#so i got wordy

[cellsshapedlikestars]

do you plan out your stories in advanced or do you just start writing and hope for the best? I'm trying to get back into writing but I always end up completely deviating from any plan I made beforehand

My writing process is chaos, anon.

For a tl;dr: I just start writing and hope for the best

For a longer explanation of my process, see below the cut. Also, I feel dumb saying this, but spoilers for my own fics, especially the mysteries (which are better examples for plot planning than my romcoms)

1a) I get an idea, something super basic. Like, "time travel murder mystery" or "Sansa and Jon reluctant roommates". The idea then usually forms into a series of scenes or one particular scene in my head - for example: Sansa is dead, Jon goes to her funeral, later is questioned by police as a suspect, then time travel. Or, Sansa is already having a bad day and arrives at her brother's house only to find he's also letting his friend stay there and they were both unaware & kinda pissed about it, which starts them on the wrong foot as she threatens him with a knife.

1b) OR I watch a piece of media, go "wow they fumbled this great premise hard and I want to fix all the things I didn't like" and then I take the inciting incident and build my own story from there. (See: Doona. Business proposal is different, I actually liked the show, but Jon and Sansa did not fit the main leads' personalities so I had to change everything after the inciting incident. Plus I just find it more fun to come up with my own story than following the source material to a T)

2) this idea does not leave my brain, even if I want it to. I don't think you can force this step, tbh

3) I write a first chapter to get the idea/scene out of my head so I can get back to writing the story I'm already in the middle of. I post the chapter to exorcise it from my mind

4) this does not work

5) People in the comments are excited, which makes me excited! I obsessively think about it until I have a vague idea of how I want the story to go. Usually I have an end goal and some important story beats. Nothing is set in stone, and 99% of the time I don't even bother writing an outline, because I know I won't stick to it. The only "outlines" I make are just a string of ideas in the general order I want them to go in

6) I think of scenes I want, then work backwards to how to connect them

7) when I write a chapter, I know what I want the chapter end to be/the cliffhanger, and I write until I get there. Only once or twice have I had to cut chapters in two, but I try not to do this, even if the chapter ends up being pretty long.

8) sometimes you have to throw away ideas/scenes you thought were set in stone. Sometimes you start writing and those scenes Do Not Work anymore, and that's ok

For example, in mongrel heart, there was supposed to be this big, super dramatic showdown with Ramsay, like this big action movie scene. But when I got there, it felt totally wrong for the vibe of the story, so I went with a more intimate/personal final fight. The scene I had envisioned was totally gone. I had to add Oberyn kind of at the last minute, because I had come up with this elaborate world in the background, and needed to wrap that up.

For you on the run, I wrote the first chapter because "Sansa is kidnapped in a library" would not leave my head. I then posted it and had to scramble to come up with a plot. I knew the why, I knew I wanted it to be for Sansa's own safety, but WHO is out for her? I honestly don't think I decided for certain until she's back in winterfell.

In help me out of the shape I'm in, the bad guy was going to be ol' Bobby B, until I started writing chapter 4 when it switched to Joffrey because I had started fleshing out that case more and liked the horror of it being someone Sansa had "dated" more

Anyway, the gist is, I write as I go, and I go where the story takes me as I write. I'll be completely honest and say that a lot of the time, the excitement in the comments makes me excited to write and fuels my creativity. (this can backfire though. The few bitchy/negative comments on trojan horse kinda ruined the momentum for me on that one, which is why I'm not as actively writing it, despite REALLY liking it and thinking those comments were kinda dumb/narrow minded. And I'm not even talking about the rando anon who seems to have made it their mission to be negative on multiple jonsa fics, those people I don't even take into account. It was the ones from people who CANNOT escape a POV trap and make me so frustrated that I don't want to write anymore lol. I feel like how grrm must feel in these moments). But yes, the basic gist is: chaos and my obsessive brain that needs a creative outlet

I know this method isn't for everyone. I know there are authors out there who write an outline before they ever write a sentence, and they post their first chapter with the chapter count already out, bold and confident in their outline. This is not me. I could never aspire to this level of control

Anon, I hope you keep trying! Write those stories! Be creative! Remember the number one rule of fic: it's FUN, so have fun and write what YOU would want to read!

[dandelion-roots]

[ID: a digital redraw of the scene where chuuya shoots dazai in the shoulder. on the top of the drawing is chuuya holding a guy to dazai's head in the red and grey hallways of the prison. on the bottom of the drawing is dazai's pained face. the gunshot is shown stylistically as hectic lines behind his bloody shoulder. over the image is half a quote from goncharov that reads 'if we really were in love you wouldn't have missed.' the signature says dandelion-roots. end ID]

This quote from Goncharov (1973) in relation to soukoku has been haunting me from before I even got to that scene in the anime (the full thing is: Katya- Of course we're in love, that's why I tried to shoot you/ Goncharov- If we really were in love you wouldn't have missed). Violence as a tool for communicating emotions, especially love and hatred, especially love and hatred makes me go feral- how could I not think of the iconic quote that says that katya's miss was a sign of a lack of love/a fake love when chuuya didn't miss? Just... losing it over here.

[starry-bi-sky]

tales of the passerine - danny fenton being bruce wayne's first kid

okay okay. so this is like a continuation/elaboration of my oneshot/prompt i wrote about the idea that Danny was the first batkid. We have a lot of aus where he joins the family after the rest of the bats do, right? So hey! Lets shake things up a bit. Danny is the first to be adopted by Bruce Wayne.

Danny's parents and unfortunately Jazz die shortly after the events of TUE -- how so? I was gonna say an ecto-filter explosion, that would call back to the TUE explosion and trauma behind that. But lets do something new! Carbon-monoxide poisoning.

It's not too unexpected for something to break in the Fenton house, especially with the Fenton parents' questionable understanding of proper weapon handling and lab safety. The water heater broke from a stray shot by one of the weapons, and was promptly MacGyver'd incorrectly. Danny went to stay with Tucker for a guys' night, and came back to a dead silent house.

(Danny's neighbors got a very unfortunate shock when he ran to the next house over in hysterics.)

There was a lot of shuffling around with CPS, the police. People had to be called in to handle the equipment in the lab, and the GIW was rumoring to show up in aid to clearing the scene. When Danny heard of that, he immediately went and dismantled the ghost portal to the best of his abilities. He burned the physical blueprints of all his parents' inventions, their blueprints on the ghost portal, and their most dangerous weapons were destroyed beyond recognition. Anything to prevent the GIW from getting their hands on his parents' tech.

It opened up another investigation, but he was not under the list of suspects. He was placed in the care of Vlad Masters, where they then went back to the rebuilt castle mansion in Wisconsin. Danny, terrified of the future that has once passed and may do so again, shuts down in his grief. Inadvertently, he ends up somewhat repressing his ghost half. Something Vlad, who is grieving Madeline but relishing in Jack's demise and his custody of Daniel, is not very happy with.

Vlad's... gone into a bit of a mental health spiral. He's becoming increasingly possessive over Daniel, the final remnants of his friends and a liminal being like him. He doesn't like that Danny's repressing his ghost half -- both out of genuine concern as a ghost, but also because of his desire to control Danny and groom him into the perfect son. If you ever had a phase where you read Dark SBI found family fics, first off; me too bro, and second off; those are the vibes I'm thinking of.

Danny's mentally shut down from grief! And fear. He's dropped into a bad depressive state -- paralyzed with grief and the terror of the inevitable. Clockwork saved his parents because he believes in second chances, but what's the point of that when his family ended up dead anyways? Danny doesn't wanna believe that he's destined to become evil, and he's holding out onto that hope, but it's a thin line, and he feels utterly hopeless and trapped. He hasn't used his powers or ghost form since he trashed the lab, and Vlad has alarms set up to prevent him from trying to escape.

He's also unintentionally cut off Sam and Tucker -- both of whom are so scared and concerned for Danny too, and are trying their damndest to reach out to him. He keeps ignoring their texts. Danny basically haunts Vlad's manor. He goes out to eat if he has to, attends parties Vlad drags him to, and stays in his room all day if he can.

At parties, Vlad doesn't allow Danny to leave his side, or really talk to anyone -- not that Danny wants to. A product of Vlad's increasing possessiveness. Well, he almost doesn't let Danny leave his side. Danny has a habit of slipping off to hide somewhere for the parties whenever he can, and Vlad reluctantly allows it so long as he stays alone.

This becomes an advantage when eventually, Bruce Wayne returns to Gotham after missing for years, and holds a bright charity ball to celebrate the return. Vlad has been chomping at the bits to get his hands on Wayne Industries, and with the return of its owner there is no better opportunity to wipe out his rival. He goes, and he as normal, brings Daniel with him.

Vlad thinks Wayne will bleed his little heart out for Daniel's poor orphan sob story -- he's a fellow orphan himself, after all. He's not wrong; Wayne's little heart will bleed, just not in the way that benefits him.

Bruce sees Vlad and Danny approaching before they're even close enough to introduce themselves - and like with many of the children he will soon come to care for, it's like someone set a mirror into the past right in front of him.

Danny Fenton's suit is tailor-made for him, and despite the fact that it's his perfect size, the sag in his shoulders, the ducked down head, and the way he hunches into himself all pictures the image of a child in shoes too big for him. There's a far away, glazed over look in his eyes and grief marble-cut into the lines of his face. There's not enough makeup in the world that will hide the dark circles under his eyes.

("My nephew, Daniel Fenton." Vlad's hands are possessive on Danny's shoulders. Bruce immediately notices the way the boy tenses under his touch. "His parents passed recently, and as his godfather I was designated his guardian.") ("I'm so sorry, the loss must've been terrible.") ("Yes, carbon-monoxide poisoning caused it. Daniel was out with friends, when he came home... they had already passed.") (Bruce immediately dislikes that Vlad shared the details of their death unprompted -- he likes it even less when Danny flinches at the reminder and hunches into himself.)

Danny runs off at some point earlier into the charity. At this point, parties are still being held at Wayne Manor (because iirc google search mentioned that was a thing at first before it was changed), so he disappears and hides in one of the empty rooms nearby. It just so happens to be the same room Bruce Wayne hides in when he needs a break from all of the socialization.

Thus begins a long, long process of trust. Bruce can't reveal his hand as being smarter than he looks, but he can be compassionate. Kindness needs no measure of intelligence. He keeps Danny company for as long as he can before he runs the risk of being found.

Rinse and repeat. Vlad insistently wants Wayne Industries, and he'll go to as many Wayne parties as he can to get his hooks into the man. The problem is that Bruce Wayne is never alone, and getting him alone is impossible. Finding him too. It's like the man never stops moving. Always talking to someone, always circling somewhere. He orbits around the room as if he isn't the sun of the Gotham Elite's solar system.

Danny's had such repetitive behavior that Vlad never thinks to believe that Bruce Wayne is disappearing to go talk to him. That "Vlad's" son is even interacting with him at all. Danny never gives him a reason to think so, and neither does Bruce.

Danny doesn't actually acknowledge Bruce until a handful of parties in, where he hands Bruce a small slip of paper he smuggled in that says; "don't trust Vlad". Danny's face stays carefully blank, but he's so tense that his hands are trembling, and he's purposely looking away from him. Bruce plasters a smile onto his face, slips the paper into his pocket, and tells him "okay".

(he's been busy with his own goals with the mafia, but he sets aside time to investigate Vlad Masters. He was holding off. Until now.)

Danny does eventually start speaking to Bruce, he's starting to really like the guy. He's starting to see a little hope, even as Vlad is starting to get more and more agitated with him the more he refuses to use his powers.

He reaches out to Sam and Tucker again, and starts trying to reconnect with them. Vlad has spyware on his phone, and he limits the amount of times he can talk to them. A weird parental control lock of some sort that leaves a time limit on how long he can talk to them for. 30 minutes. Danny doesn't tell them anything about Mr. Wayne.

Danny, slowly, wants out of here, and he's slowly gathering the motivation to do it. Vlad is genuinely scaring him -- and Danny wonders just how truthful the past-future Vlad was when he told him that Danny wanted his ghost half separate. He starts trying to come up with an escape plan.

Vlad has anti-ghost wards everywhere around the mansion, and while they're always on, they boost to full power at sunset. The doors and windows are always locked, all main exits have alarms set on them. The only reason it's not super extensive is because Danny hasn't tried leaving at all yet, so Vlad hasn't had to tighten anything.

At night, Vlad locks the door to his room and puts up an anti-ghost ward around the room. The mansion is on the outside westward side of Madison, more entrenched in rural Wisconsin. The closest town is a four-way stop sign with one house on three corners, and an open bar on the fourth. Not much to go.

He refuses to go to Sam and Tucker; Vlad would look there first. It's too dangerous. Vlad would sound alarm bells and have a manhunt looking for him, Danny can't risk going just anywhere. Too much risk of being found, sold out, or caught. There's really nowhere for him to hide.

Until there is. Bruce is telling Danny about the history of Wayne Manor, and says, as casually as saying the weather; "The manor has dozens of empty rooms, I'm sure Alfred wouldn't mind filling another one if he could." And quietly, hesitantly, Bruce places a careful hand on Danny's shoulder, unrestrictive and gentle; "He wouldn't mind getting one ready for you if you need one."

And there it is. There's his out.

Danny, just as quietly, replies; "I'll keep that in mind."

The ball starts rolling.

Now I've been trying to summarize this au as much as possible for length convenience, but Vlad has been steadily growing more and more controlling. More emotionally manipulative. More agitated at Danny for not using his powers.

He wants Wayne Industries under his thumb but he's been steadily growing more and more concerned with Danny. He's started grabbing him, yanking him around, shaking him; trying to goad him into using his powers. He gets angry when Danny doesn't react, or tells him he doesn't want to use his powers. He hasn't outright attacked him, but he's getting there. This has been happening over the time it takes for Bruce to indirectly offer Danny sanctuary at his home.

It all comes to a head when Vlad stops going to parties at all -- something Danny has to pretend he isn't upset about -- because Vlad doesn't want him around other people anymore. Vlad rarely goes now without him, and only leaves to go to a Wayne function or to handle something at VladCo.

Danny can't wait for Vlad to leave long enough to escape. So he leaves during the night of a big storm. Vlad's locked him in his room, but Danny doesn't bother trying to go for it; he goes to the alarmed window instead. Danny's been repressing his ghost half so long that he can't access his powers immediately anymore -- he can feel it, he knows its there, but he can't quite reach it.

He breaks the lock by hand.

Immediately the alarm goes off through the entire castle, filling the room with red, and he scrambles for the rope the Wisconsin Ghost left for him a few months back. Danny's already out and climbing down the side of the castle before Vlad even reaches his door -- the only good thing about the entire room being ghost-proof is that Vlad can't get in that way.

The rope ends before it reaches the bottom, and he's still twenty feet in the air. It won't kill him if he lands it right. Danny takes his chances, and drops. He breaks his ankle, but he survives.

And he fucking books it to the back garden. He hears Vlad shrieking over the thunder and rain.

I'll save the full experience for a future oneshot, but Danny makes it out into the nearby woods and forcibly experiences what it's like to be in a horror game, trying to hide from the thing that's hunting you. There's only one thing going through his mind; "i'm going to die"

I have this mental image for this scene. Very stereotypical horror imo. Where Danny is hiding behind a tree, with a hand over his mouth, and Vlad is a few feet away from him, glowing ominously red through the trees, trying to search for him.

Danny doesn't get away from this unscathed, but he does get away alive. That's all he could ask for. He gets away by getting his ghost half awakened long enough to transform into Phantom and fly to Gotham.

But he gets to Wayne Manor, he gets to Bruce. Or, at least, Alfred answers the door from his insistent pounding. Danny's just in tears and Alfred gets him in the living room, wrapped in a towel, with ice on his swollen leg before he has to step out and alert Bruce.

Bruce already breaks multiple traffic laws on a nightly basis. And that's just with the sheer existence of the batmobile itself, not including the speeding and military artillery attached. He breaks double the amount trying to speed back to the cave and get out of the suit.

Right off the bat: Bruce will know, at least before Dick enters the picture, about danny's powers. He'll figure out something considering the fact that Danny traveled from Wisconsin to New York in a single night. That'll be a bit of complicated affair, but I've already got something in mind.

Actually it'll probably be very soon after Danny joins the family, because Bruce tries to offer to fight for custody for Danny - the state Danny was in at arrival is clear enough evidence for a trial. But Danny immediately shuts it down, says it's not going to work and then Vlad will know Danny's with him and he won't be safe. He tells him that Vlad cannot know Danny was with Bruce.

Danny's biggest regret was not telling his parents he was a halfa, and while he doesn't want to tell mister wayne (yet), he does tell him about Vlad being one. He needs to know why Danny can't be seen with Bruce. So he tells him, and Danny's current plan is to just hide out from Vlad until he turns 18. That way, he has no more legal jurisdiction over him. After that? He's not sure.

And to wrap this up, since this has already gotten very long and I can make more posts about this au later; I've thought about it, and I'm going to say that Danny does become a vigilante before Dick enters the scene. He goes by, as you probably guessed; Nightingale. "Gale" for short.

[hajihiko]

Let me just say, I LOVE the way you draw Junko. She's like a mix between a haunted doll and a hollow scarecrow

Thank you shes increasingly fun to draw

Junko, the girl, alive and (physically) well

Junko, the body dead but too much of it remaining inside others to be gone, her ideals living beyond her years and becoming synonymous with her name, turning her into not a girl but an idea, the most unkillable thing

[moeblob]

As an attempt at a polite "going forward" comment...

I do not plan to draw for Three Houses or Hopes for a long while. I know a lot of my followers are from the past four years and I appreciate that you followed me at all! But if you are only interested in the art of those characters I wanted to be clear and say you can unfollow me at any point if what i draw no longer aligns with what you want to see.

I might draw for other FEs (like Heroes or 13/14/17) but I do not want to get involved with 3H any more. I do have other interests and across tumblr, twitter (now inactive), and sometimes on discord I've heard enough "I thought it was (FE3H character)".

This is not one person doing it and it is not simply one character being mistaken. I simply want to distance myself from 3H and have unfollowed a few people that reblog art of it because it just leaves a lingering bad taste in my mouth.

Thank you very much for your time and I hope you can find artists who can provide art for topics you like.

[entropyvoid]

Golden Hour (+ lineart below cut)

I took a picture of the lines for once and did some basic crappy photo editing on my phone, so you could probably print this out and use it as a coloring page or something if you so wish lol. Do with it what you will.

[starpros-sunshine]

Eichi gives away the mask so easily because it was never meant to be an "engagement ring" like you delulu wataeis imagined it to be lmao. It was wataru saying that he will continue playing tsumugi clown role in fine and won't leave it for hokuto's mother troupe after graduation. Do you dumb fucks even read the stories? Eichi didn't even understand tf that mask meant when wataru gave it to him and wataru referenced fucking tsumugi in his "proporsal". I dunno why the f you think it's ok to lie about "! EnDiNG wItH wAtAeI EnGaGeMEnT" when the chapter it happened wasn't even close to the end of ep:link. Cope

PS: how do you live with the fact that Eichi clearly admitted to never being in love in his life and Wataru said that even though Eichi likes him, he still can easily discard him for the sake of his objectives?

I love you anon thank you for giving me a nice reason to ramble again beautiful ask 10/10 I'm sorry this is probably not how you hoped this would go but this is such a funny block of text delightful really thank you for the enrichment please marry me

But okay yes now to get down to the actual ask just to disclaim I am solely relying on translations seeing as I do not speak japanese well enough to understant the original text so if anyone has anything to add to this or to correct me on please feel free to do so.

Now to get started I'm not sure if one could say Eichi gave away the mask "So easily" seeing as he claimed that it was "a hard choice to make"? Which, as one might know, implies unease with an idea and pondering and debating and a general amount of thinking behind a decision so? I know this isn't really the main focus of this ask but I'm just a tad miffed with the semantics of it is all. And in either case giving the mask back to Wataru while expecting it back still shows a certain degree of trust in their relationship it wouldn't have been such a big deal for him (as it apparently was) if the mask didn't have a lot of sentimental value to him (the both of them really if we look at the whole exchange).

Now to the claim that the mask was "only" Watarus promise to stay with fine and "continue playing Tsumugis clown role". This is not entirely incorrect. Regarding the acting troupe and staying with fine bit at least.

I'm assuming this bit in EP:Link Deadend/7 is what you are referencing, and I see where you're coming from. But the bluebird line

from literally three dialogue lines further down, which references this line of dialogue (notorious Eichi line everyone should be familiar with)

kind of somewhat really recontextualises that? Because you see this is a reference to a fairytale about a pair of siblings and they get sent out by a nice fairy to find the bluebird of happiness for her sad daughter to make her happy again so they both go on an adventure and travel far and search and search but they can not find the bluebird of happiness and then when they return home again, disappointed because they couldn't find the blue bird, they realise only one night has actually passed and the journey was probably just a dream. But then their eyes fall upon their pet dove in it's cage which appears blue all of a sudden and so they gift it to the fairies sad daughter which becomes happy again and sets the bird free. The real bluebird of happiness is a dove. At least in the version of the story I'm familiar with but I mean everyone sees the symbolism right? It's. very hard to miss.

And then dropping this?

I'm not sure how to say this properly but in the overall context this makes it pretty clear that Tsumugi has nothing to do with this anymore this is Fully between Wataru and Eichi. And I am the last person to dismiss Tsumugis significance in the course of Wataeis relationship as characters I will be among the first to protest when someone dismisses the importance of Tsumugis and Eichis relationship in favour of some image they have of Wataei but he has nothing to do with this one.

Yes Tsumugi gets namedropped but - again - I don't really see how that would lessen the sentiment Wataru is triying to convey here? Because. Yes. Why wouldn't he mention Tsumugi?

The entire conversation pretty much boils down to "Yes I was initially only in this because I thought I could replace Tsumugis role in your life and then I wanted to leave but we have spent so much time together that I realised that that is definitely not working out because I really do love you. I love you as a teammate; I love you as a friend; I love you as a person and I am very angry at myself for not managing to get that into your head. So please allow me to stay with you for as long as you'll have me." And then also Eichi not understanding because he has the emotional self awareness of a very emotionally unaware loaf of bread and also because he hates himself that is a very big thing about his character huge part of his character arc actually that he. you know? Hates himself? And feels guitly for his actions during the war? And doesn't think he deserves love and companionship? Which is why Wataru wanting to stay with him for him and not for some twisted form of revenge is such an alien concept to him? Because he is projecting his insecurities onto Wataru? As one is wont to do when they hate themself? "EiChi Didn'T eVen UnDErStanD WhAt tf ThAT Mask MEAnt" Yeah. That's. That's the point? So he can think about it and come to that conclusion himself which works as a keymoment in his characters journey from hating life and himself to enjoying being alive and wanting to live on because of the people he's surrounded with? He literally explains why he didn't immediately understand the mask during the EP:Link Epilogue/4

And to get back to the "I dunno why the f you think it's ok to lie about "! EnDiNG wItH wAtAeI EnGaGeMEnT" about which I have two things to say:

"Lying" implies further intent and an effort. Neither of which exist in this case.

He literally went down on one knee while making a big proclamation of offering himself to Eichi with a very personal item that works as a symbol for their commitment to each other on a starlit rooftop. The comparison writes itself.

3. https://en.wikipedia.org/wiki/Joke

And then I expected there to be a proper reason given and instead you proceed to follow that up with "when the chapter it happened wasn't even close to the end of ep:link". I know the shame is on me for expecting something sensical from an ask which has been near constant in it's lack of correct statements but such is human nature I suppose. And you are not wrong. Deadend/7 isn't very close to the end of EP:Link. That is true.

But do you know what Is very close to the end of EP:Link? The Epilogue Chapters 3-5.

Do you know what the content of those chapters is? I do. Very well actually :)

(Eichi literally explains why he didn't get it)

So if this answers your "Do you dumb fucks even read the stories?" questions, Yes. And I think I'm a lot better at it than you. So I'd say I'm coping quite well over here :p

PS: Regarding your PS, I take the "I've never been in love before so I wouldn't know" comment with a lot of humour actually as an aroace person who's emotional self awareness also ends at "good" and "Not good" I think it's very funny all things considered especially because he mentioned the loving Wataru thing several times before that and I'm generally of the belief that actions speak louder than words and also am in a happy long term relationship with the concept of "Reading Subtext". So please excuse me for not breaking down in tears everytime someone reminds me of that one singuar line of text in one of my favourite all time enstars stories that came out three years ago which also brought us the single best card set in the entire game

as well as absolute banger dialogue such as

Among others <33

And there are soooooo many other examples of wataei dialogue that simply make me swoon but I have already had to take out so many of the one's I wish I could put here so this wouldn't get "Do you love the colour of the sky" long

And also, regarding your "Wataru said that even though Eichi likes him, he still can easily discard him for the sake of his objectives" I'll just say that no he absolutely could not. I mean he'd say that and if pull comes to shove and he has no other option then he might seriously consider it but may I mention that Wataru was gone for a few days at most but really not that long of a time during Sanctuary and Eichi stopped considering being a normal rational person that doesn't leave helpless 17 year olds in the midst of a construction site. Very different situation but I feel like it's worth mentioninh here. Another example is Eichis almost not being able to go through with the war because of Wataru. Wataru had to actively come and tell Eichi to go through with it. Wataru isn't the reason Eichi started the war, that is wrong, but he is the reason Eichi almost didn't finish it. and during the war era that was his Main objective. Again I'm part of the fraction "actions speak louder than words" Show don't tell and all that, but even the words are pushing it.

And that concludes my essay :)

[mollymarymarie]

I completely understand your rightful aversion to JKR and her horrendous views, but oh, selfishly I really wish you would continue to write Wolfstar. You write them so beautifully, and I think your art highlights, celebrates and encourages queer love stories like no other. Your work is certainly very important to me personally and helped me through some things in my personal life, and I'm truly sorry to hear you feel like you have to give it up because of her. She's taken so much from all of us - if writing Wolfstar brings you joy, why let her steal that from you too? (This is all said with the greatest love and admiration, of course)

oh friend 🥹🥹 you are so kind, thank you

honestly, that was why i KEPT writing wolfstar, as a big queer fuck you to jk for being such a fucking garbage can of a person. i kept writing them because sometimes, people told me the same thing you did, that my stories helped them/you through personal shit. i kept writing because i knew she could never take them away from us, not the wonderful myriad of versions that WE created of them.

and then i got shit for being over 30 and writing fanfic, being over 30 and writing HP fanfic, writing fanfic in general, writing HP fanfic when jk is such a piece of shit. so, unfortunately, it wasn't JUST jk's transphobic bullshit that made me shy away, it was other people.

i know this probably makes me sound childish (mean people on the internet were picking on me 😫) but i'm just a person with a regular job and i was doing it for fun. posting my words for fun. so when i started associating that activity with those mean people on the internet, it gave me more stress than anything else. i think i'm still easing back into writing, in general. long periods go where i don't write at all. i still struggle with analyzing everything i say or do.

but i'll never stop loving wolfstar. it was my biggest hyperfixation for so long, i don't think that will ever go away. and maybe i will get back into writing them, i'm not sure. if i do, it will be because of messages like yours that gave me a reason to remember why i started <3

[josephtrohman]

Joe reaches above his head, pushing onto his toes, to put a clean frying pan on the top shelf, pulling his t-shirt up with the motion. There’s a flash of the dimples near Joe’s spine, at the small of his back—an unnecessarily sexy part of him, in Patrick’s opinion—holding Patrick’s attention. Patrick feels pulled to him from across the kitchen, unconsciously, fingers curling over hip bones, thumbs holding the hem of Joe’s shirt out of the way to get an eye full. He stares with wide, yearning eyes... Or: Patrick catches a glimpse of Joe’s back dimples, and he has to act up about it. Naturally.

top patrick/bottom joe nation i wrote a little bit of married/domestic flavoured smut inspired by joe's back dimples, hope u enjoy <3

[soundleer]

I don't know if this count weird or not but what if I want to Ship Sky with my Oc? Like the same age as him or even make them older

I mean like selfshipping and oc X canon are different right? Bc if it wrong I make had to to change that character

before i answer this, i wanna say that im aware ill probably word this poorly so it'll come off in a way it's undesirable to hear but ill try my best to answer in the most collected fashion

apparently there seems to be some confusion regarding this topic and where the line should be drawn but hey ill assure you, yes selfshipping is entirely different from oc × canon. ill also say this too and in my personal opinion, i think its okay to ship sky with your oc who's also a minor!

you may not think this parts necessary but i feel like its needed as good rule of thumb for others: unless you decided to make that same oc age along with you in real-time, i see no issue with shipping an oc with sky especially if they're at the same age range as him!

*TL;DR selfship and oc × canon are completely different, therefore its not weird to ship sky with an oc thats on his age range!*

[mechahero]

Ideas List!

Not quite a wishlist because I'm not really wishing super hard for any of this to happen, but it would be a neat thing to use as a prompt in general. Just neat little things to do, you know?

Bumping into each other during one of Motor City's frequent "apocalypse" events. (Be it of the vampire, werewolf, or zombie variety) It can go a few ways, two could involve being escorted to a safe zone and having to deal with the danger that comes with that or being immune to help fight through it and get the undead back on track and knock them out of their blood drinking/flesh eating stupor.

Take him out of his element. (Say into space? Maybe?) Fun (and maybe not so fun and dangerous) adventures in space. Surely he won't die out there. Surely.

Adding on: it doesn't just have to be out in space. It can be smaller situations. Drag him out to a party full of people that won't kick him for sneaking in to steal from their snack table. Hell, not even a party, anywhere. Chilling hours more or less. Or at least trying to.

Sparring threads! Yes, he does tend to fight tooth and nail on here and will often avoid fighting without a reason (at least when it comes to sparring) but what if he gets put into an environment where he has to deal with a more "relaxed" form of fighting? Also, it'd be fun to see about what kind of hang-ups he has to deal with in regards to that.

Monster of the week shenanigans. Or better yet, weird shit in general happening and both of our muses are more or less dealing with it or trying to figure out how to solve it. Because you know, a building gaining sentience and dissolving people isn't a thing you want hanging around, you know?

[arsprince]

i outlined brief character tidbits here, ages ago... but let me ramble a bit more about the evil bird prince and, specifically, how i approach the show canon. 🦉

with regard to the narrative. i portray stolas as an antagonist, as was intended originally in the pilot episode. i draw inspiration from the gothic genre, with stolas as the morally grey-but-mostly-wicked antagonist that looms as a constant threat / nuisance for blitzø and IMP, tackling themes of classism and the political structure of hell — given that their business only exists because stolas permits it.

with regard to his origins. i will eventually make a detailed lore post on the ars goetia. as detailed in the lesser key of solomon, or the lemegeton, there are seventy-two demons comprising the dynasty of the ars goetia. stolas himself is the thirty-sixth demon and he is ancient. abiding by demonology, the ars goetia, the most ancient of them, are the fallen angels that once served lucifer in his rebellion against heaven, aiding him in his quest against the Lord. (whether this rebellion was a war, as in paradise lost, or rather the mere act of tempting lilith & eve, as in the show.) for their loyalty, they were granted command over lucifer's legions and his magic & grimoires. stolas himself was young during the time of the rebellion / the fall, os his memories are only vague. of the ars goetia & their respective powers, stolas' domain is astronomy. he embodies the pursuit of knowledge, a scholar among demons if you wish to summon him, offerings he might appreciate are herbs, precious stones

with regard to his ambitions. stolas' ambitions have lain dormant for centuries; he had entertained himself by tormenting mortals before but gradually, hell's influence on earth has dwindled and the days of medieval wars and demon summoning are mostly over. with lucifer absent in the politics of hell, and the power struggles occurring, primarily within the pride ring with all the overlords and their turf wars, stolas thinks it's time hell went back to its former glory. he's mostly just bored of lounging around and gossiping with the aristocrats when once he used to command armies. he would like to amass more power, surely. strike a few strategic alliances.

with regard to IMP and the grimoire situation. as mentioned, stolas grants them the grimoire for their business. he does this on the premise that they do his dirty work for him and take out whatever mortals he needs them to. of course, this is kept hush-hush as it is entirely illegal. whatever this means for his & blitz's dynamic, i leave on a per-interaction basis. i'm down to adjust this, especially in light of the new episodes, and plot something out!

with regard to my headcanons. i think it'd be neat to explore some political intrigue with the ars goetia, to have stolas actively engaged in a political chess game with andrealphus. i'd also like to explore more of his & stella's arranged marriage, and their dynamic, for which i'm open to all sorts of interpretations. basically, i'd love to plot out all the canon dynamics and see how we can make it work. also stolas making deals with sinners / overlords for mutually beneficial reasons.

[waitineedaname]

me and my friend have the same thesis advisor and we just learned that she gave us different page counts for how long our proposals should be, and either a) it's because she's just playing fast and loose with the proposal guidelines, or b) she knows my friend tends to write too much and I tend to write too little, so she gave me a longer page limit and my friend a shorter one. I really hope the second thing is true because that would be the most genius brain maneuver and she deserves a raise for that

[musashi]

hi please don't tag my selfies with that 'looking respectfully' shit either call me ugly with your whole chest or simply do not reblog at all <3

[iorekbyrinson]

Sorting Better Call Saul: part 2

I promised this post...like, a year ago, so I'm posting these three I've got some kinda idea about now as a peace offering. Not the full cartel yet, but watch this space!

Mike Ehrmantraut - Lion Badger, Burnt primary, Bird model

Ok, to start with Mike. Mike has the traits of all four houses - the hard work and honesty of a Hufflepuff, the loyalty of a Slytherin, the intelligence of a Ravenclaw, and even the fierceness of a Gryffindor when roused. Let's start with Hufflepuff, which is the first - Mike has a Puff streak a mile wide, valuing honesty, hard work, and fairness to an insane degree.

You could argue that this could be the iron clad code of a Ravenclaw, but I think that's a myth. Mike has put on the icy and unfeeling armour around his Puffness to match the "code" of the gangland warfare he finds himself in, but it's got too much of a warm Puff heart to be truly Ravenclaw. Scratch it and you find the gruff older mentor who takes Jesse under his wing, the one whose arguments of "in or out the game" are essentially ways of stopping himself feeling for those who he is forced to kill, and despite all that is the character most likely to stand in harms way to protect another who he can't bear to see harmed - Nacho, then Nachos father, then Jesse, even Werner.

In both series, this devotion specifically revolves around his love for his granddaughter. It's all for Kaylee, for him to find a foothold in his granddaughter's life, and provide for her future. In simple terms, this seems like a Slytherin way of categorising his world - caring, in a structured form, with blood prioritized first - or is it? The Slytherin loyalty rears it's head, but I actually think Mike is working off the terms of paying a debt - that he "broke his boy" by morally corrupting him, making him take a taste of the corruption he'd dipped his hand in for pragmatic reasons for decades, which led to his death. Now that's a vessel you can never really fill again.

This cool headed-ness and Mike's legendary problem solving skills could indicate Ravenclaw, but I'm disinclined to consider it for either primary or secondary. Mike simply doesn't work along the same terms as Gus or Chuck. He's a deeply felt man that's found a way to operate in the world using higher means of practical tools and skills. But Mike TOILS. He doesn't form master plans or collect people to suit specific purposes, and out of the whole cast he's the most likely not to socially engineer a situation (well, aside from a bit of acting now and then), turning his nose up at Gustavo's double life and scripts. Every single plan he has works on the basis that he can deconstruct it down to its bare essentials (see: the infamous car scene). He's patient, like stone under deep earth. You try and move against him and he is utterly firm. In this way, I'm going to anoint him a beautiful Puff secondary with 0 interest in mirroring or people pleasing.

So what's his Primary? Well firstly, Mikes primary is deeply charred. It's the tragedy of his character - a man so capable, so intelligent and functioning in the world, yet his heart is utterly dried up. There's no gas left in that particular tank, by both circumstance and design - if Mike allowed himself to feel, he would annihilate himself in disgust for what he sees as his transgressions (JBanks discusses this). So, a moral, felt Primary. I'm gonna say he's not a double Puff. Mike shows little interest in belonging to groups and in fact thrives as the archetypal lone wolf, like a gunslinger with a broken code. He's dead to himself and yet deeply aroused by things pertaining to his own individual morality - like Hector massacring the Good Samaritan, or Gus paying off Werner's wife. Mike, Burnt or not, operates from a sense of judgement about how the world should be, and deigns his own judgement frequently. One of the tragedies of the show is witnessing this drying up - going from trusting his gut instinct of right and wrong to becoming an accomplice to Gus having given up on his sense of morality entirely. So, Gryff primary, making Mike Ehrmantraut perhaps the most unlikely Lion Badger in the whole compendium.

Lalo Salamanca - *RETYPED (prev Bird Snake) Lion Snake, Burnt Badger secondary model

*see below post for new Primary reasoning

(((Now, Lalo. Definitely NOT an internal primary - I see external primary AND external model for this guy. He strikes me as a Bird Snake actually, and the reason I don't build his sorting the way I did with Mike is because Lalo is best taken from the outside in - it forms a more complete picture of him (because there's nothing going on inside).

First, getting rid of that typical Slytherin primary. To do this, we need to look at where his main trait, commitment to his family, comes from. For Snake primaries, this loyalty is innate and instinctive. However, when we see Lalo acting out of instinct, it is almost certainly for survival - or *fun*. This guy is going around setting a charge to situations that majorly eff things up for HIM AND HIS FAMILY because he gets bored. He never shuts up, constantly on one tangent or another. Now, that's not to say Snakes can't be chatty (especially Snake secondaries), but Lalo's constant stream of consciousness seems to have a function. It is a pure externalisation of his interior monologue, a way of understanding and implementing his ideas and actions. Snakes need to reserve a portion of themselves for themselves in order to survive. Lalo, arguably, shares too much, flying well in the face of a TRUE loyalist manipulator (which is also why Gustavo gets so pissed with him, because...he's a real, true blue almighty Snake and he CANNOT understand or even tolerate the faux Loyalty the Salamanca family wears like a badge of honour. After all, he "understands blood for blood").

Secondly, he's got that Bird Snake vibe of being a manipulator that is just weird enough to get everybody's hackles up whilst staying (almost) one move ahead of everybody else. Also, when you leave him alone (and let his walls come down a bit), he starts theorising - random theories about Gustavo, and when he's by the fireplace with Nacho, little nuggets of not being able to sleep at night. It's a funny scene, one a lot of the fandom interpreted in a VERY Snake way as a sign some kind of loyalty was being exchanged/revealed, but in honesty it's kind of both trite and sad. Lalo trusted Nacho enough to reveal one of the twisty sides to his character, the intellectual grain in a personality entirely constructed to fit the macho conventions of the cartel.)))

Lalo has a very, very dark Badger model, which he uses as an in to his messed-up family, and also to smooth cartel relations (which, ironically, causes an oil/water reaction amongst folks, because Lalo isn't precious about his Badger model and his real self tends to bleed through - Lalo simultaneously gives the impression he's including you AND excluding those he doesn't like, in one smooth swoop. It's very unsettling for ACTUAL regular Badger Juan Bolsa, who far prefers Gustavo's very specific brand of Snake packaged in servile Double Badger. It's easier for him to understand.) It's a social convention that greases the wheels in the cartel families/businesses, which are hierarchical, you're-with-us-or-against-us places. Gus also does this, but he does it a lot less graciously than Lalo, because he hates everyone and gets nothing from it. Lalo enjoys the way it relates him to others - such as with his staff, or his family, or Eladio -, and he coaches Nacho in these methods later in order to get him into Eladio's good graces.

This is just speculation, but I have an instinct it was also a way of packaging the brutal dehumanisation and pack-loyalty the Salamanca family in particular seem to enjoy. Hector has compelled his whole family into a cult of following the family credo (family is everything) as a means of centralising his power and bolstering his hair-trigger ego. The younger Salamanca generation are all lessons in how individuals respond to that kind of pressure - Tuco, perhaps the most like his uncle (Hector would love to think Lalo takes most after him, but that's untrue) goes all in on his own Lion secondary, the twins become shallow facsimiles of Badger secondaries with their own Sortings buried perhaps so far they will never be found (and always be within reach of their best securities, each other) and Lalo, perhaps the cleverest of all the Salamanca progeny, learns to model or even perform a Badger primary in order to SEEM like he's fully in step with the structures around him whilst following his own path.

Actually, I'm certain it's a Badger performance more than a model, one he seems to knowingly laugh at (such as when he sees Gustavo doing the same thing and sees RIGHT through it, such as when he goes to Germany to see Marguerite and Casper and keeps up his performance of "American Tourist Abroad" for approximately twenty seconds. It's not Marguerite's fault she was a trusting Lion primary and didn't bother to probe. Marguerite was tryna get some.) This veneer of bonhomie totally falls away by the end though. As he says to Hector - "screw Bolsa, screw Eladio, I'm getting revenge and I'm gonna cause this guy some pain".

SPEAKING OF: Lalo's primary is Lion. I previously said Bird because I couldn't get a read on his fae-lord view of morality, but once I twigged that's a Lion trope, it all fell into place. Lalo and Hector share a Primary, and you can absolutely see how Lalo's character is shaped by looking at his uncle (as I've said above). And although I said previously that Hector is probably a Double Lion, I think the magnitude of how Exploded Hector is gets in the way of what his secondary is. I think Hector may just be an awful Badger secondary, one that shows up as functional when he tries bargaining with Mike in the guise of senior citizen, for instance, or tries to pay off Nacho's father. The wince-inducing efforts to suck up to Eladio, also, show an adherence to the old ways that just aren't current with Gustavo's slicker, profit-oriented over person-oriented methods. It's heavy-handed and doesn't work either way, but it doesn't stop it from being a Badger method. It's the Lion primary that runs the Salamanca family, and Lalo has taken his own fae-lord, it is what it is stance on this, sustained by the fire that keeps their family at the top of the heap, Ambition, Glory, and all those other darkGryffindor vibes.

Also I think it's interesting that Hector, for all Lalo's doting nephew persona, doesn't end up being taken care of by him at his hacienda. Lalo chooses to plant himself as far from the Salamanca proceedings north of the border as possible, with even a restrained, utilitarian villa with an entourage of unrelated staff and a few of the peasantry that adore him as a Don in his own right. I think this is a little indicator of some Glory Hound Lion being in there (which means Lalo sees himself as a hero, which...tracks), as well as a further proof that Lalo doesn't have a Slytherin primary - I don't see a Snake VOLUNTARILY ever wanting to have distance between them and their innermost circle.

Which brings us to what underpins Lalo's personality; his truly incredible Snake secondary. This guy adores being in neutral. He likes to switch in and out and watch those around him squirm in discomfort. At his core he doesn't seem to give a cheery sh*t about any kind of social niceties and performances and seems to use any socializations outside of cartel business to out and out psychologically mess with people. As for the rest - literally look at any ten second clip of the guy. Dude is revealing secret bathtub tunnels and diving in and out of vents like he was born for it. And he has a truly terrifying Neutral face, when necessary - as seen with Kim's conversation with him in the prison. Brrrr.

So, Lalo - Lion Snake, with a Badger secondary performance, and an arc in the later seasons that makes him full-on Exploded and out for vengeance.

Gustavo Fring - Double Snake (exploded secondary), Bird Secondary model, Double Badger performance

So I watched Better Call Saul first before seeing Gus in BB...which is tricky, because so much of Gus's character is designed in BCS as a nod to BB, as a piece that provides more context to the BB Gus, aka drug lord supreme. In BCS, we see Gus in an awkward in between stage, like a bug in a chrysalis. He's still working at the restaurant but he's still not far along in his relationships as we see them with Bolsa, Eladio and especially Mike, and Hector isn't in the chair. The reason why I mention this is I think it's interesting - even telling - that one can plot Gus's evolutions as a character across his major relationships. So I'm saying off the bat Loyalist.

Now which Loyalist? Snake all the way down, like the centre of a stick of rock. Outside the stick of rock, Gus is wrapped in a number of Primary models. First is Badger, part of his all-in-one benevolent restaurant manager/member of the community Double Badger package. Gus wears his immigrant status like a gentle bandage, making others sensitive to the elusiveness he has built into his past (unknowable to even the viewer except in hints and stories).

What powers this construction? Why, an empire-building Bird secondary. Gustavo, down to the coldest, most insignificant detail, has his scheme. He has the players, the equipment, the personas, the schedules set up. Everything is waiting in the wings to enter. So why am I still talking about the stick of rock and primaries? Because, gentle reader, I am going to posit a theory - there is a Double Snake lurking in there too.

Now, to understand this, we have to look at the "Generalissimo" and his past and current actions as they occur in BB/BCS. We know his closest friend and partner Max was murdered. We know he came from Chile hot off the Pinochet regime and with dubious German connections that could interrelate with other, murky origins. We know even his closest allies do not know him. And there are those possibilities that are thrown in there, like ingredients floating through a soup - the toys at his house, the mention of a family, the slide from his personable boss and cook to blank-eyed drug lord.

So to support what I feel is the core of Gus's character, I am going to excise David the wine guy from Gus's narrative. Shocking! But you see why - I don't think Gilligould actually chained this together with the other parts of this unknowable cipher they had constructed together. David is supposed to show the beating heart at the centre of the Snake primary, and a kind of courtly old fussiness to Gustavo's secondary that heavily hints at Bird, under all the models.

However, I think this is an over-simplification of a character that has always dealt in a kind of complexity. Compare Gustavo with Snake Bird Tywin Lannister and Double Snake Petyr Baelish. Tywin is utterly above board (not...morally, but in terms of his movements). Even his subterfuge and planning come from a completely cool place that has the contingencies and players lined up. So seemingly Gustavo.

But look at Petyr, and you really see parts of Gustavo's character take shape. An unknown man coming from obscure origins, with a tragic love written into his texture to give him grounding for his visions, and an ever evolving, ever looping pattern of Snake secondary that keeps his character one step away from being coherent to those around him, even the audience. Take that attribute up to ten, and you get Gustavo - his remove, his iciness, his resolve, his consummate Bird Secondary model, keeps the viewer from being able to understand the root of his analysis, how he puts together the main blocks that make him who he is.

And the thing is, he doesn't experience any dissonance over it - except where the writers, in my opinion, become heavy handed. Giancarlo has described how he uses yoga techniques to slow his movements and breath and facial actions down in order to reach the level Gustavo operates at, and I think this can be a useful key in SHC also. I think by the time BCS's final seasons roll round, Gustavo doesn't even know he's a Snake secondary.

Before when it worked in tandem with his Snake primary, obstacles began to occur - he noticed superiors such as those in Chile responded negatively to it, so he constructed a Bird Secondary to work as a utility model whilst being a slippery, hard-to-know creature at his core. It was not strong enough to withstand the brutal immediate action of the cartel, and in that moment Gus fled into his Bird secondary, as a creature tied down by not being able to adapt or change away from a terrible loss, and formed ANOTHER secondary performance, his handy dandy Double Badger, in order to fool his contemporaries, plan, and execute. But Gus's true character - his Double Snake - is long gone. He has buried it so deep that only smoke signals come up every now and then to show it's still there. And that is the tragedy of Gustavo Fring - a man lost even to himself.

I don't know how far SHC goes to support this analysis and honesty a lot of it is such speculation and canon-divergent I don't know how much weight it will hold, but this is as good an analysis I could put together for Gus, so, with a deep breath:

Gus - Double Snake with an Exploded (and buried) secondary, a Bird Secondary model, and a Double Badger performance.

Note: this is what makes Gus's fear of Lalo hilarious and kind of frustrating from a writing perspective - we can never reconcile the ever adaptable and prepared Gus of BB with the one crippled by fear in BCS, by actions he would see as child's play in the original canon. It's supposed to create more material and energy between him and the Lalo character, and I don't actually think it's successful - I think it was an impulse to "humanise"that actually took the character out of his own canon. Which just goes to show, when you're writing a Snake secondary at the heart of a dozen models interacting with ANOTHER Snake secondary at the heart of a dozen models, even the fleetest of writers are going to hit a roadblock. It just ain't the kind of psychology you get anywhere but with a Snake sec, God love em.

[chosesun]

he's snuck off again. he has a tendency to do that when Owen isn't looking - a habit he no doubt needs to break, because it's bound to get him into trouble one of these days. of course, he can't help himself. Luke wants to explore, see more of the world, see what all it has to offer, and the farm just isn't it. he's curious, he's always been curious. it's probably one of his biggest downfalls.

as he sneaks off, he's got a little screwdriver with him, holding it in his hand. he'd been tinkering with a machine moments before he noticed Owen's attention was no longer on him and dashed away before he could be stopped. it's not that Luke dislikes his uncle, because that is in fact not the truth, but sometimes the boy feels smothered - like he doesn't get a chance to breathe and he never gets to do what he wants. it's frustrating.

he's taken the same path he had when that lady had come for him - he's still not sure why she chased after him because his aunt and uncle won't tell him, but he'd never been more scared than he had that night. perhaps it's because of these thoughts that had him all spooked when he turned around and came face-to-face with a familiar face staring down at him. he yelps in surprise, startled, tightening his grip on his screwdriver before realization dawns on him and he exhales a breath of air. "oh. it's you. your name is Ben, right ? i met you before. did you follow me?"

@fallesto liked for babu Luke (for Obi-Wan)