#see the thing is i want to trust the narrator

[stompandhollar]

i don’t trust the princess OR the narrator

[cassidyamber]

i truly do love thinking about damon and diana because like. wowww the perspectives they are taking in the killing game are going to take a toll on them as the story progresses (having a mindset where you can trust no one and connect with no one drains you, as does trusting and believing in everyone as they repeatedly let you down). throughout damon's narration in chapter one we see that he doesn't want to be proven right, he does want all of these people to make it out, but he just doesn't think it's realistic, and he thinks that in willfully ignoring that possibility, they're leaving themselves vulnerable. and we see him, without really realizing it, connect with these people in spite of his reservations like. damon very much is a person who cares about others. and i think it's pretty immediately evident that diana cares about people and wants them all to get out safe lol. but like. man. so so unbelievably excited to see how things progress for these two because they've veered hard in opposite directions, but i think at their core, there Are some similarities there. i also think that neither of the viewpoints they've taken up are sustainable for them in the long term (while damon is definitely more determined not to let others in after eva, both the fact that he accidentally connected with people in chapter one, and the mechanics of free time events make that so it's like. impossible to avoid. you Will bond with others . meanwhile.. i've gone off about diana before and the way that choosing to remember the good parts of eva and wolfgang despite how she would be well within her rights to like. hate them both after chapter one, while noble and well-intentioned, is umm. probably holding her back from properly processing All That.) so. i like a lot of the speculation that, while they've swung hard in opposite directions For Now, there may be a more moderate swing in the other direction at some point. possibly after a similar event to chapter one, something that both damon and diana would have a strong tie to that could shake them both up again.

[pipedreamprayer]

There's some really good points in the comments and reblogs of this post about how the quest is establishing Jingliu as a manipulator, but while I agree that it 100% is showing us that she's twisting things, it's not presented clearly enough that she's an outright unreliable source of information considering this is one of the few voiced quests in the game. It's something people will sit up and listen to, and if they've not dug into the harder to find lore already the audience is primed to come away from this taking her words at face value

She's never fact checked or called out for, say, only having arrived st the end of the Sedition which should be a mnown fact, and gets treated with too much sympathy by the writers, the tone set up like a tragedy she was unable to prevent until the thing with Blade, and even then nobody really shows anger at her for what she did to him? I get that his respect to her is a sign of just how fucked up what she did was, but Jing Yuan and Dan Heng seem to stop being characters a certain points, like they exist for certain interactions the writers wanted but aside from that they just needed somebody to be there for Jingliu to talk at. Why don't we get more of what they think of what she said? What she did? This was the opportunity to have Jing Yuan talk about his views of the Sedition openly, and for Dan Heng to ask questions that must have haunted him his whole life, and for Blade to question even for a moment why he had become the weapon of Jinglius revenge instead of his own.

It's just...handled super strangely, you know? In many ways it feels like the quest is written to trick us into believing Jingliu, from how she wasn't treated like an outright antagonist through her interaction with Yanqing in the quest that introduced her, to the way she keeps being set up to have insight that nobody else does like how she tells Dan Heng that he's notna reincarnation and then the game happens to prove her right immediately by having Dan Heng recall a name he shouldn't have known.

But then everything with Blade is right at the end is clearly horrendous and blatantly her fault, her active choice to be cruel and to not even see anything wrong with it, and it undercuts the tone of "listen to her" that the entire rest of the quest seemed to be pushing us towards. And then, instead of the characters feeling as jarred as the audience is, the quest just...ends? Jing Yuan may have brought up that she's got an agenda, but nobody is shown to act on the possibility that she's lying through her teeth, nobody asks for proof or talks among themselves about why she might have chosen to tell them this if she's gunning for an agenda to do with killing Yaoshi, they all just seem to be accepting this current state of things!

TLDR OP is right that this quest is teaching false information about the Sedition to players. If the writers intended the quest to be a lesson in not trusting Jingliu they did a bad job of it! And if they didn't intend that and have a plan to trick us, why is the proof that she's a completely unreliable narrator so easy to find if you go looking at all? Players who trust that the game will provide what's necessary to know for main quests in main quests will be taking her at face value, and those who want to understand more are just left confused by the disparity!!

I am a huge high cloud quintet enjoyer so it may surprise you to learn that I absolutely hate the quest “Clouds Leave No Trace”.

let me explain. I will admit that a lot of it stems from my issues with Jingliu as a character. I appreciate that she’s meant to be cold and detached, but what bothers me is that although she says considers herself to be a sinner alongside Yingxing and Dan Feng, she constantly acts like she’s better than them, criticising them, acting as if their choice was an easy one while hers wasn’t. Her humility feels incredibly insincere, and she becomes very difficult to empathise with as a result.

then there’s the quest itself. I split it into three parts.

one: redundant infodumping

For the first part of the quest, Jingliu, Dan Heng and Yanqing travel to different parts of the Luofu so Jingliu can bid farewell to her past home. It’s basically a plot device for her to drop some lore about Yingxing and Baiheng, which is fine on its own, but the problem is, none of the information she gives is new. All of it was stuff we could already figure out from character stories and other in-game text.

the second issue with this part of the quest is Dan Heng’s presence, or rather, lack of it. Considering he’s the main character tying the quintet subplot into the main story, you’d think he’d be important to the quest focussed on them. But he’s just… there. He says and does pretty much nothing. You could cut him from the whole quest and it wouldn’t be any different.

In fact, Dan Heng also suffers greatly from the timing of the quest. If we look at the voice lines for IL, it’s obvious that he’s a snapshot of Dan Heng shortly after this quest, since he knows Blade is the one who made Cloudpiercer. Ichor Of Two Dragons also seems to take place at the end of this quest. This is an issue because both release in version 1.3, making the quest which takes place in version 1.4 feel like a regression in his character development when actually the story was for some reason out of order.

part 2: Dan Feng gets mischaracterised to hell and back

This is the worst part of the quest by far. Jingliu does her self-righteous monologue and nails the coffin shut by giving the most biased description possible of the Sedition.

she first says that Dan Feng was trying to revive Baiheng. Dan Heng’s and Jingliu’s character stories reveal that this is probably not the case, and that his actual goal was to create another high elder,

she also says that the reason Dan Feng did what he did was selfishness and an inability to accept Baiheng’s death. She fails to mention the fact that the Xianzhou treated him like a convenient weapon instead of an actual person, that he hated how many innocent people died in the war between Aeons, that his people were going extinct because of said war, that he hated how he gave the Xianzhou the power to cause so much death, that he had probably attempted less dramatic rebellions in his past lives to no avail, that the high elder succession was incredibly screwed up and he didn’t want to have to pass that burden on to his next incarnation (granted that lasts part’s only implicit). Not to mention that she didn’t actually bear witness to any of the events she described, only the aftermath.

part 3: Blade monologue

This is the only redeeming quality of the entire quest

he acknowledges that Dan Feng and Yingxing weren’t simply upset with Baiheng’s death, but with the unfairness of everything in general

he expresses genuine regret

and the way he looks up to Jingliu after she tortured him is the only time where that story genuinely presents her as someone who’s done terrible things, showing how she managed to break Blade so badly that he feels thankful for it

in conclusion, do not play this quest if you want to actually understand Dan Feng as a character

[ultsurvivor]

why i love anya

mouthwashing spoilers

her personality

anya was very kind and intelligent, clearly. she was passionate about nursing, and despite failing medical school, she still goes.

before jimmy assaulted her, she was livelier and more trusting. i believe she changed so drastically due to jimmy being the narrator.

after the crash, she actively avoids jimmy. as he declares himself captain, her mental health declines.

it doesn't help that jimmy doubts her nursing abilities.

her nursing abilities

she's actually quite a capable nurse, in my opinion. without her, curly surely would've died from his injuries. she keeps him alive with barely any supplies, proving how skilled she is. jimmy just doesn't see her as anything but weak.

post-crash, she can't bear giving curly his pills. i believe it's a mix of him very clearly in pain, and her own trauma. she probably doesn't feel good about practically forcing curly to take the medicine, which he expresses he doesn't want towards jimmy, who disregards this of course.

despite his potentially unintentional enabling behavior, anya clearly hates seeing curly in pain, which is why she gives the job over to jimmy, who is less than thrilled about having to care for curly, and even assaults him sometimes.

jimmy

it's heavily implied that jimmy took advantage of her, and left anya pregnant. he likely realized that when they got back home, he'd be charged with rape. this is what caused him to purposefully crash the ship, selfishly.

he acts sarcastic and aggressive towards her, not hiding the fact he doesn't respect her. after driving her to suicide, he doesn't even acknowledge her death until he has to.

anya is clearly scared of jimmy, but i wonder if this is exemplified because jimmy is the narrator. it's how he sees her. weak, and scared. he isn't the most reliable narrator, obviously. the fandom also dulls her character down to just this too.

why i like her

i like her because of her character. she's so much more than what happened on the ship. she had an actual personality, sense of humor, and aspirations, she loved medicine, and was determined. i think the fandom has a serious issue with dulling each character down to just one thing they did, or one thing that happened.

[monowing-1]

Some more Idle thoughts on "The Wretch." Here is an idea of what their cabin looks like. With the idea of it being more like an old and abandoned shack in the middle of the woods than anything else. Something that reflects on The Wretch. This is not a place someone was meant to live in. This s place where someone was abandoned and left to rot.

----

The narrator: And eventually, as you make your way towards it, you can see it, the cabin. The only thing left is to make your way there.

Options:

-A-are you sure thats a cabin? (Chosen)

-Alright then, let's get to it.

-Let's not.

Player: Are you sure thats a cabin?

The Narrator: "What do you mean? It's a cabin in the middle of the woods. What more could you want?"

The Voice of The Hero: "I think what they're trying to say is that it looks...off? Like it doesn't feel right, at least not compared to the one that we saw before.

The Voice of The Paranoid: "Y-yeah, it looks more like a shack than anything else. A s-scary shack with who knows what inside, but still. An old shack."

The Narrator: "I don't know what you mean by that and I doubt that it matters anyway. It's a cabin, with a path, and it's in the middle of the woods with a princess inside of it that you have to slay. What more could you want?"

Options: -Some windows perhaps? Or for the place to actually be in one piece? That could be a start. (Chosen)

-Nothing.

Player: "Some windows perhaps? Or for the place to actually be in one piece? That could be a start. " Voice of The Hero: "Yeah, I mean, it doesn't look like a place someone would live in. It just feels like a dump."

Voice of The Paranoid: "Not something a princess would live in, that's for sure, m-maybe a monster. A terrible monster." The Narrator: "Well if you mean terrible in the sense of destroying the world if she isn't slain, then yes. Because if you don't slay her, something that I hope doesn't happen, then she will end it. Your the only one who can stop this."

Voice of the Paranoid: "Are you sure?"

The Narrator: "Positive. I know the path might look....bleak, but trust me you'll be fine and you can do this. Just get in there and do what needs to be done. Just make your way inside of the cabin for now. "

Options:

-Alright

-You mean the Shack? (Chosen)

Player: "You mean the shack?"

The Narrator: "No, I mean the cabin."

Options:

-No, it's a shack. (Chosen)

-Alright

Player: "No, It's a shack."

The Narrator: "No, it's a cabin."

Option:

-No it isn't. It's a cabin, a worn down cabin that's been left to rot for who knows how many years.. (Chosen)

-Whatever

Player: "No it isn't. It's a cabin, a worn down cabin that's been left to rot for who knows how many years."

Voice of The Hero: "I mean...look at it. It doesn't exactly look like a place I would want to call home."

Voice of the Paranoid: "Me neither. I feel like if you do, you'll freeze in the first night with all of those holes."

The Narrator: "Humph, fine. If it'll make you happy, let's call it a shack. Can we move on?

Options:

-Sure (Chosen

-No

Player: "Sure."

The Narrator: "Good."

*sounds of something being rustled*

The Narrator: "Good, glad that's over with. So, making your down to, the shack. You open the door and make your way in."

-----

[dykedvonte]

Someone said this already but I’ll point it out again that Jimmy is an unreliable narrator and a manipulator that spins and alters the narrative/tone of every scene he’s in with each character.

This sentence also applies to Curly.

Too many people are taking how Jimmy talks to Curly and how Curly is actually responding at face value when between Anya and Curly he is again the second most affected by his presence. This is to say he changes how he is acting drastically when dealing with Jimmy in a more similar way Anya does than people are willing to admit.

[emmodii-mode]

Just finished my first playthrough of BG3. Romanced Lae'zel, but ending up turning into an Illithid because the idea of making Orpheus or Karlach do it didn't sit well with me (or my character).

I told Lae'zel to leave with Orpheus in the end (I heard she wouldn't stay with a ghaik anyway, which she's valid for, but also, it doesn't feel right to ask her to stay when I know how much her people mean to her). And like-

Her face before she flies off---

She looks so heartbroken and sad.

[mortalityplays]

This is a dangerous sentiment for me to express, as an editor who spends most of my working life telling writers to knock it off with the 45-word sentences and the adverbs and tortured metaphors, but I do think we're living through a period of weird pragmatic puritanism in mainstream literary taste.

e.g. I keep seeing people talk about 'purple prose' when they actually mean 'the writer uses vivid and/or metaphorical descriptive language'. I've seen people who present themselves as educators offer some of the best genre writing in western canon as examples of 'purple prose' because it engages strategically in prose-poetry to evoke mood and I guess that's sheer decadence when you could instead say "it was dark and scary outside". But that's not what purple prose means. Purple means the construction of the prose itself gets in the way of conveying meaning. mid-00s horse RPers know what I'm talking about. Cerulean orbs flash'd fire as they turn'd 'pon rollforth land, yonder horizonways. <= if I had to read this when I was 12, you don't get to call Ray Bradbury's prose 'purple'.

I griped on here recently about the prepossession with fictional characters in fictional narratives behaving 'rationally' and 'realistically' as if the sole purpose of a made-up story is to convince you it could have happened. No wonder the epistolary form is having a tumblr renaissance. One million billion arguments and thought experiments about The Ones Who Walk Away From Omelas that almost all evade the point of the story: that you can't wriggle out of it. The narrator is telling you how it was, is and will be, and you must confront the dissonances it evokes and digest your discomfort. 'Realistic' begins on the author's terms, that's what gives them the power to reach into your brain and fiddle about until sparks happen. You kind of have to trust the process a little bit.

This ultra-orthodox attitude to writing shares a lot of common ground with the tight, tight commodification of art in online spaces. And I mean commodification in the truest sense - the reconstruction of the thing to maximise its capacity to interface with markets. Form and function are overwhelmingly privileged over cloudy ideas like meaning, intent and possibility, because you can apply a sliding value scale to the material aspects of a work. But you can't charge extra for 'more challenging conceptual response to the milieu' in a commission drive. So that shit becomes vestigial. It isn't valued, it isn't taught, so eventually it isn't sought out. At best it's mystified as part of a given writer/artist's 'talent', but either way it grows incumbent on the individual to care enough about that kind of skill to cultivate it.

And it's risky, because unmeasurables come with the possibility of rejection or failure. Drop in too many allegorical descriptions of the rose garden and someone will decide your prose is 'purple' and unserious. A lot of online audiences seem to be terrified of being considered pretentious in their tastes. That creates a real unwillingness to step out into discursive spaces where you 🫵 are expected to develop and explore a personal relationship with each element of a work. No guard rails, no right answers. Word of god is shit to us out here. But fear of getting that kind of analysis wrong makes people hove to work that slavishly explains itself on every page. And I'm left wondering, what's the point of art that leads every single participant to the same conclusion? See Spot run. Run, Spot, run. Down the rollforth land, yonder horizonways. I just want to read more weird stuff.

[bamsara]

I think that one thing people fail to understand is that unsolicited literary criticism coming from an online stranger who is reading with no knowledge of what the authors intended goal is, is not going to be received the same as say: the authors beta reader or friends who know what the authors intended goal and has the sufficient knowledge and input to help the author reach that desired outcome.

"But I'm only trying to be helpful" How do I know you have the knowledge and literary skill for you to be able to actaully do that when we don't know each other and you are essentially a stranger to me? Are you applying this criticism based out of personal biased experience and desire to see the story or characterization be driven in another direction or tweaked, or do you know the author's intentions for the character? If the story is incomplete, are you basing your criticism of a character on the incomplete narration with only partial information available of them or are you building up a report until the story's completion? Did the author provide you with the information needed to make a fully informed criticism?

Have you discussed with the author what their plans are or are you assuming them based off the narration, especially if the narration is proven or implied to be unreliable or missing key points of the plot? Are you unbiased enough to help them reach their desired outcome for the characters and story regardless of your personal feelings towards the characters/antagonists and setting? Can you handle being told your specific input isn't wanted because you're a reader and/or have no written anything relating to their genre or topic? Do you understand and respect that the author's personal experiences might influence their writing and make it different than how you would have done it personally? Do you understand if an author only wants input from a specific demographic relating to their story?

If it's for fanfiction or other hobby media, are you holding a free hobby to a professional standard? Are you trying to give criticism because you feel like the author has produced 'subpar job performance' of their fic? Are you viewing their work as a personal intimate outlet or something that must conform with mass media? Are you applying rules and guidelines when the fic is shared for simple sharing sake? Is your criticism worded appropriately and focused on the parts where the author has requested input on rather than a general dismissal and or disapproval?

Have you put yourself in a place where you assumed you have the input needed for the story to evolve better, or have you asked what the author needs and what they're having trouble with? Can you handle having your criticism rejected if the author decides their story doesn't need the change and not take it as a personal offense against your character? Are you crossing that boundary because you think you are doing the author a favor? Are you trying to be helpful, or do you just want to be?

I think sometimes when people hear authors go 'please don't give me unsolicited writing advice or criticism' they automatically chalk it up to 'this author doesn't want ANY constructive feedback on their stuff at all' and not "i already have trusted individuals who will help me with my writing goals and- hey i don't know you like that, please stop acting so overly familiar with me'

[sunfairiess]

𝐦𝐲 𝐡𝐞𝐚𝐫𝐭 𝐬𝐮𝐫𝐫𝐞𝐧𝐝𝐞𝐫𝐞𝐝 || 𝐣𝐣 𝐦𝐚𝐲𝐛𝐚𝐧𝐤

pairing: jj maybank x fem!routledge!reader

tropes: 3rd person narration | sarah cameron’s pov | childhood best friends to lovers | brother’s best friend | best friend’s sister | fluff | soft boy jj

synopsis: sarah cameron meets her boyfriend’s sister for the first time, and understands what being soulmates means.

warnings: cursing, slightly mention of violence

wc: 2.9k

it’s my first time writing a character x reader (and actually writing a ff in years lmao) so i really hope this turned out well! also, i apologize for any typos or grammar errors but english is not my first language <3

song rec: about you - the 1975 ♡

“c’mon guys, time to go back. it’s starting to freeze out here.” pope said, placing his fishing rod by his side before getting up and walking towards the helm of the boat, kiara following him to keep him some company. he was right: the temperature had started to drop, and honestly he didn’t even know why the pogues decided to go fishing at the end of november.

they were all there, except for the pogue princess as they liked to call her. she was john b’s younger sister, just by one year; and even though she was definitely a pogue down to her core, she actually almost looked like a kook: she was always composed, never drank too much, never even touched a cigarette or a joint, and she worked her ass off every afternoon at the country club to help john b with the bills and to afford a few of the things she liked.

she was smart, kind, the type of girl to lighten up a room with the sound of her laughter. she was also one of the reasons why the ‘no pogue-on-pogue macking‘ rule was made: everyone kind of had a thing for her, and jj maybank was the first in line.

“i seriously regret coming, i think i’m going into hypothermia.” jj said, shuddering a little bit. yes, it was cold, but it wasn’t that cold. jj just liked to be dramatic.

“gosh, you’re such a pussy.” john b laughed, smacking his best friend behind the head. they’ve know each other for more than ten years now. they weren’t friends anymore, they were brothers. they loved and cared for each other very deeply, even if they were acting like jerks most of the time.

as pope started the engine of the hms pogue, ready to go back to the château, john b took his sweatshirt off to pass it to sarah, his new girlfriend. she was a kook, but she was different. she didn’t care about how dissimilar their lives were, she loved spending time with the pogues because they were real. they were amazing friends, they were funny and smart, and the kind of people you could have a serious conversation with. they weren’t superficial like the kooks, and she loved them for this.

she felt a little tap on her leg, catching with her vision her boyfriend’s sweater. she gave john b a smile and slid the blue piece of clothing on. “so, i’m meeting your sister for the first time today, uh. big step.” sarah joked, slightly pushing his arm.

since the first moment they started dating, john b had always talked about how he wanted her to meet his sister. she was the most important person in his life, especially after his dad went missing at sea during a storm. he actually wanted sarah to meet her right away, but she asked him to wait a couple of months, just to see if they were solid about this relationship. “yup, and trust me you’re gonna love her. she’s like a little ball of sunshine, she wouldn’t even hurt a fly.” he said, smiling at the thought how of sweet his sister was with everyone.

“he’s right. i don’t think i’ve even ever seen her mad.” jj stated, shifting his seat from john b’s right to sarah’s left.

“she seems really nice, but i’m not worried about me liking her, because, by what you guys always say about her, i already do. i’m just worried she won’t like me, you know because of the whole pogue-kook thing.”

everyone bursted out laughing at sarah’s words, her face more confused than ever. “what? what did I say?” kiara left pope at the helm of the boat, and went to sit in front of her, crossing her legs together. “you don’t need to worry about that, she doesn’t give a shit about the rivalry. trust me, she looks like she walked out of a cruise brochure. the only thing she wants is to see her brother with someone who makes him happy, which you do, so she’s totally gonna be fine with it.” sarah smiled at her words, feeling a bit more relieved now.

even though pope wasn’t seating next to them, he could still perfectly hear their conversation and see sarah’s tensed body. that’s why he decided to lighten up a bit the discussion. “you know, one time she made jj dress up as a reindeer.” he said getting out a chuckle at the memory of jj dressed as one of santa claus’s reindeers.

kiara followed him with a loud laughter “oh my god it’s true, i almost forgot it.”

sarah gave them an amazed look. she was enjoying this too much to not say anything. “okay, this is actually the funniest thing i’ve ever heard. did you had a red nose like little rudolph, too?” she said with a smirk, turning her head towards jj’s.

“oh shut up, all of you. i only did it because she asked. besides, she looked so happy when i changed into that costume. i would honestly do it again.” jj let out an involontary smile at the thought of y/n. it was like this all the time: wether he wanted it or not, the only thought of y/n made him feel like he was the happiest man on earth, even if he wasn’t. she just had that effect on him.

“god, it’s sickening how whipped you are for my sister.” john b said, mimicking a gag reflex.

jj rolled his eyes at his words. sarah switching her gaze between the two boys sitting one to her left, and the other to her right. she then stopped to look at jj. “wait- you like y/n?”

“like? hell, he loves that girl. he’s been in love with her since he was six. the random hook ups he has? that’s all for show. he only does it to not draw suspicion, since the only girl he’d like to fuck— and sorry john b— is y/n.” pope said, fully exposing his friend’s feelings.

not that jj cared anyway. everyone knew how he felt about her, he didn’t even try to deny it anymore.

“and you’re completely fine with it?“ sarah asked john b, knowing how protective he was when it came to his sister.

“i wasn’t always. first time he told me he loved her? i punched him. not my finest moment but i was kinda mad.” john b replied, slightly chuckling, reminiscing his right fist hitting jj’s jawbone. “i mean, the day before he tells me he sees her as a little sister and then that he wants to sleep with her? hell nah, i wasn’t having that.”

“and what changed your mind?”

“because it’s jj. i know my best friend, and i know how much he cares for her. i knew he was never going to hurt her, i’m actually pretty sure he would die for her.”

sarah nodded along. the look on jj’s face confirming that what john b had just said was a hundred percent true. in that moment a thought crossed her mind, making her think about how what jj and y/n must’ve been something truly special.

“bubba, we’re home.” john b shouted, as he opened the château’s door. the house was silent, except for a light melody coming from the bathroom and the sound of the shower running. “shower! be right there!” sarah heard y/n shout back, as every one of the pogues sat on the couch: her ending up between her boyfriend and kiara, next to who was seated pope; and a bit far away from them jj. she figured he left the space empty for y/n.

about ten minutes later, while the pogues were having a conversation about an upcoming party at the boneyard, a sixteen year old girl came out of the bathroom, wearing a pink sweater and long white sweatpants. white socks at her feet and long wet hair cascading down her back. she walked up to them, bending slightly to place a kiss on her brother’s cheek, and proceeding to do the same with all the others.

she then retraced her steps and stopped in front of sarah. “so you’re the reason why my brother stopped being a cranky old lady.” she smiled, offering her her right hand. “i’m y/n, it’s so nice to finally meet you.”

“sarah. it’s a pleasure to meet you too, john b’s always talking about you.” sarah replied, shaking her hand. y/n let out a small laugh, as she walked towards the end of the couch were jj was seated.

she plopped down next to him, tucking her legs under her bottom and leaning into him. he wrapped his arm around her, pulling her closer and gently leaving a kiss to the side of her head. “he’s always talking about you too. i swear the other night he woke me up around 3am just to tell me how amazing your date was. which, don’t get me wrong, i was very happy to hear about.”

“you literally throw a pillow in my face.” john b said.

“duh, because you woke me at 3 fucking a.m. i love you bird, but for gods sakes let a girl sleep.” she replied, making everyone laugh at her comment.

the conversation resumed pretty quickly, this time through with jj paying way less attention to it, more focused on the girl next to him.

the entire evening, between laughters and bottles of beers, sarah observed how jj and y/n were always caught up in their whole world. jj’s hands being constantly on her body, wether it was a arm around her shoulders or his hand on her leg. they were glued to each other, sometimes even whispering between them words only they could catch.

for the second time that day, sarah thought about how jj and y/n’s bond was special, going beyond simple friendship.

it was almost two a.m. when kie and pope left, both returning to their respective houses to avoid their parents storming out on them. sarah instead was going to spend the night there, so since jj and john b were on the front porch smoking a joint, obviously a jj’s idea, she and y/n were the only two people moving around the living room, cleaning up the mess of empty beer bottles and pizza boxes.

the whole night she noticed how jj and y/n acted around each other, so since they were now alone, she just felt like she had to ask. “so what’s the deal between you and jj?”

“there’s no deal, we’re friends.” y/n said calmly.

“bullshit, i noticed the way you look at him and how he looks at you. that’s the look of love, sweetie.” sarah decided not to mention how jj actually felt about her. it wasn’t her place to say tell the truth.

“nah, jj would never go for someone like me. he only sees me as a little sister, besides i’m not even his type.” she replied, giving her a kind smile, even though she felt like a lump was stuck right down her throat. y/n always knew she wasn’t the kind of girl jj would want, the were total polar opposites, and truthfully she never even considered herself that much beautiful to have a chance with him.

“since when jj has a type? doesn’t he hits on every breathing human being?” sarah knew this probably wasn’t the right thing to say, but sometimes people needed a little push to blurt out their feelings. to her surprise though, y/n laughed, most likely because she knew how their friend had a habit of flirting with almost every girl he met. it didn’t matter if they were pogues or tourons, or hell even kooks sometimes. a pretty girl is a pretty girl, doesn’t matter where she comes from.

“kinda, but he always hooks up with victoria-secrets-models type of girls, if you get what i mean. and apart from that, we want different things. he doesn’t do relationships and i don’t do random hook ups. not to mention how the possibility of me and jj being together would probably give an aneurysm to my brother.”

“eh, i wouldn’t be so sure about that, ya know. either way though, you like him, don’t you?“ sarah said, remembering the conversation she and the other guys had on the boat.

busted. y/n stayed silent, sailing her lips in a thin, straight line. she then closed her eyes and took a deep breath, getting ready to spill everything out. she figured it was time to tell the truth anyway, since sarah clearly figured everything out.

“i met jj when i was four, we were in kindergarten and some older boys were picking on me. i was smaller and basically on the edge of tears, until i saw this blonde boy running towards me and putting himself between us. even if he was younger than them he still took my defense. after that he walked me home and told me he was a friend of john b’s. since that day, i don’t think i’ve ever liked someone that wasn’t him.“

she took a small pause, just to catch her breath. but she was so caught up in narrating the whole story, that she didn’t notice john b and jj leaning against the doorframe.

jj’s eyes almost bursting out of his face at her words, not expecting to hear her confession. john b, very aware of how his best friend was going to lose his shit any minute now, he places his finger against his mouth, mimicking him to shut up.

“as we grew older the roles kinda reversed and i started to look out for him: when he would come here bruised because of his father i would hug him and clean him up; even if younger than him i helped him study, you know just avoiding he would fail some subjects. at night, dad used to let him sleep next to me or john b because he didn’t want to be alone, thing that of course dad prohibited when i turned twelve. that didn’t stop him though: he would sneak out as soon as john b would fall asleep and come under the covers with me.”

she let out a laugh. “would sir. freud love this? probably yes, but it doesn’t matter. he deserves someone that cares for him, everyone does. and it’s not pity or mercy, i genuinely want to be there for him, because he deserves the best. yet, because of his father he’s convinced he’s worthless, but he’s not. gosh, he’s so funny and smart, which i know sounds weird but he is. he would die for his friends and cares so much for us. and i’m sure he could make it out of obx if only he wanted to. and he’s always so supportive and gen-“

she could’ve kept going on, but she suddenly noticed the two boys staring right up at her. jj’s eyes were watery, like he was going to cry any second now. he didn’t cry much, only when really fucked up things happened in his life, but for the first time he felt like crying not because he was sad and tired but because he was happy. because finally he could’ve had something great going on in his life. he could’ve had her.

without saying anything he launched himself into y/n’s arms, letting her stumble back due to the rushed impact between their bodies. he hold her tight, his arms around her waist and hers around his neck. his face placed in the space between her shoulder and her neck, breathing in the smell of the coconut soap she always used. he didn’t care about sarah and john b still being in the room, he wouldn’t even care if a freaking zebra walked in the house. she was the only thing that mattered. she was his whole universe.

“you shouldn’t eavesdrop, maybank.” she said with a smirk, putting a bit of distance between their bodies so she could look at him in the face, but still managing to play with the of hair at the nape of his neck.

“did you actually mean it? like for real?”

“every word, jay. you know me, i would never lie to you.”

jj maybank was impulsive. half of the time he never thought before acting, which pretty much resulted in him dealing with the aftermath of his stupid decisions. that’s why he didn’t think twice in grabbing y/n’s face with his hands, pressing his lips against hers.

at first he felt her stiffening, probably surprised by his gesture, and for a moment he really thought he had just screwed everything up. but then her hands went to his shirt, yanking him even closer if possible, and he sensed her relaxing, her lips moving against his.

after what seemed like hours, he pulled back, only because they both needed air. if it was up to him, he would’ve spent hours kissing her without getting a break.

“i’ve been loving you for a long time, princess.” she smiled, her cheeks almost hurting because of all the happiness she was feeling.

“well, you’re very lucky then, because i’ve been loving you for a long time too.”

“i can’t watch this, i think i’m gonna throw up.”

sarah nudged her elbow into her boyfriend stomach, giving him a look that said ‘shut the fuck up or i’m killing you’. john b raised his hands in the air, admitting defeat.

and, as they watched jj starting to kiss y/n again, sarah thought of how her own relationship was truly amazing. but in her opinion? what y/n and jj had was the true definition of soulmates.

[tanaor]

Want to worldbuild like a pro??

(📖 Master tips and everything I know📖)

Hello writers! You don't know how to worldbuild? Don't know where to start explaining the world you have created? Don't worry, you are in the right place! I have been there myself, and after many research (and even more trial and error) I have put together a list of the best worldbuilding tips I have encountered, and also created some of my own. (I know the first one is kind of overheard, but trust me).

Don't start right away with worldbuilding. A long paragraph about how your world works and its history might overwhelm new readers. A lot of other writers suggest waiting and learning about the world at the same time the protagonist does, or if that doesn't work for your story, dropping bits of information while the story moves forward. However, if you want to give a sense of how your world works from the start...

Exposition through action. This is my favorite method, and it helps a lot if you don't want to pause your story to info dump about the world you have created. Instead, this method relies on explaining the world and its dynamics while you continue with the narrative, briefly. For example: "As always, you couldn't see any trees in the meadow. The king had ordered years ago to cut each one of them because of a prophecy that foretold that the last dragon egg would lay in an oak."

Use expressions that reference normality or routines. In the last point, we used "as always", but there are tons of expressions you could use in your writing. This helps the reader understand what is the norm in this new world and what things are common, to later detect something that is not within that norm (or sometimes just to understand the world and its traditions better).

Use flashbacks when necessary. If you need to explain a very specific or detailed topic, I suggest using a flashback scene, that will help the reader understand with the narration and dialogue, instead of just explaining it to them. It makes for a more dynamic learning experience. But, at the end...

Do whatever will intrigue you. Some readers even like info dumps, and there is not one correct way to show your world. If it would make you curious, go and do it, wether people say it's correct or not. There are a lot of successful books that randomly stop to explain something about the world, and there is nothing wrong with that if you like it.

Hope you find this list useful, and as always happy writing :)

Also, if you are interested in tips or more examples of a specific topic, you can always leave a question in my ask. I'd be glad to answer it!!

Other tips for writers: previous | next

[genderqueerdykes]

I’ve been feeling really sad lately bc after this latest rise in anti transmasc sentiment I’ve had to unfollow some trans women I’ve been following for literal years bc they started reblogging and posting really nasty and very uncharitable things abt transmascs on my feed. And like. These are women whose voices I very much respected and listened to, and to hear them basically say they consider me an enemy who can’t be trusted bc I want to talk about my experiences, but all of our issues are really just splash damage from bigotry directed at them and talking abt my own experiences without acknowlefing that it’s not really meant for me is wrong. It’s like. So hurtful. And it makes me feel really hopeless about the future of the trans community.

How do I fight back against that hopelessness?

it really sucks and i'm sorry you're also being affected by this. i hear people talk about this every single day and i really don't like that this is just becoming a default in the trans community in general. it seems like the default mode of most online queers is hating transmascs and trans men as if that will somehow make cishet society accept them more. it's selfish behavior.

i'm an intersex trans woman and it's hard for me to interact with the online transfem and trans woman communities, because we're seeing a new experience in the form of transradfeminism, where trans women proudly adopt the anti-man ideals from rad feminism and spread it like it's the truth. it's a sad and painful thing to say, but these trans women are doing this because they believe rad fems and women who hate men are the only "Real" women and desperately want to be seen as "real" women. it stems from their personal dysphoria rooted in manhood, how they take out their own dysphoria in being seen as men on men and mascs. it comes from a place of pain, and it is misguided. instead of directing their hatred toward transmisogyny, they keep it inside the community. it's vile.

it's really sad but trans women and transfems are not immune to being indoctrinated by rad fems and terfs. applying those ideals to being trans isn't progressive. dictating who is and isn't trans is an act of policing. feeling as though one has the right to sit there and claim to know every trans experience, claiming to be the authority on transness... it's fascism.

i'm just plain tired of hearing people make fun of afab trans people and trans men and to talk about them like they're a blight on the community. im tired of people saying things like "do we really need more men?" i'm really sick and tired of chronically online people saying that trans men "aren't real trans people". this one really pisses me off. implying that trans womanhood and transfemininity are the only "real" ways to be trans is also identity policing. what is "unreal" about trans men? i'm tired of trans men being treated like they're unreliable. i'm tired of people wearing their misogyny on their sleeve to constantly treat trans men like they are not reliable narrators. i'm tired of people thinking somehow the instant you begin identifying as a man, you benefit from patriarchy.

i'm tired that people seriously think trans men and mascs can't coin terms for their own experiences. why the hell not? they happen, just because you don't see them personally doesn't mean they don't happen. i have met and lived with so many transmascs over the years, and we've all shared very similar stories about the discrimination we face. it's not spitting in the face of anyone to coin terms like transandrophobia and antimasculism. they happen just as often as transmisogyny does, and happily participating in it only increases trans violence

these talking points are old and it sucks to see more and more trans women get indoctrinated into literal rad feminism. hating trans men will not make dysphoria around being seen as a man go away. hating trans men does not dismantle the patriarchy. hating afab people isn't progressive, it's misogynistic. hating intersex trans men isn't progressive, it's transphobic -and- intersexist. trans men deserve so much better than this. trans men are trans. trans men are people. trans men are not evil by virtue of existing

i say try to do your best to connect with and appreciate the other trans men and mascs in your life. we have to stick together. if you have transfem friends who are on your side, make sure to be there for them, too. not every trans woman is like this fortunately, most trans women are very chill about trans manhood. this is a vocal minority of people who want to be fascists and want to control and police other trans people. transradfeminism isn't progressive, it's just as bad as regular rad feminism, if not worse, because now there's an even bigger focus on hating trans people.

hating other trans people will never get you ahead in cisheteronormative society. try to take care of yourself as best as you can. really relish trans joy when you experience it. take time to affirm your gender. know that manhood is a blessing. manhood is beautiful. it is varied, nuanced, and complex. it is a wonderful thing to experience. men are not evil. men are not bad. we should never remove the accountability from individuals.

hating trans men makes you transphobic. there's just no other way to it. whether or not you accept that it's called transandrophobia, it is still transphobia, and you really should care. the trans community isn't here for just 1 type of trans person. it's here for all of us. good luck, stay safe out there. be good to yourself

[postracehair]

trust me

max verstappen x reader | 2.3k

after an incredible (and wet) weekend in brazil, you have a confession to make.

cw: a loving relationship! discussion of anxiety/fear/worrying about your race car driver bf, healthy communication, and softness galore.

a/n: being a wag must be so stressful. like, damn! also, rain races stress me out, personally. this fic is about that.

__

The triple header comes to an end in the best way possible.

Max Verstappen wins the São Paulo Grand Prix from a 17th-place start! It's the stuff of dreams. The fist around your heart unclenches just a little bit as you watch him smiling, roaring, hoisting his well-earned trophy aloft. It's your best day in a long time, watching your darling boyfriend like that, and you celebrate with everyone late into the night. The Championship battle looms in the background but tonight is about the hard work from the weekend. The stress, the frustration, the damn rain. All of it worth it for the pride you all feel right now.

But what comes after -- that, you can admit, you enjoy even more. Three weeks until Las Vegas and Max and the team have plenty of work to do before then, but for now? For now, it's this: rest.

Everyone gets to go home, finally. And for you, home is wherever Max is. You've spent the first few days of the break thus far at his place. On the floor with the cats, on the couch watching movies. In his bed, sleeping, sometimes, other times... not so much. Hours and hours just being together. You'll have plenty of time for this once the season ends but you can never get enough of him.

You're on the couch, sprawled across the length of it with a book in hand. It's a good one, so much so that you don't notice Max until he taps your ankle and you jump.

"Jesus," you gasp. His lips are pulled up at one corner in the precursor to a full grin, sweatpants slung low enough that you can see the branded band of his underwear between the drawstrings and the hem of his t-shirt. "Where did you come from?"

"Watching race replays," he says with a shrug. "Scooch." You tug your legs back and sit up a little, bookmarking your page as he rounds the couch and plops down where your feet were.

"Max," you whine. "I like to watch those, too. So you can do that thing where you narrate like, every second." You're teasing, but only a little. For all the jokes about "maxplaining," you really do love how he explains things. He tells you what he was thinking at every turn, what the trick is, how long it took him to get it right. He points out his mistakes and those of the other drivers. All of it thoroughly and with enthusiasm, answering your questions like you're the best student he's ever had.

"Yeah, well," he says, sinking into the couch, arm stretched across the cushions towards you. Your eyes rake over the line of his bicep as he talks. "You don't like rain races very much. Wasn't sure you'd want to see it again."

That gets your attention. "How did you know that?" You've never told him outright that they stress you out. It's really important to you that you keep your cool at the track, that you don't do anything to let on that he should worry about you.

But you should know better, it seems.

"I can tell," Max says, looking right at you. "I pay attention."

You hum, not sure what to say. "You've got me there," you confess. "I'm sorry."

"Hey," he tuts. "Why the apology? You can feel however you want to. This weekend was complicated."

He feels too far away. You set your book on the ground and shove your toes under this thigh. He keeps his eyes on your face but you fuss with the hem of your t-shirt rather than look back.

"They're exciting. Rain races, I mean." You sigh. "But I can't help but worry, Max. From the garage, it's so --"

You lose track of your words because Max grabs hold of your legs and tugs them over his thighs as he moves closer to you, almost crowding you against the arm of the couch. He reaches for your collarbone to pick some lint from your shirt, his other arm slung across your calves.

"Were you scared?" he asks. "This weekend, I mean."

Frankly, you avoid telling him things like this because you don't want to distract him. You don't want to detract from his performance in any way and maybe that's selfish, because you know he's very good at what he does and how you feel isn't going to derail his weekend. But you know he loves you, and you know how deeply he feels things. How much he wants to be a good partner, a good driver, a good man. And you try really hard to let him know that he is all of those things.

The reality of your position in his life is that there will always be people who heavily imply that your presence, your actions, your choices could be at fault. It's ludicrous -- Max has said so many times -- but it makes you hype-aware. You don't want to overstep. It's something you know you should articulate to him properly, but you know he'll be upset that you think you can be anything but a good part of his life. It's an endless cycle.

"Hey," he says, mistaking your silence for emotion. "Liefje, I'm fine." He reaches for you, cupping your cheek with a warm hand. You look up at him and find him frowning.

"I know," you say, leaning into his palm. "I know you are. I just -- I don't want it to sound like I'm a whining baby or something."

"Whining baby?" Max gently rubs the skin under your eye with his thumb. "Psh. We've got some of those on track. You couldn't come close to them if you tried."

That gets a laugh out of you and he cracks a smile at the small victory.

You sigh. "I was scared," you admit, voice soft. Max presses a little closer to you, his hand falling from your face to catch yours, fingers twining together.

"Are you always scared?" he asks. "You're more tense on rain weekends, I can tell that much. But you've never really talked about this. I guess I--" He frowns again. "I've never really asked you."

"That's okay," you say. "It's nothing, really."

Blue eyes bore into yours. "No, I want to know," he presses. "Please, tell me?"

You tip your head back a little, eyes on the ceiling. How to say it?

"I guess I'm always a little scared, yeah," you say. "I don't know how I wouldn't be."

He tugs on your hand so you'll look at him. "What is it, do you think?" The question comes out in his typical way. This must be how he is in driver briefings, you think fleetingly. Max is analytical, methodical, always looking for the root of the problem so he can understand it and adapt.

But how do you explain this?

"Well, it's a dangerous sport," you explain. "As you know. And I -- Max, I love you, and I don't want anything bad to happen to you."

The furrow of his brow lessens a bit and he presses a light kiss to the back of your hand. Your stomach flutters, even after all this time.

But Max has no time for your mooning, apparently. "Were you scared before we knew each other?" he asks.

You think about it. "It's different, I guess. I was worried, generally. For all of you. I'm still worried for all of you, but --"

His eyebrow quirks and he fails to hide a cheeky smile. "Me the most?"

You roll your eyes and squeeze his hand. "You the most. But don't tell Carlos that."

Max tuts. "So, now it's just worse? You feel it more?"

Nodding, you try to explain. "I don't even like watching on TV, now, because I'm so far away. I feel so helpless."

You can't make it to every race but you try your hardest, not only to support Max but for your own sanity. It's easier to calm yourself down when you're around other people who believe in him, when you have access to all the details and when he's only a few steps away when he's out of the car.

"I don't want you to be worried," he says, softly. "You don't let on that you are when we say goodbye before the race, aside from being a little tense."

One of your favorite pieces of race weekends -- those few moments when all of his attention is on you. He makes sure you have everything you need and leaves you with a kiss and a smile and a see you later. His confidence and his competence are like balms.

"When I'm looking at you, I'm not as stressed," you say, a bit shy. "You're very good at your job, you know. And your confidence is convincing."

"I know," he says, seriously. "That's why I know it'll be fine. Do you not know that?"

If he was less determined, you'd ask him to drop it, since you're starting to feel embarrassed. But you know he won't let it lie.

"I know it, too, Max." You reach for his face to push back some fringe from his forehead. "I'll always be worried about you, though. You get in the car and drive away and I just -- sit there. And wait for you to come back."

He frowns, deeper this time. You keep your hand on him, cupping his jaw and running your thumb along his stubble.

"And I love it. You know I was a fan before I met you and it's a dream to be there to watch you race. I love seeing you do crazy things like win from p17. It's so much fun."

He knows this about you. You've got a bit of a reputation for your facial expressions in the Red Bull garage, always the first on your feet when he overtakes, jumping up and down when he extends his lead. It's an infectious kind of joy and energy and you lean into it every time, even if your stomach is churning with anxiety.

Max is quiet for a few moments. He covers your hand with his and leans into it further.

"You trust me, right?"

"Of course," you say right away. "Always."

"I've never really thought about it," he says, slowly. "I mean, in the car. I don't worry about you because I'm not worried, so I just thought you knew not to be, too."

"I'll always worry, Max. Even though I trust you."

"Why didn't you tell me this before?"

Your cheeks heat and you look away from him, pulling your hand free to cradle it in your lap.

"You've got a million other things to worry about besides me," you say. "I don't want to distract you."

Max says your name with a scoff, literally waving his hand as if swatting away your silly notions. "Distract me? Come on," he says. "I wouldn't be a three-time world champion if I could get so easily distracted." He leans into your space, nosing at your jaw. "Even if you are very distracting."

You allow the attention for a few moments before pushing him back with a laugh. His cheeks are flushed, hair a bit of a mess, like after he takes off his helmet. And, god, he looks relaxed. You're so proud of him you can hardly stand it. The season is almost over and you know he's got a lot of work ahead of him, and you've got a lot of worrying. But he's motivated, and you know he can win. You know he'll come back to you.

Max leans his head back on the couch and casts his gaze sideways at you, nose scrunched. "I can't fix this, can I? You're still going to worry."

He sounds so resigned, so disappointed in himself that you tug on his hand so he'll get closer. This time, you frame his face with your hands and kiss him, just a light press of your lips to his. Both of you sigh into it, and you drag your mouth along his cheek until you reach his ear.

"I'm still going to worry," you whisper. "But I love you and I trust you. And I know it'll be okay."

Max sighs and presses his forehead to your shoulder, practically pulling you into his lap so he can wrap his arms around you.

"You better hope it doesn't rain for the rest of the season," he mumbles.

"That damn VSC," you groan, pulling back from him a bit. "I was going to tear my hair out!"

Max laughs. "It kept things interesting," he says lightly. "Rain isn't really a problem for me, schatje, you know this --"

"Because you're Dutch, I know, Max." You roll your eyes. "Even Fernando couldn't keep it together! I mean, the gasps from the garage when --"

The seriousness of your conversation fades as you trade tidbits about the race -- you've done this already, hashed it out in the hotel room and the flight home and in bed since Sunday. Max watches you talk, elbow braced on the couch and his head resting in his hand. His eyes sparkle and you know you're amusing him as he corrects you on the turn names and who went in the wall when. Max loves you: you've never doubted this. He loves you and he cares about how you feel and doesn't want you to be worried.

And while you will be, because you love him, you know that it'll be alright.

"Hey," Max says, interrupting your opinions about start procedures. "I love you, okay? Thank you for worrying about me."

"Graag gedaan," you say. Well, you try to say. Max laughs and corrects your pronunciation. You're welcome, he says, over and over, a kiss to your cheeks, your nose, your forehead each time. Ik houd van je. Your lips, your neck, your jaw.

I love you. I love you. I love you.

[year2000electronics]

Bill & Ford & A Book, Oh My!

DISCLAIMER: The Book of Bill has Bill Cipher serving as an unreliable narrator. If we go out trying to say something is "definitively a truth" or "definitively a lie", we're going to keep arguing about it until the heat death of the universe. This is just my own personal interpretation of the source material. If you don't agree, that's fine! Also TBOB spoilers abound.

So it's no secret that interest in the dynamic Bill & Ford have (enemies, platonic, romantic, formerly romantic, whichever way) has really skyrocketed since TBOB's release. Of course, there are the 'easy' culprits to point towards, with Mabel referring to Bill as 'being like a needy ex', and the whole O'Sadley's fiasco (Him literally crying over losing Ford and going "one Sixer, please"? Messy. Messy behavior. Still, I think it goes so much deeper than that.

Bill, being the unpredictable chaos entity that he is, also serves as the main antagonist for a show about family and having close bonds with each other. We don't really need to look into his inner psyche that much, because that's just not what he needed to be doing at that point in the cartoon. He's meant to be a way to divide the Pines, really. And a silly little guy. A silly little obstacle. So, naturally, when it came to Bill's arguably "closest" relationship to someone in the show (Ford), it was very easy to interpret it as Ford being tricked by a completely apathetic Bill, who was just using him as a rung on the ladder. And I do want to stress that Ford and Bill's physical actions remain fairly consistent throughout interpretations, and focusing on the fact that Bill badly hurt Ford is important, so if that's how you still see it, then fine by me! No harm no foul!

But I think the relationship, their story, their tragedy just becomes so much more interesting with the lens The Book of Bill has presented. We’re finally able to see Bill’s perspective as a “protagonist” of sorts in a medium where he’s not just something to defeat- and that’s something we’ve never gotten before, so it’s shedding light on an area we didn’t know about for sure! Again, Bill is lying to the character of "the reader", so we can't trust it as a completely unbiased source. But we can speculate on where the "truth" is between these lies.

First of all, Bill's backstory was that he destroyed his home dimension- we knew that already. But now, with the extra content we have about it, we see something interesting- that Bill's backstory mirrors Ford's to an uncanny degree.

Both of them champion their intelligence, although they highlight how it set them apart from others, as well as highlighting their own 'rare mutation/birth defect'.

Again, with this self-isolation already spurred on from their "weirdness", but also as a little aside, I would also like to highlight that Bill being 'ready to be one', looking up at the stars, striving to 'reach' them, is a shared motif he has with Ford, who is also associated with space, the stars, and reaching them.

Bill's 'trying-really-quick-to-convince-Ford' fantasy sequence even has him in a field of stars as a sort of "ultimate wish fulfilment". Remember, this is Bill showing Ford something he thinks would win Ford over, at least a little.

(And I'll take a quick time out for this train of thought to point out- hey! Bill admits he sought out most of his other victims, but Ford summoned him, and it took him by surprise! That adds a fun little layer of complexity to everything, don't you think? Another little layer of humanity for this whole mess- Bill didn't expertly seek out the 'perfect victim' or anything, it was just... luck. Some twist of fate.)

Anyways.

Obviously, the intro page to the 'Sixer' section has a ton of red flags galore (I mean, poor guy's literally depicted as a hapless puppet. C'mon, Bill. Not to mention the "OH BOY HE'S ALREADY SO ISOLATED, IT'S PERFECT" thing.). This guy is kind of a terrible companion no matter how you slice it. He's terrible to everyone close to him, because he's a deeply traumatized character who refuses to heal. BUT, the wording here is kinda deliciously intriguing to me. All of humanity is Bill's puppets, his future victims, but to me, it's clear that he holds a fondness for Ford. From "This is what a partner looks like", to "Me and Sixer could be the perfect team", to "He had what I always wanted- fingers" (drawn to his strangeness, maybe?), "He was destined for so much more", "I looked at his futures and giggled", and most stand-out to me, "Society calls these people freaks, I call them Henchmaniacs!"

Going back to the pre-Book of Bill era I was talking about, Bill's offers for Ford to join him were always in a sort of murky territory for interpretation. The first offer could definitely be read as mocking, with the line "WITH THAT SIX-FINGERED HAND, YOU'D FIT RIGHT IN WITH MY FREAKS!" in particular making it seem like Bill was only saying that to rub Ford's strangeness in his face, and the second offer to join Bill being under a new circumstance- that now Bill is desperate and believes Ford is the only one who can help him. But the Book of Bill mentions the idea of Ford becoming a Henchmaniac more than once, and also has Bill upset at losing Ford and claiming "he'll be back", as well as Bill seeming to use "freak" more like a badge of honour, and having previously complimented Ford's six fingers (In the Sixer intro page, he highlights Ford's fingers as a quality he likes, and in the pages about bodies, he states that "humans should have more fingers". To me, that first offer reads more now like Bill being genuine about finding Ford a place among his misfits. ...Although, the moment Ford says no, he does zap him into a statue. So. Y'know. He's still got issues.

(Yeah, again, red flag city. "Just hazing"? Bill, none of what you were doing over there was okay! You might have suppressed everything traumatic that happened to you, but that doesn't mean you can go around traumatizing everyone! Good lord.)

Bill has already been imply to like other characters because they remind him of himself. Pointing towards a connection with a character Bill DOESN'T have a weird undefinable ex-partner thing with... Mabel! Alex has says in multiple official media and interviews that Bill sees a lot of himself in Mabel, and essentially, that he thought Mabeland was the perfect prison because if HE liked all that awesome, uncontrolled chaos over any family or friends, why wouldn't SHE? And we see that again in TBOB. So basically, what I'm saying is that we have two characters to back up the fact that Bill seems gravitated towards humans or other living beings that he views as being 'like him'- beings he can relate to! So, y'know, what does that say about Bill and Ford?

There's also Bill's plans for the reader and "Weirdmageddon 2.0", where he portrays the reader as getting to, like, perch on his arm like a little bird and get their own little crown? And specifically calls out Ford for not going through with things?? Okay, Bill??

AND Ford not only being the only human mentioned on the list of people he "definitely doesn't miss so stop asking", but also having his own category? Alright, man.

Of course, another point to the 'Hey, maybe Bill can actually feel emotions towards humans besides complete and total apathy' club is this page here, which has ALSO been hotly debated! Certainly, we know he's telling the truth about his home dimension being destroyed, and we know that he's lying about the 'monster', but some interpret this scene as Bill not being remorseful at all and playing his reaction up to earn Ford's sympathy. And me, personally, I dunno if I agree. I feel like the specific inclusion of Bill "looking distant, more distant than I'd ever seen him" (Mirroring the fact that he keeps blacking out when thinking about all his large-scale massacres) and him "laughing joylessly", I think this sequence is meant to tell us that Bill actually is being vulnerable with Ford here, it's just hidden under layers and layers of deceit, whether towards himself or Ford or both.

And finally for my Book of Bill collection stuff, there's the stuff that could be read as more romantic in nature. In the 'love' section, Bill claims he doesn't love anyone, but, like-

Come on. You can disagree with me that it's Ford, but he does have exes. And he's clearly not over them. Shrimpy little liar. And then there's the fact that a lot of his hokey 'advice' is stuff he ends up directly doing to Ford.

These rats.

The Love Cage.

The Book of Bill really outlined all that in bold, but in my opinion, it was never an entirely new revelation! Bill seems to hold a preference for Ford over other humans in the show. He shows up in Ford's dreams just to say hi, tease him, and gloat (Mabelcorn) unlike the other two dream appearances he's made (Dreamscaperers, Sock Opera) which were exclusively for business purposes. Unlike every other character that gets exclusively one nickname for their zodiac sign, Ford gets multiple (Fordsy, IQ, Sixer, smart guy, brainiac, the list goes on). Bill asks Ford to join him TWICE, whereas anyone else who tries gets their face rearranged, put in a cage and made to dance, frozen in stone, etc etc. And finally, I think, the most emblematic of Bill's weird, specific relationship with Ford, is that whereas everybody else gets turned into stone, Ford got turned into gold.

Which kinda sums up their whole thing up pretty well? Bill gave him special treatment by turning him into a golden statue (similar to yellow ha ha), always holding him close, but, like... Dude. You still kidnapped a man and turned him into a statue and then threatened to kill his niece and nephew. I don't think it will change his opinion on you if he's the Most Pampered Hostage, Actually. I just don't think that we need to explore the relationships between characters as simply "Well, this character hurt the other one, so we shouldn't really think about why or what they feel personally, because what they did was bad, so there".

Bill & Ford interest me because they're a tragedy in motion. We can see that Bill and Ford mirror each other in a multitude of ways, and we can see that they both do have positive feelings towards each other at the time they meet, and we see that Bill very desperately wants Ford to be just like him in the unhealthy ways; the ways that make Bill destroy entire universes and compartmentalize it all, because maybe then, he can finally have the companionship he so deeply aches for. Bill and Ford both had tough, lonely upbringings, but Ford moved on from that "I don't need you" mentality. That's what saved him. Bill didn't, and that's what got him where he was in the end. I feel like that's just so much more interesting than Bill just being a flat entity that makes abuse Happen to Ford, just as another Event in his life. I mean, isn't it just SO much more interesting that Ford humanizes Bill, in a way? That Ford makes him- in Bill's own words- "sentimental"? That a chaotic dream demon has regrets and loves and favourites and connections? It's the same thing with Fiddleford & Ford, although, obviously, to a MUCH lesser extent than Bill & Ford. But you get what I mean, right? You know that Fiddleford and Ford are going to undo each other in the end, and the path to that downfall is... it's telling a story! I like the story of it all! I think that's what I've been invested in and intrigued by all these years- the story, the tragedy of Bill and Ford. No matter what form it takes.

(Plus, as tumblr user fordtato pointed out in their own essay (not tagging because this post is messy enough as is oh god), hey, Ford now has two incredibly queer-coded narratives, with one of them being about how he recovered and was able to heal from an abusive relationship. And, well, I think that's just neat.)

Anyways, that's the end of the post. Thanks for reading this long!

[nocreativityfornames]

Everything we know about Barbatos so far, lore wise.

WARNING: SPOILERS FOR ALL SEASONS

➤ He lives in the Demon Lord's Castle with Diavolo and works as his loyal butler. (swd: 2-13)

➤ He's one of the demons who share a pact with Solomon. (swd: 2-A)

➤ According to Mammon, he has a secret torture room beneath the castle from where you can hear the screaming of his victims at night. The other brothers and Diavolo were in the room when he told this to MC but none of them batted an eye or tried to deny it. (swd: 6-19)

➤ Before, citizens of the Devildom were allowed to easily travel to the Human World whenever they wished through passages placed in certain locations in the kingdom, but now those passages are blocked and the only way demons can use them is by getting permission from the few other demons who are still allowed to use them freely first. Barbatos is one of said demons. (swd: 11-4)

➤ He has the ability to time travel thanks to his powers that allow him to create a portal to any place, time and reality he wants. (swd: 15-17 and 53-11)

➤ He was the one to take MC back to the past when they made a deal with Diavolo to figure out who had opened the attic door and released Past!Belphegor in exchange for Present!Belphegor's freedom from being imprisoned for conspiring against the exchange program. (swd: 15-17)

➤ He looked into MC's bloodline under Diavolo's request once the prince realized there was something special about them, and it was then that he found out that they were Lilith's distant descendant. (swd: 16-15)

➤ In response to MC asking him if he knew everything that would happen with Belphegor getting out of the attic before it occurred Barbatos said that no, he didn't know, and even further said: "Imagine for a moment what it would be like to know everything that will happen from now until the end of time. Why nothing could possibly be more boring, wouldn't you agree?" (swd: 15-17)

➤ His main way to use his powers to "space travel" is through the many doors in his room in the Demon Lord's Castle. (swd: 15-17)

➤ He was never a child. (swd chat: The Royals, “That's What I Mean”)

➤ He met Solomon a long time ago when the sorcerer risked death to summon him (swd: 53-16), desperately needing his powers to control time for reasons that are still unknown. (swd: 49-A)

➤ He gave Solomon his grimoire out of trust and respect for him. (swd: 53-16)

➤ It's a big rumor around the kingdom that he's powerful enough to rival even the Demon King himself. (swd: 54-1)

➤ He met Diavolo when the prince was still a child and Diavolo got Barbatos to work for him by luring him into the castle with the promise of very rare tea and then telling him that he wouldn't let him leave unless he agreed to be his butler, getting to the point of even threatening to not assume his position of king in the future if the older demon refused to. And telling this story to Thirteen, Barbatos confessed to having found the whole thing very cute. (swd: 58-A and nb: 15-A)

➤ When it hit the news that he had sworn allegiance to Diavolo the whole kingdom was in shock and it was THE THING everyone was talking about. (swd: 54-1 and nb: 15-1)

➤ He has been around for a long time and shows up in historical records under multiple different names. Rumor has it he was alive even before the Devildom took shape. (nb: 15-1)

➤ When asked about Diavolo in a conversation with MC, he told them that the prince is the very reason for his current existence. (swd: 54-5)

➤ Narrated by Solomon in the Nightbringer Prologue Movie we hear the story of a certain demon, it goes: “Once upon a time, there was a demon who could see both past and future. With a flurry of trumpets from his king, the demon appeared. Finding a lost human the demon whispered: 'I can take you to where you'll be happy.' Through their tears, the human spoke: 'Thank you, o kind one. If you save me from this dark path, I will pray to you every night. Please, tell me what they call you!'" But before any reply can be said Barbatos is shown making a shushing sound, which was largely perceived as him not wanting the viewers to know that he was the demon from the story. Later, the human was revealed to be Adam, a man who came to the Devildom looking for his lover and met a demon named Nightbringer, who he immediately went to begging for help. (nb: 8-16)

➤ He was the one to give Solomon the title of “the Witty Sorcerer” when he brought him to the Fountain of Knowledge for the first time while Solomon was on the verge of death. Barbatos attended the sorcerer's wounds there and declared him the new protector of the spring. (nb: 11-10)

➤ He's to blame for how much Solomon has changed, according to Thirteen. The reaper told MC that Solomon used to be very loveably innocent when he was younger, but that Barbatos let him experience whatever he wanted and now nothing scares or fazes him anymore. (nb: 11-10)

➤ The reason he had been so irritable towards Solomon in the past was because when visiting the sorcerers' home he found a list of demons he wanted to make pacts with and noticed his name was placed 8th. (nb: 25-1)

➤ Before meeting Diavolo he used to use his powers freely to travel through time and space whenever he wanted without a care for how his actions could affect others, and they ended up terribly affecting Diavolo and Solomon, and Barbatos sees his devout servitude to the prince as a way to atone for those past actions, but Diavolo doesn't know that. (nb card: Barbatos, "Tea With You")

➤ Although he accepted to work for the prince for the sake of atonement, he ended up enjoying his time with him and found that he felt a sense of belonging working for him. (nb card: Barbatos, "Tea With You")

[pincushionx]

BOOK OF BILL SPOILERS

One thing I like the most about Bill is that he’s an unreliable narrator. He’s a liar

His dimension is flat but he can see 3d. In the show he claims that everything was flat. Flat minds, flat dreams and that he “liberated” his world. Which we know now was him destroying it. This paints him as a cold killer but yet in the book it is stated he misses home and can’t return but that he’s happy, but that he’s a lair. (Stated by axolotl, a being older and more powerful than him)in the book, it also states that everyone loved him in his dimension but that may also be a lie. He may have been ostracized and looked down on for his mutation, except we know his mother loved him. Him wanting to show what he saw to his race led to him burning down his dimension. It was an accident I believe, that there was no malicious intent , just him wanting to show others what he saw. He wanted to show them the stars. But he went too far. think he caused a some sort of rift that sort of just decimated his dimension or his powers going haywire and reduced it to atoms. It’s stated he was left covered in blood.

I’m pretty sure he’s blocking memories. I think the trauma of destroying his dimension left him cold and allowed him and his morals become skewed.He only became worse as he traveled realms and into the nightmare realm and became obsessed with chaos. He and his awful being and it’s good that he’s locked away in therapy prison.

I like that’s he’s a crazy irredeemable person with such tragic backstory. I’m curious about his history and what led him to be the way that he is. He’s trillions years old so who knows what else he been through. I doubt he’s always been this all powerful dream demon. I think he’s tries to paint himself as this being who was always evil but I don’t think he was like that. (He literally blacks out when he thinks about it too much, it’s easier to lie and say it was on purpose and that he’s just evil)

Yes he’s Bill Cipher, a dream demon no one should trust but once he was just Billy who liked his sandwiches with no crust.