Her existence was a huge middle finger to all that refused to let her live, a fight to build herself something wholeheartedly hers (hence her being an inventor). It was proof that despite the world telling her she was better off dead, she would never stop fighting to prove it wrong.

… and she died.

She died, and that means all the suffering she went through to exist simply amounted to nothing. She left nothing behind either, no trace of a legacy, something that would have left her mark on that world. Isha, the child she raised as a daughter, died. Silco, who she taught love and care to, died. Vander, who she brought back from years of trauma and torture, died. Jinx fought so hard to live, and in the end, it was as if she hadn't lived at all.

Viktor is most certainly the character that made me the angriest, because of how attached I am to the person he is in season 1 (and even the first two acts of season 2 to an extent). Everything that made him so beautifully complex… gone, in about 10 minutes. There was NO reason to make him the surprise ultimate villain. Viktor had always, always been a pacificist. That's why he was so adamant Hextech not be used as a weapon. That's why every time there were chances to test hextech to hurt, he tried to learn how it could heal. Yes, his fusion with the hexcore had changed him; but NOT into a man who didn't care for human life. He wanted to help all the hurt done to his people. People like him, living day to day in the undercity, but who had never gotten a chance to crawl out of their hell. His community was about HEALING, not controlling. The very IDEA that he would accept killing innocents and ally with Noxus, the warmongers, is so ridiculous I could genuinely laugh if it didn't make me so angry. The show needed an easy, black-and-white showdown to conclude a story that would have needed so much more time to tell. And they chose Viktor. Because it was the easy way out. It was the perfect foil to the return of the Golden Boy. And that PISSES me off.

There is this really shitty concept in popular media that the handicapped/chronically ill character is always in the pursuit of being “cured” and that they need outside help to realize “that their imperfections make them perfect”. Fuck. You. As someone with chronic illness and who just finished beating blood cancer, fuck you. That realization, that you're you with every part of your being, even the ‘bad’ ones, cannot come from outside. It's YOU who needs to learn it. It's you who needs to discover how your body and your mind are so much stronger than you previously thought them to be. Not your lover, your family, your friends, or God forbid your able-bodied lab partner. You. Others may tell you as many times as they want your illness doesn't define you; it won't matter until you, yourself, have understood why and have accepted it. Having someone swoop in and “fix” Viktor with a “you don't have to change uwu” is just….. so reductive I can barely find the words for it. That was VIKTOR’S path to find, and not Jayce’s role to find it for him.

Also… Viktor wasn't trying to ‘fix’ his leg; he was trying to find a cure to a deadly illness ravaging his body and no doubt the bodies of many in Zaun. The HELL is the message here??? That he should have just rolled with it because the deadly illness was part of him??? Again, as a cancer survivor. Fuck right off.

Of course, I can't just ignore the hideous get-up they put him in at the end. The man who laughed at Jayce's narcissism….you want me to believe… he would put on that fucking edge lord costume and not DIE of embarrassment??? The design makes no sense from a narrative standpoint either: if his cane has become the sceptre, why is he still keeping it? He doesn't need it anymore to walk, and it's a reminder of his weaknesses as a human that he apparently hated so much. Why the hell does he keep it then? And the hexclaw. Where did that bad boy come out from?? Did you all see a secret extra bonus scene where he steals it from the lab, because I sure didn't. It doesn't add anything to his sets of powers either it’s… it's a fucking laser gun. WHY. And oh sweet god that mask… there would have been so many ways of designing a mask more meaningful than the one from LoL. This one is just. A piece of metal he spawned in embryo. Get it? Because he's made of metal now and also hiding his face means no more humanity? Get it?? Of fucking course you do, because this was the easiest and worst possible way they could have integrated the mask.

Viktor and Jayce had a fantastic dynamic in that Viktor had started out as the loner, the underdog scientist from the slums; while Jayce was the leader figure, living in comfort that made him attachingly naive, his face plastered on posters stroking his ego. The shift is delightfully slow, as Viktor gains in confidence and determination to see his invention through no matter what, while Jayce is confronted with harsher and harsher truths about the world he so blissfully ignored. By Act 2, they have fully switched roles: Viktor is now the leader figure, a symbol of the future for the people, while Jayce is desperately alone, both physically in the hexcore anomaly, and mentally in being the only one who has seen the devastating future. Excellent stuff. What would be a great way to push these parallels further and to show the complexity of these characters, and perhaps how they can balance each other out? Well, Fortiche sure didn't know, now Viktor is the bad bad guy and Jayce is mister hero. Zaun bad, Piltover good. All nuance, gone. Proving that indeed, the man from poverty and inequality turns out evil, while the one from comfort and wealth turns out to be the hero of the story. The whole “giving a warm speech to the bad villain about how you care for them, somehow immediately changing their ways, and dying together to save the world” can work well in shounen anime where friendship is magic, or in the Ben 10 live-action movie (yes, that's the plot, I thought that wasn't deep when I was like 7 years old so imagine now), but not in a show like Arcane. Not with the ethical and moral nuances they have accustomed us to.

And now, let's explore...

Plotholes and incomplete storylines galore.

Ekko’s tree and the contamination of Zaun from Piltover? Fuck that. The huge showdown between the two opposite yet sister cities, like Jinx and Vi, that has been built up for two seasons? Fuck that. And for what?

For the Noxus sequel teaser.

Mel’s plotline about finding her mage origins had NOTHING to do with the main plot. Absolutely nothing. It added 0 twists or intrigues to the story, and served no purpose except making her a deus ex machina for a broken ending. All it was there for was to lay the base for a following show on Noxus and the Black Rose. Time that could have been spent either giving Mel a proper arc related to the plot, or giving all the other rushed character arcs more development.

Finally, and I deeply regret having to say this, but… the end of Vi and Cait's relationship was majorly disappointing to me. As an LGBTQ+ person myself, who feels attraction to women, it was a delight to have such a realistically portrayed w/w relationship on screen. Popular media tends to portray m/m relationships as these doomed, sinful feelings between two repressed guys, while w/w relationships are shown to just be all sunshine and rainbows and teddy bears, because two women together are a cute little accessory to have on screen. It’s non-threatening. But not Cait and Vi; their bond was raw, and rocky, with violent lows and passionate highs in a world that seemed to want to keep them apart. Their separation and the introduction of Maddie showed the reality of a w/w relationship, where fights and cheating ARE things that happen, because they're two adult women with different beliefs, objectives, an trauma. Putting them back together, as if nothing had happened, without giving us anything about how their relationship would have evolved from the breakup? I'd never thought I'd say this, but it's too easy. How about Caitlyn's literal descent into fascism??? We’ll just ignore that? Vi will just ignore that?

As with everything else, this last part of Arcane destroys all the complex emotions that exist between these characters, the resentment, the anger, the frustration, built upon years of different social conditioning… gone. Because they had 2 episodes left to wrap it up, and there was no way to make a coherent and natural transition to them getting back together with that kind of time. And can I just say. The decision to have Vi, symbol of Zaun, go down on Caitlyn, symbol of Piltover and enforcers, in a prison cell that has held innocent Zaunites and represents their complete lack of freedom as individuals by a cop state that oppresses them….. yeah, bad. So bad.

And… the multiverse. Yup, they went the multiverse route. Now, that's not necessarily a bad thing: the concept of multiverses itself is interesting in a vacuum, and quite a few properties have managed to make it work coherently. But it has been terribly overused and bastardized in serialized content in the last few years, for the simple reason that it's extremely practical. Why make a new, original series when you already have worlds and characters that are developed, and come with built-in fans? It's a money-saving hack! Why dedicate yourself to an ending that is meaningful in its finality and wraps the story properly when you can just say “It's just one ending in the multiverse!”. It takes away any accountability to the fans, and leaves the door open to a potential other version of the story! The perfect combo!

…except in practice, it comes off as lazy in a medium where that trope is overly saturated (don't start me on Marvel), and like a cowardly way of escaping from the responsibility of really taking the time to craft a good, solid ending to end your story.

So, with all that said: does it ruin Arcane for me? No, absolutely not, and I don’t think it should be for you either. The intricate artistry and raw talent that went into making the first season (and I would say a majority of the two first acts of season 2) is undeniable, and will stay undeniable. Nothing can touch that story. It will forever be one of my favourite pieces of animated media, which is saying a lot because I'm currently getting my master's degree on that topic.

However, it does give Arcane, as a whole rather than two separate seasons/entities, a very bittersweet feeling that is hard to forget. Thinking of what could have been, just if a little more time had been given to the minds behind the masterpiece you so loved… it's its own form of heartbreak. Academics have even compared it to experiencing a form of death of a loved one, before they ever got to reach their fullest potential and live the life they deserved. It may sound dramatic, but the feelings you feel in this moment, watching the horrible end of a fiction you have so much love for, are real. No one can take those away from you. You're allowed to grieve the loss of something that meant a lot to you.

Tldr; No, Arcane is not a bad series because of its rushed and incomprehensible ending. As they say, it's all about the journey, not the destination, even if that's one of the parts we tend to remember the most. And I don't know about you, but this was one of the best journeys I've ever been on.

[alpaca-clouds]

Why do people struggle so much with understanding pacing?

Okay, let me talk about my pet peeve when it comes to writing in any medium. Pacing.

People, who know me for long, will know that this has been the thing I have been complaining about since I was like 12. And there is a good reason for it.

See, when I learned to write, there was this guy who I greatly admired as an author. And after bugging him for a while (look folks, the internet was a very different place from what it is now) he did give me some recommendations on books on writing. And a lot of them went deeply into his pet peeve, which - you guessed it - was pacing as well.

And thus, I learned early on about story structure, and pacing, and how to pace out a story in a way grips the audience. This material I read went onto different techniques for different mediums, into how different cultures had a different ways of dealing with this, and so on, and so forth.

Some of my main take aways were, that a lot of very long stories struggled massively with pacing, and that a ton of people also very miscalculated their ability to handle characters in terms of pacing - because characters and pacing are two things that are very, very heavily connected.

I also learned something else, though: That a lot of western writing advice did not understand anything about pacing outside of the idea that stories were supposed to have three acts - or maybe five - and ideally from a certain fateful day in the early 2000s on, would follow the "save the cat" formular. (Mind you, I do not hate "Save the Cat", however, this formular has been created for movies. It works at times somewhat well for books, too. But it definitely does not for for pretty much anything serialized, because that is not what it was developed for.)

And I also learned another thing: Most people do not understand pacing either, because pacing is not a thing that is ever taught in normal school (like most things that are about creative writing are not). So, while some people might have a gut feeling that the pacing of something might be off, they rarely can actually say why. And this is only worsened by the fact that today's tiktok addicted society is so used to consuming ultra condensed media, that they will perceive anything less condenses than 1 minute tiktok videos as "too slow and boring".

So, please allow me - the guy who kinda hyperfixated on this specific writing skill - to talk about pacing. And this will be in the following points:

What is pacing actually?

How do characters relate to pacing?

Pacing, Streaming and the supposed "filler episode".

Pacing and Fantasy

Pacing in Action vs anything else

Pacing in books vs visual media

What Is Pacing actually?

Okay, I think one of the main issues when it comes to understanding pacing is, that a lot of people see pacing on a on a spectrum that goes from "I am bored" to "I can't follow the plot anymore". But that actually does not always have to do with the pacing - obviously.

Technically pacing is the speed in which the plot moves. Or, to make it more quantifiable: "How many plot points (beats) are covered per either time (in any timed medium) or per page (in anything you read)". Which makes sense at the first glance - but does actually often not line up with the subjective perception of this. Becau se here is the thing: No, fight scenes are not automatically fast paces. A lot of modern action movies have super slow paced - in terms of story pacing - action scenes. Because yes, during those action sequences a lot of STUFF happens, but nothing of it actually is in any way related to the plot.

Look, I freaking adore the Fast & Furious movies. But you could literally edit those movies down to like 45 minutes each and not lose a single plot beat. But of course, nobody would watch those movies - because yes, me and everyone else who adored those movies, is there to watch them lunch cars into space and see stuff blow up. I don't much care about the characters or the plot.

This is by the way also the kinda point that me and other people talk about, when we are unimpressed by "oh, but sex scenes don't add anything to the plot", while the same people would often not make the same argument about action scenes - even though there is a ton of movies and shows where the action scenes really do not add anything to the plot. A lot of people just do not perceive action sequences as slow pacing, because even if nothing that happens on the screen actually adds anything to the plot or moves it forward, it is undeniable, that STUFF is happening. So basically monkey brain will go: "Hehe, things go boom!"

Don't get me wrong: there absolutely are stories in which the action is moving the plot. Mad Max Fury Road is a great example. The movie is also about 60% action - but the action scenes actually add to the plot.

Meanwhile nothing tells you as much about how unimportant some of the MCU action scenes are, than the fact, that they are often done by a completely different team and will be done apart from the rest of the movie.

But yes, traditionally the idea was, that towards the "finale" of a piece of media, a lot more plot beats would happen over a shorter amount of time. You will see that also in a lot of beat sheets. There are more beats that need to happen in the third act of a story - if we go by three act structure. And often there is actually even more plot developments, as usually in a finale all the "plotlines" will kinda finish up in the end. So even plotlines where not a lot has happened to this point - this shows especially in serialized works both in TV shows and stuff like manga or comics - the important plot points will then often happen close to the finale, because it feels more "right".

In older serialized media - especially TV shows prior to streaming - you also had the same thing hold true towards the finale of a "story arc". In a lot of older shows, you would usually see a structure that looked like this.

The "rise" here technically has less to do with more stuff happening in later arcs or seasons - and more with the threat-level rising, and the convulutedness of a story. lol

But yeah, the take-away from this part should be: No, action does not equal fast pacing. There can be action-heavy shows with super slow narrative pacing - but it will to many not feel this way, because at least action is interesting to watch. Which also might be an explanation to why people are a lot worse in seeing the issue with action-scenes that are not adding anything in visual media, but might actually notice it in written stories. Because in books action scenes do not feel "fast paced" in the same way they feel in movies, where the often faster editing and the amount of motion on screen will create this effect.

Oh, and on the other side: Of course there can be slow paced plots that will leave you having problems following. At times, because they are badly written (aka: the media does not give you all the information you need) - and at times, because a piece of media might expect you to know a certain bit of information that you do not know. I can definitely think of a variety of scifi media, that just expects you to know stuff about computer stuff or space, and will not explain it to you. Which might make you need longer time to take plot developments in, and then leaves you reeling.

Another thing however that is also important is: If the pacing stays actually the same throughout a piece of media - rather than accelarating towards the finale (or finales if there are multiple) - it actually will feel wrong in some way. Often people (even I, who hyperfixates on this specific thing) struggle to point at it at first. But yes, this very much is an issue that also can happen. You want the pacing to accelerate towards certain points in the plot - and then slow down. If you had an important point, you want a few slower scenes/episodes/chapters afterwards, to allow the audience to somewhat absorb all the new things you presented them with.

How do characters relate to pacing?

Alright, now we come to the dicey part - specifically, because a lot of people (which includes narratologists, creative writing professors, and people professionally writing) actually kinda do not fully agree on this. So, fair warning: This is how I think.

A character arc in many cases absolutely is a part of the plot. Most media we consume these days are character driven, so the characters are absolutely centrally connected to the plot and the plot mainly exists to have the character move from point A to point B. Or, to make it more basic: To have a character realize that their WANT is not their NEED.

Sure, those characters will usually also accomplish something plot-related. But them accomplishing them is more often than not heavily connected to them fulfilling their character arc. (Please note: characters having a want but having to realize a need is something that is core of western storytelling. However, given that it makes for interesting character arcs, a lot of Asian media these days also will use this as a central driver for character development.)

In some pieces of media, the character arcs are way more heavily tied into the beats of the main plot, than in other. In adventure, action, and related a lot of fantasy and scifi, there is most of the time a character arc happening parallel to the main plot beats. Meanwhile often enough in more down to earth drama and romance, plot beats and character development beats are heavily interwoven. This is not a hard and fast rule - there absolutely is fantasy where the character arc is the plot arc, just as there is romance where the development does not play as heavily into the main plot - but you can generally observe it.

However, no matter how strongly the character development beats line up with plot beats, you cannot deny one thing: character beats are beats that also add to the pacing - even if they technically do not move the main plot forward. So, for example, if you have an episode in a show or a chapter in a book, where important beats happens in terms of a characters development (for example: they realize something important about themselves), this does not necessarily slow the pacing down - even if no actual plot beats happen.

What the fuck is a plot beat? What is a character beat?

This part of the essay was originally not included, but the people reading over it said I should include this.

If we say, that Pacing is basically the description of "Plot Beats per Time" or rather "Plot Beats and/or Character Beats per Time", then we also need to say, what exactly a Plot Beat is. I will fully admit, that this is one of those things in which I forget that this is not a thing taught in school.

I mentioned "Save the Cat" before. "Save the Cat" is a book about writing movies and specifically about pacing out a movie in a way that it is captivating. It mainly focuses on action, but you can absolutely use it for most other genres. And this comes with a so called "beat sheet", a collection of the main story beats that happen, showing when they are going to happen. It looks like this:

Basically a Beat is a scene, in which the plot (or a character arc) is moved forward by a bit. Basically anything that reveals something to the main characters, anything where the basic assumptions about the plot change, anything like that.

Examples for Plot Beats would be:

Character learns about something going on

Characters find out something important about the plot

Someone (either protagonist or antagonist) gets killed or injured

Characters get a new power or item that is important to the plot

Romance goes forward or a reason for the romance to happen is found

Characters find a hint for something they want to reach

And examples of Character Beats would be:

Character learns something about themselves

Character makes a decision for themselves

Characters realizes feelings about something or someone

Character overcomes trauma

And mind you, because I cannot fit this anywhere else: If you read these you might realize, why Musicals are basically a cheat for very fast pacing. Because you can put an entire character arc into a 4 minute song. This is why musical animated shows like Steven Universe or My Little Pony managed to pull some insanely paced episodes, like the Empire City episodes for SU, and the episode in which the Cutie Mark Crusaders finally got their Cutie Marks. Musicals are insane when it comes to this.

And something that you have to realize: While for movies and books certain Beat Sheets (Save the Cat is not the only one) work rather well, those Beat Sheets usually do not work well for Shows. And currently we are living in a time, where this becomes very noticable - because a lot of modern shows are written and aired as basically 4-8 hour movies, using often just the "Save the Cat" beat sheet (if you have read Save the Cat, you will see it EVERYWHERE, because it is so frequently used in western media), but... obviously, Save the Cat is made for something that has 2 hours, and as such a lot of modern media feels strangely slow and stretched out.

Pacing, Streaming, and the supposed "filler episode"

(Yes, this needed to be the gif for this. Because no filler episode has lodged itself quite as strong into my brain as this one.)

So, let me talk about the issue in modern media. Because oh boy.

As I said: I hyperfixated on this specific writing skill forever - and as such I was annoyed by "filler episodes" in TV shows. To explain for the youngest people (not that I am assuming a lot of those are on this hellsite lol): "Filler" was the name given to material that did not move the plot forward at all. So a "filler episode" was an episode, that was just there to fill the episode slot for the week, while no plot was happening. I am not fully sure whether the term originated with anime - but at least back in the early 2000s, before Shonen-Anime were done as 12-26 seasons that then allowed the manga to get ahead in between, "filler" was also the name used for those story arcs that the anime people made up for shows like Naruto, One Piece or Dragonball, that were not in the manga - and hence obviously also never added to any overarching narrative.

And what can I say: We did not appreciate the filler episode enough. Because this related very much to the last part: While filler episodes did indeed not add to the plot and usually by definition did not the character development, they actually still added something often enough.

They allowed the audience to get to know the characters a bit better and get a better feeling for the character relationships - and those episodes take out a bit of speed, which is actually important.

As said before: The pacing should not be even throughout an entire piece of media. In a TV series after an episode that was especially tense and pushed the plot or characters forward a lot, there should be ideally at least one or two episodes that move forward slower or even not at all. This allows the viewer to sit with the new developments for a bit - and of course the characters to have a moment to breathe and process whatever happened to them.

There is also the fact that those episodes usually give the audience a better understanding for the characters - and if you have an audience who at this point ideally care about some the characters, this will even be more successful.

And as I said. Back in ye olden days, a lot of people - me included - complained so much about Filler. But we were wrong. Fillers are amazing, as long as they do not overtake the whole show.

Pacing and Fantasy

Okay, let's talk about a thing, that is somewhat funny. A lot of fantasy - specifically written fantasy media - often has a pacing problem. And this problem comes from the Worldbuilding. Others forms of fantasy media (other than games - though pacing in games is whole different matter) have this too at times, but it tends to be worst in books.

Basically, when you are a fantasy worldbuilder, you have this whole world. And this leaves you with two problems.

a) You are afraid that people will not be able to follow the plot if you not give them a lot of information about this world and how it differs from ours.

b) Well, you build this entire world. And the people should KNOW.

So, a lot of fantasy media basically regularly will stop to explain to the reader or audience, whatever is happening right now. Some writers manage somewhat naturally put this in. Maybe they have a character that does not know a lot about for example magic or dragons, and they can ask questions and act as an audience stand-in. But even in cases, where the worldbuilding is somewhat brought in naturally (which by far is not all of them - because people usually do not naturally talk about stuff they both know, or think a lot about something they find naturally) those "explanation" pieces will make the plot come to a screeching halt.

So, the more worldbuilding you explain, the slower your pacing is.

And of course, pacing is not a reliable thing to keep people reading, and pacing will not always turn people off. But you know how people complain about how slow Lord of the Rings is? This is because of course, every time that Tolkien describes a piece of landscape over multiple pages, there is no plot happening on those pages. And while I personally think some of those descriptions are darn stunning, it is one of those things many people will not like.

However, this makes it a bit complicated. Because yes, worldbuilding explanations will slow down the pacing to a degree that can be problematic. But if you explain too little worldbuilding, people might struggle to follow the story. Which again is the most common problem if the pacing is "too fast" as well. Basically, people do not properly follow the plot and will struggle to understand what is happening and why.

But the opposite is true as well. I have read way too many fantasy books, where after the first 100 pages, I know a lot about the city the plot is set in, or about the magic system, but sadly have so far not been privy to any information what the plot is about, what the characters try to archive, or even who actually the characters are. And that, yeah... Is probably the most common reason why I put aside a variety of fantasy books in the past.

Pacing in Action-media vs anything else

Okay, let me talk about one other thing. See, the word "pacing" is at times used in some other context: In visual media, pacing will be used for the editing of what we see. Basically the amount of cuts that happen within a scene. Or, in a comic, the distribution of panels is also seen as a pacing element.

And anyone who heard people complain about how at times confusing the editing in action movies is, you know that this at times can get too much.

Still, in visual media action scenes feel usually fast - because the characters are moving around rather fast. In a visual piece of media, action scenes are often thrilling, because the characters are in constant danger of dying, and because a lot of stuff is happening. This often works better in visual media, than in written pieces. While it absolutely is possible to write thrilling action scenes, a lot of writers struggle with this, because they tend to overdescribe and that takes the speed out of the prose. But generally speaking, a couple of punches thrown - something that in a movie takes about 10 seconds - will in book easily end up in 200-500 words, which you will not read quite as fast. A bit more about that later.

And then there is the issue with the action scenes, that even is true for visual medial, is that they often really do not have any important plotbeats. Sure, if the characters have their final battle, that is a plot point. But in a lot of action media - especially TV shows - there are a lot of scenes included that really do not add anything, but just are there because folks love watching action scenes.

This goes so far, that people will think a show or movie with a lot of action scene will just be seen as "good fast pacing", even though if the actual pacing in terms of plot beats being spaced out is rather bad. As a good example I will once more nod at the Fast & Furious and the Mission Impossible movies, that often have horrid pacing and very confusing plots - but they do not feel really like it, because the movies are like 60% action scenes, and hence they do not feel like it when you watch them.

It can work at times. I spoke about my love of the F&F movies. Can I tell you a lot of the characters? Nope, but the action scenes are fun to watch!

But this also tends to mean, that in a badly paced movie or show, that is badly paced because the action scenes not adding any plot beats, everything tends to fall apart when the action scenes do not work. And often enough action scenes will still be prioritized over everything else in many of those pieces of media, making things fall apart easily.

Pacing in books vs visual media

I have hinted at this now multiple times: Written media is generally a bit harder to pace than visual media, because of the things you can and cannot control. While a writer in a book has full control over the scenario, a director of a show or movie had actually influence the timeflow of the things happening on screen. As a writer meanwhile you absolutely have no influence on the speed in which your reader will read.

Sure, you can somewhat influence it. Shorter sentences are easier read. An general lower reading level will allow people to read quicker. So simpler words, shorter words, shorter sentences will make parts appear quicker. You can use this for example in action scenes to have a bit more of this breathless feeling that an action scene on screen might have. Use short sentences. Do not link sentences up. Quick hits. Quick impressions. It can work - but it needs some training. Not to say it is fucking hard.

Generally speaking to my experience when you write a single novel, the "Save the Cat" Beat Sheet actually works rather well, if you are the kind of writer who is fairly good at planning things out. If I actually try, I will usually manage to plan out a story and predict fairly well how many words a chapter will have. So yes, for books I can very much use "Save the Cat" and it will work.

However, some things simply work a lot better when you have visual parts going on - but there are other things you can do better when you do not have the visual stuff. For example: A writer can do much more when it comes to motivation and introspection of characters. Yes, this slows down the pacing - but it is something that writing has basically over any form of media that is not a musical. (In a Musical you can characters do introspection through songs. Musicals are the ultimate way of cheating. I love them!)

Something I feel so many writers struggle with in terms of books is actually putting in a clear goal for the character from the beginning. Again: I have put too many books aside where I reached page 100 and did not yet have any goal for the main character.

That goal you give them does not necessarily need to be their final goal. Again: A lot of western storytelling deals with the incongruent nature of a characters "needs" (aka something that would actually help them) with the character's "wants" (aka what they think they would need). But at the very least the plot needs something that it can head towards from the very beginning - a hook to capture the reader.

There might be readers that are absolutely fine with just reading an exercise in worldbuilding - but you cannot expect them to be.