#shui writes

[fujobritta]

au doodles to go with my new fic

first chapter posted here !

[waterbottlqueen]

hey guys i just uhm wanted to let people know that i have a batarou fic that i've been working on nudge nudge wink wink trips and falls and drops it oh no look there's the link

[baksbee]

hai . completely wiped out my old writing sideblog will probably use this very rarely

[nootcatt]

TGCF and the Literary Tropes

Okay so this is a long text post, but its something I've been through and discussing a lot.

I’ve mentioned this before, but let me say it more clearly: in my opinion, there’s no such thing as being “doomed by the narrative” in Heaven Official’s Blessing (TGCF) by MXTX. It’s an important distinction because it sets MXTX’s storytelling apart from other narratives where characters are often victims of fate with no real agency. MXTX understands probability, and does not operate by the ‘but what if!’.

For those unfamiliar with the term, “doomed by the narrative” refers to a trope where a character’s fate is sealed or predetermined by the structure of the story itself. Essentially, it means that no matter what the character does—regardless of their actions, intentions, or desires—the plot is already designed to lead them toward an inevitable downfall, failure, or tragic end. It’s a form of narrative determinism, where the story traps a character in an inescapable fate. This idea is commonly seen in tragedies or stories centered around themes of fate and destiny, where even the audience often feels that sense of looming disaster, even if the character does not.

While TGCF is a novel rich with themes of fate and destiny, it doesn’t employ the “doomed by the narrative” trope. Instead, the story revolves around other different ideas, such as “you reap what you sow.” In TGCF, the characters—especially the gods—face the consequences of their own actions. From the Banyue Arc to the final arc, we consistently see this pattern. No character suffers without reason, and no fate is forced upon them by the structure of the story itself. Their actions, choices, and motivations directly shape their outcomes.

In TGCF, fate is not something manipulated by MXTX to move the plot forward or force a tragic conclusion. She doesn’t kill off characters just because it serves the story or because she’s trying to make a point about destiny. Instead, fate in TGCF functions more like an ecosystem—a natural cycle where actions have consequences. It’s a world where what goes around comes around, and every character is accountable for the decisions they make.

Consider the Blackwater Arc (FengShui Di Arc) as an example. Many have discussed this before, so it’s not something you have never come across. It’s a key moment in understanding how fate operates in TGCF. Shi Wudu is faced with an impossible moral dilemma, a classic “trolley problem.” He has to choose between sacrificing the life of a stranger and their family or allowing his beloved younger brother, Shi Qingxuan, to die a death more tragic than anyone can imagine. For Shi Wudu, this is not a simple decision; he has dedicated his entire life to protecting his brother. Older brothers are like parents, to their younger siblings. Shi Wudu does not regret making the decision he did. In the end, he makes the choice to switch the tracks, saving his brother at the cost of another’s life and family.

As the arc unfolds, we see that Shi Wudu must also face the consequences of his decision. He is driven mad by the end of the arc, and his punishment is both brutal and symbolic—his head is ripped off, an echo of the price he paid for his brother’s safety. Shi Wudu made a choice that could be viewed as understandable or even noble, but he also committed a grave wrong. And in the world of TGCF, he reaps what he sowed. Even in his final moments, He Xuan gives Shi Wudu a choice, he can still reverse the tracks and fix it, or die at the hands of the person he chose over him, and Shi Wudu stands by his decision, telling Shi Qingxuan, “Gege will go ahead and wait for you.” He does not regret his sacrifice. He is killed for it. His end is a form of cosmic justice. Despite the tragedy, there’s no sense that he was doomed from the start—his downfall is the direct result of his own actions.

This principle also applies to He Xuan. “But He Xuan suffered so much; he deserved his revenge.” That’s the point. He Xuan’s story is not one of a man doomed by fate, but rather a man consumed by revenge. He Xuan, who endured unimaginable suffering and betrayal, chose to devote his existence to vengeance. He had already avenged his suffering by killing the people responsible—he became a Ghost King, devoured the Jinx Demon, and infiltrated heaven. He gained power, status, and acceptance among the Heavenly Officials. Shi Wudu changed his fate so that he could no longer ascend? Here he is, a god (and an elemental god, instead of a civil god like he would have been if his fate hadn’t been switched). He could have lived peacefully, yet his obsession with revenge defined every move he made.

Even when He Xuan had achieved everything he should have wanted—status, wealth, respect—he couldn’t let go. His fixation on vengeance led him to destroy the very peace he could have had. By the end of the arc, when Shi Wudu asks if he’s happy, He Xuan’s answer is a hollow “yes,” fueled by the sight of Shi Wudu’s suffering. But as Shi Wudu points out, this revenge has changed nothing. Shi Qingxuan, despite the tragedies, had lived a better, fuller life than He Xuan. Shi Wudu’s words break He Xuan, driving him into a final fit of rage where he decapitates Shi Wudu and refuses to let Shi Qingxuan die, just to prevent the brothers from reuniting in death. What does he get in the end? Nothing, but the head of Shi Wudu and a life time of brooding in the nether water manor.This act of spite is not the work of a man doomed by narrative fate—it’s the result of He Xuan’s choices, driven by his inability to let go of vengeance.

In conclusion, TGCF does not operate on the idea that its characters are “doomed by the narrative.” MXTX creates a world where actions have consequences, where fate is shaped by the decisions characters make, and where justice—whether deserved or tragic—is always a direct result of their choices. The characters in TGCF are not trapped by an unavoidable destiny but by the weight of their own actions. It’s a powerful form of storytelling that places responsibility on the characters themselves, rather than the structure of the story.

[themundanedumpling]

now that myab is airing i have the urge to read the source danmei novel but everytime i try to read a sqc novel it reminds me of utter trauma and devastation i went through when i read sqc's wu chang jie

[shuinami]

Part 3: How to write an MLE-based London accent authentically

Part 1: Who, What (London Accents) | Part 2: When, Where, Why (Black Londoner Culture since Windrush)

As I conclude this little guide, I'd like mention that my ask box and DMs are always open if anyone has further questions or anything 🤎

In this section, I'll go over some advice, the grammar and vocabulary and provide some suggestions for references.

Section A: Basic Tips

When to use slang

The concentration of slang is key to differentiating characters as well as writing an accent authentically. As an MLE-based speaker who is not actually a roadman (meaning a gangster, though many people misuse the term to refer to anyone who uses MLE, especially if they are working class), like most of us, Hobie does not utterly kill it with slang that would likely not be understandable to the people he’s with. There are a lot of phrases and idioms/metaphors that seem self-explanatory once you know what they mean or that seem similar to Americanisms (e.g. roadman = street/hood nigga), but of course, as someone who doesn’t use the terms, hearing it in passing, it probably wouldn’t be understandable, despite the speaker thinking it is. 

Coming from a diverse place, often with immigrant parents who don’t even speak English as a first language, if fluently at all (not in the case of most black Caribbeans from former British colonies, but remember Asians and Africans are more plentiful here), trust me, we know what we sound like 😂! Most of us code-switch, as we learn standard English in school and, until more recently, where more people are 3rd gen+ immigrants as opposed to 2nd, we actually tend to pick up MLE slang from experiences outside the home as we grow up. At the same time, some people really don’t care at all and don’t change how they speak for anyone haha. I don’t recommend trying to write code-switching if you’re not extremely familiar with MLE because you’ll probably lose the flow and also, Hobie only eases up a little bit after his intro.

My point is though, that not every single sentence needs to have slang in it. Most should, but if you’re trying to be serious or sexy, for example, and you feel the need to tack on some slang just to convey Bri’ishness, even if it doesn’t really fit, don’t do it cause it’s no more authentic than just writing plain English in those scenarios.

When talking to people from his own dimension, however, slang it up if you’d like, because the expectation would be that a (working class or ethnic) Londoner would understand him. 

For humour, mocking and teasing, we love to use slang because a lot of it is funny, even to us. Like I said, we know what we sound like. Those are the moments when more obscure slang (such as Cockney rhyming slang) might come out for comedic effect.

It’s good to have some balance, so not every word needs to be substituted. If you couldn’t read it without a fucking huge glossary, you’ve probably done a bit too much.

Writing the Accent

It’s good in moderation. ‘Luv’, ‘ain’t’, replacing the last g with an apostrophe in -ing words - you all have those things down, it works, good job. 

HOWEVER, it is very clear that a lot of you have no clue what letters we do and don’t drop/change and in what words, as well as a lot of you going OT with removing the T’s from the middle of words. I know it kind of sounds like that to you but it reads like an over-exaggeration or mockery, particularly because most London accents, including Hobie’s, are much lighter in comparison to Brits from other areas, in which such omissions and alterations of letters would be somewhat appropriate but still, in moderation. I don’t recommend typing out the accent often, just sprinkle it around for a bit of flavour but don’t consistently write in that way because your writing loses legibility and it gets quite distracting.

Content

The stereotype of British people liking sarcasm is true for most and, in general, we like to have, what we call, ‘a bit of banter’. We’re a jokey people, even if those jokes can be a bit harsh or teasing. Confusingly, even if we are joking around, it doesn’t mean necessarily we’re being friendly, joking is just how we communicate (e.g. “Oh boy, humbling reality Spider-Man has arrived”, “What does that do?” “Apart from having a great name?”, “super humane and not creepy”, “this is a great look…”). I think most people have got this down really well, so keep it up guys 😎🤙

Another thing is cussing, swearing, profanity, whatever you wanna call it. We do it a lot for no reason, mainly spamming the word “fuck(ing)”. So have fun with that if you aren’t already.

We’ll get into it more in the terms of endearment section of Section B but, basically a lot of Londoners are typically not too mushy or affectionate, as is the stereotype for big city people and, additionally, British people in general aren’t the most direct in their words. Obviously, some people are but it’s not the culture if you’re trying to write proper ‘authentic’ haha. For a lot of us, saying sweet stuff can be quite laborious when sincere or cheesy or confrontational levels of direct really 😂 We ain’t the friendliest of types through our words so I'd recommend relying more on context for the sweet factor unless it's a stand-out moment.

Different parts of the UK, even within England itself, have different slang

Idk what else to say about this but yeah, there’s some phrases I’ve seen people use that have me scratching my head cause “nobody [from my area] says those words in that order” but I’m guessing it’s down to people incorporating slang which is more commonly heard up North because it’s all classed as British/U.K. slang when you look it up so, just be wary of that.

Section B: Grammar and Vocab (the thing you’ve been waiting for 😂)

I’ll link a document here so I don’t clog up your dash more than I already have. Feel free to bookmark it or anything, I’ll update it if needed. The contents are links to the relevant section so you can just click those if you’re not trying to read the whole thing.

I only included some highlights of the things that are easy enough to explain just by writing them out with their meanings but it’s by no means an extensive list. I’ve studied a few languages but I’m not a linguist so I just did my best.

If you want to go more heavy with the Cockney slang, I’ll leave it to someone who’s more familiar with it (or not… lol) to explain those terms and when to use them properly.

Section C: References

Of course, it’s all good and all that I’ve given you instructions but to make it sound natural, you’d need a point of reference. Here are some references of black North West Londoners from the early 80s, black East Londoners, black Londoners more generally and a Daniel Kaluuya interview so you can get a better feel of how we sound:

Clip from ‘No Problem’, the first Black British Sitcom

The accents within this one group of siblings is very varied and none of them use MLE, as per the time period. The two younger sisters have accents most similar to Hobie’s. The show follows a group of siblings of Jamaican descent living in a council house in North West London, first released in 1983.

Clips from ‘Chewing Gum’ by Michaela Coel [CW: they're awkwardly talking about sex in a lot of the clips + don't listen to Candice's boyfriend, Aaron, he's not from London lol]

The show takes place in Tower Hamlets, which is in East London and was first released in 2015. Tracy has a similar accent to Hobie and also uses a mix of more general/Cockney-influenced slang and MLE, so this one should both be a fun watch and be useful, you’ll also want to pay attention to Candice who has a more MLE lean to her speech.

Clips from the Foot Asylum crew most of them are MLE speakers, see some examples of our banter with friends lol

Clips from ‘Top Boy’

Another show that takes place in East London, this time in Hackney, which is an area known for being kind of rough in terms of gang activity. Almost all the characters speak exclusively MLE in this show. If you want to watch it, TW for violence and gang activity, death, etc. (18+). You can tell based on the ones I’ve chosen that Sully’s my favourite character lmao.

Fun fact, as you might hear the character, Dushane, reference, Sully lives on a canal boat for a while as a form of refuge. I know a bit about boat dwellers in London from a lecture at uni but if anyone wants me to do more research and do a post and explain the waterways and stuff, again, feel free to drop an ask and I’ll do it :)

Clip from ‘Love Island’ just pay attention to the black islanders, Tyrique and Whitney

I just finished watching this year's Love Island UK so I thought I’d throw the clip of Whitney, Lochan and Tyrique fighting in here lmao

& Daniel Kaluuya talking about Spiderpunk to bring us full circle✨

[hersurvival]

The bedroom was poorly designed, a lack of concern for where the bed may be placed. Yet, that is the entire house, there's no other layout for the bedroom that would have been feasible.

The bed is placed optimally according to rules of harmony. If you ignore the window.

Large doors bring you into the room from the singular hallway of the house. It is a small home. The door sits in a corner, empty wall along where the hallways continues from the outside. And the bed is centered along the opposite wall. Balanced, secure, a sense of safety in the ability to see the door from lying down.

However, the window sits centered along the opposite wall of the door as well. Do you see the problem? The headboard rises up, covers most of the window, never truly allowing sunshine to fall upon you as you take an afternoon nap, or wake up slowly in the morning.

Not that it matters greatly. The house itself is positioned at an angle with the sun. So that the sun rises on the far corner of the garage and sets along the other corner. No windows in either space. And no time of day where the sun may shine into any windows along the front or back of the house.

But I feel a sense of dread, of uneasiness. At the lack of consideration for light within this home. Often times, I feel as if I am withering. My leaves pale in comparison to what they once could have been. Every other day, I feel a new one drop without replacement.

I need to return to the sunlight. How can I shift my home into realignment?

[boxeboxer]

SUN LEI

Origin: asalee

Status: posthuman, piloting a standard Class-1D civilian 2028 CHOSHI-II vessel (modern Delhi variant) distributed by OURO

Nationality/Ethnicity: Chinese-Japanese, living in Hunan-Hubei territory (east mainland China)

Age: 36 (date of birth 5/25/2006, transferred in 2029)

Occupation: museum curator and historian for the Qingdao Museum of Galvanism

About:

Sun Lei (addressed as Lei Sun in English) is a historian living in Qingdao, Hunan-Hubei. She is the eldest daughter of a once-prestigious Onmyodo-Wuxing (OW) family which specialized in weapons manufacturing. Her younger sister is Shui Sun.

Lei has bounced around career paths throughout her life. She formally studied architecture in college, but is now focused on archiving historical documents and data preservation, as well as hosting Japanese language classes. As the curator of the QMG, she does research on alchemical practices from antiquity to the present day. She hopes to revive the lost art of OW and her family’s heritage.

Lei is blunt, and tends to take things personally, thus she holds many petty grudges against people, whether they know it or not. She often is the loudest person in the room without realizing it. A perfectionist that cannot keep still, she considered to be an annoyance amongst her colleagues (who she constantly bothers). She wears her emotions on her sleeve and loves to talk, including to herself. She comes across as prissy or arrogant, when in reality, she’s a worrywart that wants everything in her life to play out the way she sees it in her head. Lei enjoys fancy teas, watching old cinema, and putting together complex outfits.

Background:

As the daughter of a Hunan-Hubei political ambassador and a Japanese weapons manufacturing mogul, Lei was born and raised in Japan, but frequently spent time in mainland China growing up. Despite their wealth, their parents lived frugally as to not spoil their daughters.

Lei attended college in Hunan-Hubei, and graduated with a degree in architecture. She then moved back to Japan in order to be with her longtime partner, Chihiro, but trade embargoes and food shortages brought upon by the Tangent War forced them to make plans to flee back to Hunan-Hubei shortly after.

Lei, who discovered she was newly pregnant, and Shui, afflicted by a waterborne illness and rapidly deteriorating, were placed on one of the last flights still commuting to Korea via a bribe from her parents to the airline. Most planes had been grounded due to a heavy increase in military presence in the surrounding waters. Chihiro and Lei’s parents stayed behind in hopes they could find another escape route once Lei and Shui were safe.

As their flight reached the edge of the Korean coastline, a nuclear warhead touched ground in Japan, the shockwave of which damaged the plane and caused it to crash. Lei and Shui survived the initial impact and were rescued, but Lei was later put on life support and not expected to make it through the night. In a rare act of diplomacy, Hunan-Hubei transferred her consciousness to a posthuman body before she died. Shui was paralyzed from the waist down from a spinal cord injury, but otherwise made a full recovery. Lei’s unborn child could not be saved. All who remained in Japan were declared deceased.

Lei occupies herself with her work and being a carer for Shui. Her and Shui have a close, but strained relationship, as Lei coddles her due to her disability and treats her like a child sometimes—Lei was transferred when she was 23 years old, and Shui, her little sister, is now older than her. It’s her way of coping with that and the loss of her child, albeit not a healthy one. They live together in Qingdao.

[asordidbarwere]

fellers i am Bad at chinese :')

[sscarletvenus]

would i be crucified for saying i DO NOT fw the drama adaptation of professional body double... they woobified my favourite scum gong to such unrecognisable extents, he cannot be the yan mingxiu who terrorized the readers and zhou xiang throughout the events of the novel!

where is his rancidness. MSI counterpart is so digestable mwanwhile I wanted to kill ymx at least fifty times while reading professional body double. where is his terminal codependency. why isn't he domming zhou xiang every scene.

MSI is the lite version meanwhile the actual one needed to be institutionalized in an insane asylum.

[thestormlightnetwork]

Very, very serious research for OROADNC

[fujobritta]

^ @meandmy100blanketsagainstheworld

woo !!! scene from the new chapter of my fic (can be found here) happy late fathers day !!!

[waterbottlqueen]

it is so fucking crazy when i find someone in the wild who has read my fics like wdym all those people leaving kudos r actual real people that are actually real???

[stridingwriter]

Ares + Viktor (feat. The Cardinals + Alan)

Today! The first day of the year! And thus means, celebrating with the Cardinals a glimpse into how they're currently celebrating this time of year.

He’s not used to celebrating the New Years with just himself and the other Cardinals. Rather, he doesn’t think he’ll ever get used to it at all. The whole energy in Ares’ apartment is different with everyone socializing while he’s shut the door to his room because this can’t be real. 

It’s the first year he hasn’t gone home to celebrate the holiday, rather it’s also the first year Alan is skipping their family’s celebration as well. Viktor likes to think that his parents are disappointed in him, in what he’s become. At least then, it’s easier to sleep at night. 

Then the doorbell rings. 

He hears the door unlocking, Ares’ shout of: “Alan! We were waiting for you, come on in. Come on, we’re making some dumplings together–” 

Alan laughs a little, always a bit sheepish when he has to engage with the rest of the team. “I was going to drop something off, I know you all drink sake so I went out to buy some but I also got some beer if that’s more your taste.” 

“Oh you didn’t have to!” Shannon chimes in. “Really, we have so much alcohol from other celebrations.” 

“Technically we’re still working on them.” 

“Slowly, but thank you.” 

“Come on, we need as many hands as possible to help with the dumplings. The goal is to make sure no one can eat another bite after.” 

There’s still chatter in the kitchen, one that’s bright and fills the apartment with so much more life than before. 

Then, then– he opens the door to his room. Viktor knows he should go out, but it’s also far too much for him at the moment and he’s never been good at social gatherings. 

“Are you feeling alright?” Ares prompts as he gently sets the money tree on the table. 

“Thinking,” he easily replies. It’s not the explanation that Ares is looking for and he knows it. “I keep on expecting my parents to barge in, I suppose.” 

“They don’t know where I live,” Ares points out as he slowly walks towards the bed. Which is true, he’s paranoid all over at this time of the year. “Or where we live now.” 

“Thank gods.” 

Then: 

“You should join us,” Ares then says with one of his arms wrapped around Viktor. It makes some part of his brain think that everything’s going to be alright. “Everyone’s sharing stories and Alan’s brought over more rice wine than we’ll ever be able to finish.” 

“Of course he did.” 

But even still, all of this is enough to get him to leave his room, to face the music or at least those who have become his family over these years. Viktor wouldn’t trade anything in the world for them.

[san-shui]

masterpost XD

Hello welcome to my nonsense of a blog! The name's San and my pronouns are she/her. It's not much but I figured that I should create this to organize what I post and write. Also feel free to send asks or anything and chat!

~~~

MAIN TAGS:

#my writing – literally anything I write

#asks – q&a with me

#san speaks – random shit lol

~~~

FANDOM STUFF (mostly from AO3)

Six the Musical

#Araleyn College AU (ACAU) – Catherine of Aragon and Anne Boleyn in college/university

#araleyn vampire au – a fun idea I had along with my bat anon

sueñito – six the musical x in the heights au with @theglareyousee

songfics – one shots inspired by songs

It's in the Past – Anne Boleyn and Jane Seymour confront each other (one shot)

On Monday – Parrmour x Miraculous Ladybug (inspired by @djts-arts's Six MLB AU)

Amphibia

#love - all – a sashanne series revolving around a tennis racket lol

Prom? No or No? – sashanne in high school (one shot)

A New Destiny in the Stars – after 78 years, Anne dies and chats with the Guardian one last time (one shot)

A "Dinner" Date – a sashanne date . . . sort of (one shot)

Firebringer - Team Starkid

An Opportunity to Grow – canon divergence of a Jazzalil moment

RWBY

Unwanted Help – Weiss angst in Vacuo (post v.9)

The Legend of Korra

Overworked – Asami overworks herself & Korra takes care of her

(Last updated: 6/30/24)

[someplace-that-is-else]

GOOD AFTERNOON, LIKERS!!! So...how is your #humpday going? I was on my way to starting my workout. I had a #birthday event to head to. So I wanted it out of the way. And there's nothing like getting into a consistent routine.

And speaking of #consistent, how was my consistency going? Did I have the spark? Let's see. Time for EDITING, TYPING, and WRITING.

EDITING. Well...so much news here.

I HAVE MY COVER.

Why yes, I said that. The cover for HOW THE OTHER HALF LIVES has been found. After starts and fits. I finally went with my gut. And now...it was finally here.

So this week has found me communicating with the artist. It was a good feeling. Also it was an artist that I had work with before. During the search, I thought I had even found a few #potential covers for DARKENED SOUL: THE BREAKING OF CIRCLES. But...let me not get ahead of myself. lol.

In the #category of more good news...the e-book for HOW THE OTHER HALF LIVES was already ready to go. So now I waited for how the physical book was going to look. And then...some changes I was sure. But again, HOW THE OTHER HALF LIVES was closer to #publication than ever before.

So much so that I had an unofficial release date in mind.

More on that next week. ;)

TYPING. Nothing to see here. Move along. lol.

WRITING. In a word...#Restless.

Yep. Restless. My mind this past week has been focused on finishing HOW THE OTHER HALF LIVES. It has been the same this week. So much so...something occurred to me.

I had not been doing much. Typing (see above) or writing wise. And that did not sit well with me. Moreso, because it occurred to me yesterday when I was outside touching #grass. Hahaha.

So I couldn't help, but ask myself...what did I want to do next?

Last night and this morning, I had been working on some decluttering of my space. #fengshui and good energy, anyone? I stumbled on a farewell gift (THE ART OF WAR...to be known so well hehe) from my Serbian friend. I also stumbled on copies of DARKCHILDE and DARKENED TABULA.

I know that I've mentioned that I've been #writing here and there. A horror novel had been on my mind. But this week has found me missing my Darkenverse. Those pesky Nosferatu.

So...I might be leaning toward my characters in that world this week.

So...like I said earlier...methinks there was a #spark...growing.