#so if i want to say it that way then I'd have to attach possibly dansk rotte to it too?

[kittymizuki]

thinking about the kamikou festival event again and how it conveys the tone and atmosphere of the school while showing the constant transmisogyny microaggressions mizuki lives with every day so well, and this phone call with an drives me insane bc even though an is genuinely well-meaning and is trying to ensure that mizuki knows that today is a safe day for her to come to school due to the circumstances of the festival, the way she words this is very discomforting bc she's basically saying "nobody is going to notice that you're dressed as a girl today bc everyone is wearing wacky outfits!" which carries the unfortunate implication that the way mizuki presents herself is equally wacky in a way that reinforces everything ppl say about her, but this isn't easy for her to push back against bc she doesn't have a good enough 'excuse' to do so when this is one of the few ppl who go out of their way to accommodate her even if they don't fully get it? it's thoughtful of an to want to reassure her but also it's another little thing that others fail to understand. she's trying to be kind but even then mizuki feels somewhat pushed into a corner. she's very bad at actively saying No. and an has removed her ability to misdirect here bc an is speaking with ambiguity.

mizuki also being too anxious about the idea of changing her clothes in school bc she's terrified of the possibility of being caught and thus having her body perceived by others... that's also another reason she'd hate being at school. gym and changing for it … i'd wager mizuki skips almost every gym class bc she can't stand the idea of being forced to change amidst boys, but she's also not allowed into the girls' locker room… literally only has the option to go to the roof if she wants to change. she's so hyper cognizant of her body and being seen … and the worst part is, she likes to be seen under her own circumstances and control (which is one of the many reasons she's very passionate abt fashion, and a lot of trans ppl in fiction tend to have an attachment to fashion and styling which makes a lot of sense bc of the element of control over one's appearance and making a self one can love). she really does. it just … happens that she knows she has so little control.

i've read the vbs main story (and a bit of their events but i need to continue whoops) and this makes me appreciate mizuki's brief interaction with kohane and an here more, bc it's obvious in this moment that kohane is just being her usual self—anxious around other ppl she's not familiar with and this is something she wants to improve upon (which as far as i can tell is the conceit of her character arc as an underdog of sorts compared to the others in her group). but mizuki assumes that she has to be uncomfortable with her specifically (presumably due to her transness) bc of her experiences, so she immediately feels bad about 'taking up space' and decides to make up an excuse to get away from the situation to give kohane the chance to comfortably hang out with her friend. and the fact that mizuki goes out of her way to say that she's going to find a place to hide alone is interesting bc the way it's framed it doesn't sound like it means much, but it feels deliberate on her part, like she wants an to know... mizuki's internal world and where we see she has internal bias and how she blames herself or assumes she herself is the problem if she can't make others comfortable, and she takes so much upon herself all the time bc she's used to constant microaggressions and either can't say how she truly feels or has to divest what she feels from its context to make it palatable. but of course kohane is not transphobic, she is someone who has trouble socializing with strangers bc of her own anxiety that has nothing to do with mizuki herself, but mizuki doesn't have access to this perspective like the reader so it's easy for her to assume that she's the problem. it's paranoia but it's understandable considering how she's treated by almost everyone...

[somedaytakethetime]

He's literally obsessed with kicking the ball at this kid in this fashion lately... show off..

Bonus of my favourite, precious dansk rotte:

[jaal-ama-daravv]

dissecting the emmrich romance scene (lich path)

dissecting the graveyard scene dissecting the alternate romance path dissecting the argument scene (lich path) mortal vs lich romance path emmrich x rook cinematic

Emmrich Volkarin - Dissecting the Lich Romance Scene fair warning you're in for an emotional rollercoaster

first, i wanna touch on this from our previous dissection (argument) -

"What if I can't bear that for eternity?" Oh, Emmrich. his entire soul aches over the inevitable future that awaits rook. i think this line is so important for emmrich because 'bear that for eternity" implies Emmrich will either, a) go rogue trying to bring rook back c) live with so much grief over his lost love it changes his soul forever in a dark, yet unknown way. and quite frankly, all of these are incredibly sad, and that just hurts. i thoroughly, full heartedly believe that there is no concievable way that emmrich just 'moves on' and 'accepts' the death of rook as previously stated in the lichdom scene. sry bioware, but youre wrong on that one as if he was 'fine' with it, he wouldn't of had a massive panic attack over rooks death and his grief. COUGH, the eternal flame. i could rant for hours and HOURS about how emmrich in the lich path is absoloutley devastating if rook were to pass on, because he is so compulsively, irrevocably in love with them. and not only is he in love with them, he has the love he has yearned for, for over 20 years. its huge for him which is evident given how both romance paths have him terrfied of how much he loves you.

Additionally, Emmrich grew up poor. This would impact his view on society and love. But more impactfully, it would impact his view on himself. His self-worth. Emmrich likely thinks he doesnt deserve this type of love. Hence the attempt to push Rook away and act over-suave at times.

anyway, to the SCENE -

immediately we are hit with this, to which Emmrich replies stating that he did it not to scare the citizens. what a load of huff. youll see why thats a straight deflective lie soon -

don't you worry handsome man, youre not alone emmrich expressing his fear of losing rook, and/or losing eachother, continues to be a major dynamic between these lovers

oh rooky, im so proud of you for opening up about your feelings. (remember the argument they had prior, it was fort knox up in here)

rook expresses clear fear and gratitude that they were able to escape the fade. I do believe that the line "I was afrad I'd be there forever" is a parrelle to emmrichs lichdom - as they would of spent eternity without eachother. hence why this next line, hurts so much -

the raw emotion, the crack in his voice when he says this line tells you everything you need to know. he is so grateful to have rook back with him. I do believe in this moment that emmrich has a moment of realisation of his love for rook, and just how immensed and attached he is with her. which is why he later vows that nothing will part them ever again, "not in this, nor any other world" (cough, soulmates). idk man, i have a feeling that emmrich would find rook's spirit in the fade (or any other world) if they passed on, and he'd never leave.

key point back to the lichdom decision scene -

man would go full blown rogue, scarlet witch rogue, i see it now.

I also want to touch on the "you're here with me" line. this, this is important considering what happens directly afterwards - remember how i mentioned desire a few posts ago? lets break it down, "you're here with me." Emmrich has held a consistent view throughout the whole romance that "its gratifying a fresh-faced adventure took any notice in me at all", does emmrich also possess the belief that the love he so dearly desired may not of been possible in his life time due to his age? i think so. which is why desire and the "wow, you're here with me" is so, so important. Now watch closely -

he looks defeated, ashamed - "why would someone like her be with someone like me? let alone, desire me."

the pose, how he is holding his chest and his body up against the coffin, the disbelief and sadness that is pained over his face. he is heavy with angst. this man wants rook, body and soul. he is SO in love with her. god my heart breaks typing this. he is so in love with her, but is so afraid that she doesnt want him now that he is undead - I will add in here to think back to when he was mortal, 3 flirts lines in total were regarding his looks. UGH, just stab me - ps the music in this scene rips out my heart, stomps on it, and shoves it back into my chest bloodied and bruised.

when rook touches him, his face unstiffens and his body relaxes. he looks at her nervously, but before he can address her or admit his pain, rook has NOTICED (YAY - take that argument scene rook) what is bothering emmrich, because she loves him so much, maybe even more, regardless of his undead figure. "You don't have to hide your face from me" is just a perfect way of phrasing that you are made for eachother. rook reassures emmrich of her undying love for him.

its that gomez and morticia dynamic, unwavering, obsessed dedication to eachother. a bond that strengthens the other. for emmrich and rook at least, theri dynamic is so strong I wholeheartedly believe the death of one, would break the mind and soull of the other.

there is so, so much emotion in this scene and most of it is written into the facial expressions and movements of the characters. watch how the fear of death becomes easier now that emmrich knows that rook loves him truly -

im not crying, you are -

this WRECKED me. because there is a slimmer of hope in his voice and particularly the words he chose. "I will let nothing part us again, my love" emmrich is a lich lord, with powers we dont understand just yet (cmon sequel with rook & emmrich), it is safe to say though that emmrich and rook would fight for and protect eachother to the death so that they may not be parted. This also takes me back to my original point of not letting anything part them, nothing - not even death. hence my belief that emmrich would do anything to find rook in the fade or any other world.

"Not in this nor any other world" - do i need say more? the hope seeps through, its not alot, but its there. don't get me wrong, he still has a crippling fear of death, but its, different. different in the sense that if rook was to pass or trapped somewhere, he would get them back and find his way to them, at all costs, one way or another.

the rest of the scene is very, very sweet and shows them being happy for the extra few hours they have together before facing untold danger - by either rook being able to see the fade through emmrichs eyes, or them boning again. actually i think both lead to boning.

this scene has me in absolute tears everytime I witness it because it is so powerful. it is hopeful. it is pure committment of their relationship and bond to eachother. combining this with the knowledge of the argument scene and having played through the mortal romance path, this - is extremely emotional.

Both romance scene are emotional and touching in their own regard - however, I do think the lich romance scene is more deep due to the dynamic. It is not about simply coming to grips with mortality, it is coming to grips with mourning your lover for eternity, and if you cant bear it for eternity, (which he wont, cmon) he is afraid. afraid of losing, rook. his heart. his dearest heart, and of losing himself because rook is, and I quote, "the most magnificent thing to ever happen to me."

mourn watch rook and emmrich are on a whole other level, and that level is something that is told in the minute details, the edging looks. the tone of voice. there is hope in this scene and a sense of overwhelming love and acceptance, but, there is also impending grief. which makes this story so real.

you can feel emmrich yearning for rook throughout the entire romance path because of the fated connected they share, in this and any other world. you can feel it. but this, in the lich scene? there is yearning, acceptance, hope, grief, joy, and melancholy all in one. without a doubt in my heart, these two, are made for eachother, in every world.

I shall break down the mortal romance scene next ♥ see you soon

[vincentbriggs]

@once-a-polecat replied to your post “My uncle's friend asked if I wanted this machine...”:

So do Whites have the same parts availability as Singers? I see them around for a fraction of the price, I’ve just been holding out for a Singer because the parts are relatively easy to source. I’ve seen some really lovely White machines tho! I bet yours is going to look stunning when it’s cleaned up. That cabinet is {chefs kiss}

​I don't know, I haven't looked into it because mine's not missing any pieces and still has all 6 bobbins.

I think that as long as you can verify that it has all the parts, and at least one or two bobbins, it probably won't need any new ones.. ever? The little rubber ring on the bobbin winder and the treadle drive belt degrade after a few decades and need replacing, but you can easily buy those, and everything else is highly unlikely to break from regular use.

The one thing I was worried about was accidentally stripping the screws while taking it apart for cleaning, and there was one screw that I didn't quite have the right size of screwdriver for and it started to look a bit ehhhh so I just didn't take that part off. It wasn't one of the really gunky ones anyways, and I did my best to clean around it, and may try again someday if I get more sizes of screwdriver. So I'd advise making sure you have all the right tools before starting and slathering all the stuck bits well in kroil (what the guy in a video I watched yesterday used) or wd-40 (what I used) or some such loosening thing.

It seems like it's very hard to find new bobbins, especially since there are different styles of shuttle and the bobbins are not interchangeable. Mine's a boat style and my bobbins wouldn't work in a bullet style from a couple years later.

While cleaning this thing it hasn't even crossed my mind to wonder where I'd find replacement parts because, well, what could possibly break? Nearly every single piece is cast iron or steel, and it's already been used SO much that the decals on the bottom are almost completely gone just from the amount of fabric that's run over it.

As mentioned in the previous post it's about 140 years old, was owned by a woman who made her living sewing on it for many decades, and it still works just fine! I haven't got the bobbin winder cleaned up yet and it's still off the cabinet, but I couldn't resist trying it out with just the hand wheel (using one of the bobbins that was wound long before I was born) once I got all the bits back on and yeah! Perfect stitches right away!

As long as it's kept well oiled it's just gonna keep on chugging along indefinitely.

Are you seeing these White machines in person at secondhand stores and such? If you can check to make sure they have bobbins and that no pieces are missing, I'd say grab one! Maybe keep some reference pics of working ones so you can look and see, or even better see if you can make a stitch with it before buying it, and presumably if it can do that even slowly and gunkily then it'll just need cleaning like this one did.

By all accounts they're REALLY good machines! I'm super excited to try mine out properly, and to post more about all the features. It has a lip around the bottom of the needle bar so that if some oil drips down it won't get on your needle! Genius!! Why doesn't every machine ever have that?! It's also fairly quiet AND you can adjust the bobbin tension right in the middle of a seam without disturbing the sewing or taking the shuttle out. Incredible.

The manual for mine says "The Best in the World" on it, and while that's just a normal Victorian thing to say about a product, I'm not about to argue with them. There are a few little things that I like better on Singers, such as the quality of the hinges that hold the machine to the cabinet, and the way the presser foot attaches, but all in all this White VSII is extremely goddamn good so far and I have no doubt that once I get the bobbin winder cleaned up it'll also work perfectly!

So yeah, GET ONE!

[amerricanartwork]

Look at that! The little creatures are back! And there's two new ones this time!

Hey, what brings you guys around here—

Oh. My. God. This little blue one is so cute!! And those little frill things are so pretty!

What's it carrying, though? Come here so I can get a closer look!

Whoa! Calm down, purple one! I wasn't gonna hurt your little friend here!

See, it's alright!

Though I must say, you two are quite the interesting pair! I'd love to get to know you more! Both of you, feel free to stay as long as you'd like!

-.-.-.-.-.-.-.-.-

At long last, a new update to Rain Wool is here! And to hopefully compensate for the very long time it's been since my last addition to this project, I've decided to showcase TWO new figures this time!

First up is everyone's favorite little wet goober, Rivulet! And I must say, this one's been the hardest so far! Like I mentioned in a previous ask, it was quite hard to find a suitable blue color for Riv, in the sense that it both matched the in-game sprite as closely as possible and looked nice with a pink color that fit for the gills (which was also a bit hard to find). Then, on top of that, actually felting all six gills and attaching them to the cheeks was rather tedious. However, the end result was definitely worth it! Rivulet's gotta be my favorite Rain Wool figure so far; it's just so cute, I wanna hug it every time I see it!!

And next up is the quiet yet deadly messenger, Spearmaster! This one was a bit easier to make than Rivulet, though dark-colored slugcats are always a bit of a challenge for me. Visually, it's the same as Nightcat in the body, with the main difference, of course, being that thick spotted tail. It was a bit of a challenge to gauge just how thick I wanted the tail to be, but once it seemed satisfactory, placing the spots was pretty relaxing, and I like the way they came out in the end!

And, like my last two figures, I made little props for these guys as well! Again, I tried to make things matching their characters and stories. Using the same mini bamboo skewers with some hot glue and white ink, I made three of Spearmaster's special white spears, while some black and blue wool was used to make a little rarefaction cell for Rivulet.

That's about it for now, though. I hope you enjoyed seeing these two new figures! I'm pretty excited myself, not just because they both turned out great, but because I now only have two more slugcats to make!

Stay tuned for more Rain Wool: Downpour! I'll see you next time!

[thegoldencontracts]

ONE OF MY TWST OCS IS A TOTAL TSUNDERE WHAT THE HELL

Make twst tsundere content, I DARE you(I'd say I'd match you with content of my own, however it is drama and science finals week and I'd rather not burn myself out on more than one front bc my english final is next week. So I will not guarantee that lmao BUT STILL THAT SOUNDS AWESOME MAKE THAT CONTENT I WILL EAT IT UP)

- thoughtlessdesires

THANK YOU SOMEONE ELSE WHO UNDERSTANDSSSSS

Hello, you there, yes, YOU 🫵 can help make tsundere twst by uhh... idek man it's tsundere twst,,, it's cuteee i swearrr imagine THIS:

I-It's Not Like I Like You!

Summary: The Housewardens deal with their affection in the oddest of ways.

Notes: This is a taste of what we can make possible GUYS tsundere!twst is cute and it's not ridiculously ooc or smth like that i SWEAR- Also the last sentence in Azul's part is literally ripped straight from the third part of his dorm vignette (the tsundere potential of this man is so understated guys PLEASE let me yap here I have a point-)

Night Raven College; a place of raw meritocracy. Sentiment is rarely found, and affection is often mocked. Logic and strength are meant to take priority, and discord between students is common.

So what happens where these students find someone who treats them with kindness, understanding.

...Completely flounder, of course.

The housewardens, during one of their meetings, even discussed the dearest Ramshackle Prefect, so odd, so understanding. Kalim had brought the topic up, of course.

"...Why's this important?" Leona had said, a bored look on his face.

"I-Indeed," Riddle said. "The Prefect isn't particularly relevant to our current topic of discussion, regardless of accomplishments."

Azul sighed in his typical, overdramatic manner of his.

"How cold!" he said. "Kalim was merely doing his duty to discuss the needs of all students, regardless of how-"

His nose wrinkled.

"Talentless."

"Well, the Prefect's not that bad." A lukewarm praise. Even Kalim wasn't speaking highly of the Prefect? Just what was going on here?

"A total normie," Idia had said.

"It's true, the potato could use some work," Vil said,

Wow. These housewardens sure did hate you, didn't they?

Wrong! At that moment, all of the, were lying! They liked you. And no one in that room had any clue how to deal with it.

Riddle hasn't ever really got to experience relationships due to the stifling pressure of his mother. Thus, he has absolutely no clue how to handle the sudden affection for you he feels. He'd often stop by Ramshackle to help you with your homework. Just because you happened to need it way more than the others, of course. N-No ulterior motives here. What do you mean 'his face is red'? You're just imagining things!

Leona's always been treated like a cold, uncaring individual, and that's what he's used to. That leaves him completely flabbergasted when you suddenly start making him lovesick. He happens to "accidentally" drop money and the like while you were near. Not that he wants to help you, of course! He just doesn't really care about the money that much. Why're you looking at him like that? He's not that kind of sap!

Azul's childhood's left him used to rejection. After so long of being mocked for any desire of love and companionship, he's shunned it. Love's just business to him, an easily exploitable emotion. So he'll never be able to admit it now that he's the exploitable one. He gives you stuff... for free? Since when did he do that? Ask him about it and he insists he's just doing it for business' sake. What kind of business? Is he sure he doesn't just like you? W-What sort of foolish questions are those? Do you honestly think him capable of such an illogical sentiment as "attachment"?

Kalim, of course, isn't immune. Even he doesn't understand this. Someone actively returning his kindness? He's absolutely in love, and he doesn't know how to handle it. Although he won't be quite as abrasive as the others, he'll definitely struggle to admit his feelings. He might actually be less nice to you than to others. Not in a rude way, of course, he's just a bit quiet because he's always so flustered around you! Can you blame him?

Vil, too, despite his normal mentality of being candid and mature, struggles to handle his affection. He'll buy you skincare and the like. B-But, he'd do this for anyone, of course. There's nothing particularly special about the way he feels for you! Once again, though he isn't particularly defensive, he'll definitely struggle to admit his feelings, and it causes him boatloads of internal conflict. Why's he being so immature all of a sudden?

Idia doesn't get you. Why'd some normie suddenly have to start talking to him? J-Jeez, it's not like he enjoys your company or anything! Idia can vaguely recognize the word 'tsundere' in his head as he mulls over his interactions with you, but he denies it. Denying his feelings? U-Uh, what feelings?

"Looks like you have some competition, huh?"

"What competition, Lilia?" Malleus's face twisted in displeasure. "The Child Of Man- they're merely a friend."

Malleus doesn't know how to feel. He's never really had these sorts of close relationships before, so when his heart pounds around you and sparks seem to fly, he has no clue what to do. He's so deep in denial, partially due to his obliviousness when it comes to matters of sentiment and partially due to how he's used to being intimidating, and blushing like a schoolgirl around one's crush is the opposite of intimidating.

[ms-demeanor]

Hello! First, I wanted to say thank you for your post about updating software and such. I really appreciated your perspective as someone with ADHD. The way you described your experiences with software frustration was IDENTICAL to my experience, so your post made a lot of sense to me.

Second, (and I hope my question isn't bothering you lol) would you mind explaining why it's important to update/adopt the new software? Like, why isn't there an option that doesn't involve constantly adopting new things? I understand why they'd need to fix stuff like functional bugs/make it compatible with new tech, but is it really necessary to change the user side of things as well?

Sorry if those are stupid questions or they're A Lot for a tumblr rando to ask, I'd just really like to understand because I think it would make it easier to get myself to adopt new stuff if I understand why it's necessary, and the other folks I know that know about computers don't really seem to understand the experience.

Thank you so much again for sharing your wisdom!!

A huge part of it is changing technologies and changing norms; I brought up Windows 8 in that other post and Win8 is a *great* example of user experience changing to match hardware, just in a situation that was an enormous mismatch with the market.

Win8's much-beloathed tiles came about because Microsoft seemed to be anticipating a massive pivot to tablet PCs in nearly all applications. The welcome screen was designed to be friendly to people who were using handheld touchscreens who could tap through various options, and it was meant to require more scrolling and less use of a keyboard.

But most people who the operating system went out to *didn't* have touchscreen tablets or laptops, they had a desktop computer with a mouse and a keyboard.

When that was released, it was Microsoft attempting to keep up with (or anticipate) market trends - they wanted something that was like "the iPad for Microsoft" so Windows 8 was meant to go with Microsoft Surface tablets.

We spent the first month of Win8's launch making it look like Windows 7 for our customers.

You can see the same thing with the centered taskbar on Windows 11; that's very clearly supposed to mimic the dock on apple computers (only you can't pin it anywhere but the bottom of the screen, which sucks).

Some of the visual changes are just trends and various companies trying to keep up with one another.

With software like Adobe I think it's probably based on customer data. The tool layout and the menu dropdowns are likely based on what people are actually looking for, and change based on what other tools people are using. That's likely true for most programs you use - the menu bar at the top of the screen in Word is populated with the options that people use the most; if a function you used to click on all the time is now buried, there's a possibility that people use it less these days for any number of reasons. (I'm currently being driven mildly insane by Teams moving the "attach file" button under a "more" menu instead of as an icon next to the "send message" button, and what this tells me is either that more users are putting emojis in their messages than attachments, or microsoft WANTS people to put more emojis than messages in their attachments).

But focusing on the operating system, since that's the big one:

The thing about OSs is that you interact with them so frequently that any little change seems massive and you get REALLY frustrated when you have to deal with that, but version-to-version most OSs don't change all that much visually and they also don't get released all that frequently. I've been working with windows machines for twelve years and in that time the only OSs that Microsoft has released were 8, 10, and 11. That's only about one OS every four years, which just is not that many. There was a big visual change in the interface between 7 and 8 (and 8 and 8.1, which is more of a 'panicked backing away' than a full release), but otherwise, realistically, Windows 11 still looks a lot like XP.

The second one is a screenshot of my actual computer. The only change I've made to the display is to pin the taskbar to the left side instead of keeping it centered and to fuck around a bit with the colors in the display customization. I haven't added any plugins or tools to get it to look different.

This is actually a pretty good demonstration of things changing based on user behavior too - XP didn't come with a search field in the task bar or the start menu, but later versions of Windows OSs did, because users had gotten used to searching things more in their phones and browsers, so then they learned to search things on their computers.

There are definitely nefarious reasons that software manufacturers change their interfaces. Microsoft has included ads in home versions of their OS and pushed searches through the Microsoft store since Windows 10, as one example. That's shitty and I think it's worthwhile to find the time to shut that down (and to kill various assistants and background tools and stop a lot of stuff that runs at startup).

But if you didn't have any changes, you wouldn't have any changes. I think it's handy to have a search field in the taskbar. I find "settings" (which is newer than control panel) easier to navigate than "control panel." Some of the stuff that got added over time is *good* from a user perspective - you can see that there's a little stopwatch pinned at the bottom of my screen; that's a tool I use daily that wasn't included in previous versions of the OS. I'm glad it got added, even if I'm kind of bummed that my Windows OS doesn't come with Spider Solitaire anymore.

One thing that's helpful to think about when considering software is that nobody *wants* to make clunky, unusable software. People want their software to run well, with few problems, and they want users to like it so that they don't call corporate and kick up a fuss.

When you see these kinds of changes to the user experience, it often reflects something that *you* may not want, but that is desirable to a *LOT* of other people. The primary example I can think of here is trackpad scrolling direction; at some point it became common for trackpads to scroll in the opposite direction that they used to; now the default direction is the one that feels wrong to me, because I grew up scrolling with a mouse, not a screen. People who grew up scrolling on a screen seem to feel that the new direction is a lot more intuitive, so it's the default. Thankfully, that's a setting that's easy to change, so it's a change that I make every time I come across it, but the change was made for a sensible reason, even if that reason was opaque to me at the time I stumbled across it and continues to irritate me to this day.

I don't know. I don't want to defend Windows all that much here because I fucking hate Microsoft and definitely prefer using Linux when I'm not at work or using programs that I don't have on Linux. But the thing is that you'll see changes with Linux releases as well.

I wouldn't mind finding a tool that made my desktop look 100% like Windows 95, that would be fun. But we'd probably all be really frustrated if there hadn't been any interface improvements changes since MS-DOS (and people have DEFINITELY been complaining about UX changes at least since then).

Like, I talk about this in terms of backward compatibility sometimes. A lot of people are frustrated that their old computers can't run new software well, and that new computers use so many resources. But the flipside of that is that pretty much nobody wants mobile internet to work the way that it did in 2004 or computers to act the way they did in 1984.

Like. People don't think about it much these days but the "windows" of the Windows Operating system represented a massive change to how people interacted with their computers that plenty of people hated and found unintuitive.

(also take some time to think about the little changes that have happened that you've appreciated or maybe didn't even notice. I used to hate the squiggly line under misspelled words but now I see the utility. Predictive text seems like new technology to me but it's really handy for a lot of people. Right clicking is a UX innovation. Sometimes you have to take the centered task bar in exchange for the built-in timer deck; sometimes you have to lose color-coded files in exchange for a right click.)

[dragon-watcher03]

I like when ppl write their own version of mk intros, so I shall request those. I don't have any specific idea for reader's backstory so I'd love to see what you come up with o/

Thx for the motivation, you gave me a brilliant idea-

Mk1 x Gn! Doom God! Reader

Note: Reader uses mini scythes connected via chains as a Krucible and has armour more like those from Halo. Implied Doom Slayer x reader.

Ft. Liu Kang, Johnny Cage, Raiden, Kitana, Shang Tsung

Liu Kang: You are a God in your realm?

You: I'd rather go with Slayer, but yes.

Liu Kang: The fact that your realm's Seraphims see you as nothing but a weapon... doesn't sit right with me.

You: Why? It is my sole purpose.

Liu Kang: Slaying demons for many decades must have been challenging.

You: Less challenging, more soul-draining.

You: I do not intend to stay here long, Lord Liu Kang.

Liu Kang: At least grant me one last spar?

You: There is another like me, but he is a lot less talkative.

Liu Kang: I have no doubt that he is as honorable as you.

You: The humans in this world are very different than the ones back at home...

Liu Kang: How so?

Johnny Cage: So, what exactly are you the God of?

You: I am no God, but people have no better words to describe me.

Johnny Cage: C'mon, you and your buddy would totally fit in a first-person shooter!

You: I have better demons to fight than Paparazzi, Cage.

Johnny Cage: So, this buddy of yours, he anything other than just your partner in crime?

You: Even if we were, I wouldn't tell you.

You: I have no time for trivial things like "love".

Johnny Cage: Sheesh, talk about workaholic.

You: I know what you're going to ask, and no, you can't hold my Krucible.

Johnny Cage: Y'know if you weren't such a buzzkill, I'd totally tap that.

You: Do you get anything out of flirting with me?

Johnny Cage: The possibility of courting a Goddess/God.

Raiden: Your people see you as a God?

You: Yeah, they even made a whole religion based on us.

Raiden: This other "Doom God" you speak of, he sounds like a ruthless man.

You: Oh trust me, he is.

Raiden: Is it foolish of me to request a spar with a demon-killing God?

You: Don't worry, I'll be gentle.

You: That amulet you have is fascinating...

Raiden: As is that weapon of yours.

You: Ashrah is a Demon? She looks so human compared to the ones back at home.

Raiden: Whatever monsters you deal with at home, I can assure you she is nothing like them.

You: Are you sure you want to meet him?

Raiden: When you speak so highly of him, how can I not?

Kitana: The war you fight sounds worse than Outworlds.

You: I pray this universe will never experience such a war...

Kitana: I feel like you and my sister would get along well.

You: I take from the way you say that, that it's a compliment.

Kitana: The humans of your world call you "Ruin God"?

You: They are so creative, aren't they?

You: I must say, you were right about getting along with Mileena.

Kitana: The blood coating your armour seems to prove so.

You: I have been alive for so long with the mind of a human, that I started to forget who my parents were...

Kitana: I'm... sorry to hear that, Ruin.

You: I hoped to not get attached to any of you to make my departure easier.

Kitana: laughs Guess that didn't work out so well, did it?

Shang Tsung: Well, aren't you a fine specimen.

You: Back off you cretin, or you'll see why we are called Gods.

Shang Tsung: I could set you and your partner free from the shackles of being weapons for your world.

You: And be yours instead? I'd rather serve the Seraphims.

Shang Tsung: We could have been such a powerful couple, you and I.

You: I already have a stronger and better suitor, sorcerer.

You: You are worse than the demons back at home...

Shang Tsung: Oh~ feeling feisty now are we?

You: You are playing with forces beyond your power, sorcerer.

Shang Tsung: Then let's play~

You: You look horrible. Did you finally meet him?

Shang Tsung: Tch, how you two have such power for mere humans is beyond my comprehension.

[cy-cyborg]

Dealing with Healing and Disability in fantasy: Writing Disability

[ID: An image of the main character from Eragon, a white teenage boy with blond hair in silver armour as he sits, with his hand outstretched. On his hand is a glowing blue mark. He is visibly straining as he attempts to heal a large creature in front of him. /End ID]

I'm a massive fan of the fantasy genre, which is why it's so incredibly frustrating when I see so much resistance to adding disability representation to fantasy works. People's go-to reason for leaving us out is usually something to the effect of "But my setting has magic so disability wouldn't exist, it can just be healed!" so let's talk about magic, specifically healing magic, in these settings, and how you can use it without erasing disability from your story.

Ok, let's start with why you would even want to avoid erasing disability from a setting in the first place. I talked about this in a lot more detail in my post on The Miracle Cure. this line of thinking is another version of this trope, but applied to a whole setting (or at least, to the majority of people in the setting) instead of an individual, so it's going to run into the same issues I discussed there. To summarise the points that are relevant to this particular version of the trope though:

Not every disabled person wants or needs a cure - many of us see our disability as a part of our identity. Do difficulties come with being disabled? absolutely! It's literally part of the definition, but for some people in the disabled community, if you took our disabilities away, we would be entirely different people. While it is far from universal, there is a significant number of us who, if given a magical cure with no strings attached, would not take it. Saying no one in your setting would be disabled because these healing spells exists ignores this part of the community.

It messes with the stakes of your story - Just like how resurrecting characters or showing that this is something that is indeed possible in the setting can leave your audience feeling cheated or like they don't have to worry about a character *actually* ever dying. healing a character's disability, or establishing that disability doesn't exist in your setting because "magic" runs into the same problem. It will leave your readers or viewers feeling like they don't have to worry about your characters getting seriously hurt because it will only be temporary, which means your hero's actions carry significantly less risk, which in turn, lowers the stakes and tension if not handled very, very carefully.

It's an over-used trope - quite plainly and simply, this trope shows up a lot in the fantasy genre, to the point where I'd say it's just overused and kind of boring.

So with the "why should you avoid it" covered, let's look at how you can actually handle the topic.

Limited Access and Expensive Costs

One of the most common ways to deal with healing and disability in a fantasy setting, is to make the healing magic available, but inaccessible to most of the population. The most popular way to do that is by making the services of a magical healer capable of curing a disability really expensive to the point that most people just can't afford it. If this is the approach you're going to use, you also typically have to make that type of magic quite rare. To use D&D terms, if every first level sorcerer, bard, cleric and druid can heal a spinal injury, it's going to result in a lot of people who are able to undercut those massive prices and the expense will drop as demand goes down. If that last sentence didn't give you a hint, this is really popular method in stories that are critiquing capitalistic mindsets and ideologies, and is most commonly used by authors from the USA and other countries with a similar medical system, since it mirrors a lot of the difficulties faced by disabled Americans. If done right, this approach can be very effective, but it does need to be thought through more carefully than I think people tend to do. Mainly because a lot of fantasy stories end with the main character becoming rich and/or powerful, and so these prohibitively expensive cure become attainable by the story's end, which a lot of authors and writer's just never address. Of course, another approach is to make the availability of the magic itself the barrier. Maybe there just aren't that many people around who know the magic required for that kind of healing, so even without a prohibitive price tag, it's just not something that's an option for most people. If we're looking at a D&D-type setting, maybe you need to be an exceptionally high level to cast the more powerful healing spell, or maybe the spell requires some rare or lost material component. I'd personally advise people to be careful using this approach, since it often leads to stories centred around finding a miracle cure, which then just falls back into that trope more often than not.

Just outright state that some characters don't want/need it

Another, admittedly more direct approach, is to make it that these "cures" exist and are easily attainable, but to just make it that your character or others they encounter don't want or need it. This approach works best for characters who are born with their disabilities or who already had them for a long time before a cure was made available to them. Even within those groups though, this method works better with some types of characters than others depending on many other traits (personality, cultural beliefs, etc), and isn't really a one-size-fits-all solution, but to be fair, that's kind of the point. Some people will want a cure for their disabilities, others are content with their body's the way they are. There's a few caveats I have with this kind of approach though:

you want to make sure you, as the author, understand why some people in real life don't want a cure, and not just in a "yeah I know these people exist but I don't really get it" kind of way. I'm not saying you have to have a deep, personal understanding or anything, but some degree of understanding is required unless you want to sound like one of those "inspirational" body positivity posts that used to show up on Instagram back in the day.

Be wary when using cultural beliefs as a reasoning. It can work, but when media uses cultural beliefs as a reason for turning down some kind of cure, it's often intending to critique extreme beliefs about medicine, such as the ones seen in some New Age Spirituality groups and particularly intense Christian churches. As a general rule of thumb, it's probably not a good idea to connect these kinds of beliefs to disabled people just being happy in their bodies. Alternatively, you also need to be mindful of the "stuck in time" trope - a trope about indigenous people who are depicted as primitive or, as the name suggests, stuck in an earlier time, for "spurning the ways of the white man" which usually includes medicine or the setting's equivalent magic. I'm not the best person to advise you on how to avoid this specific trope, but my partner (who's Taino) has informed me of how often it shows up in fantasy specifically and we both thought it was worth including a warning at least so creators who are interested in this method know to do some further research.

Give the "cures" long-lasting side effects

Often in the real world, when a "cure" for a disability does exist, it's not a perfect solution and comes with a lot of side effects. For example, if you loose part of your arm in an accident, but you're able to get to a hospital quickly with said severed arm, it can sometimes be reattached, but doing so comes at a cost. Most people I know who had this done had a lot of issues with nerve damage, reduced strength, reduced fine-motor control and often a great deal of pain with no clear source. Two of the people I know who's limbs were saved ended up having them optionally re-amputated only a few years later. Likewise, I know many people who are paraplegics and quadriplegics via spinal injuries, who were able to regain the use of their arms and/or legs. However, the process was not an easy one, and involved years of intense physiotherapy and strength training. For some of them, they need to continue to do this work permanently just to maintain use of the effected limbs, so much so that it impacts their ability to do things like work a full-time job and engage in their hobbies regularly, and even then, none of them will be able bodied again. Even with all that work, they all still experience reduced strength and reduced control of the limbs. depending on the type, place and severity of the injury, some people are able to get back to "almost able bodied" again - such was the case for my childhood best friend's dad, but they often still have to deal with chronic pain from the injury or chronic fatigue.

Even though we are talking about magic in a fantasy setting, we can still look to real-life examples of "cures" to get ideas. Perhaps the magic used has a similar side effect. Yes, your paraplegic character can be "cured" enough to walk again, but the magic maintaining the spell needs a power source to keep it going, so it draws on the person's innate energy within their body, using the very energy the body needs to function and do things like move their limbs. They are cured, but constantly exhausted unless they're very careful, and if the spell is especially strong, the body might struggle to move at all, resulting in something that looks and functions similar to the nerve damage folks with spinal injuries sometimes deal with that causes that muscle weakness and motor control issues. Your amputee might be able to have their leg regrown, but it will always be slightly off. The regrown leg is weaker and causes them to walk with a limp, maybe even requiring them to use a cane or other mobility aid.

Some characters might decide these trade-offs are worth it, and while this cures their initial disability, it leaves them with another. Others might simply decide the initial disability is less trouble than these side effects, and choose to stay as they are.

Consider if these are actually cures

Speaking of looking to the real world for ideas, you might also want to consider whether these cures are doing what the people peddling them are claiming they do. Let's look at the so-called autism cures that spring up every couple of months as an example.

Without getting into the… hotly debated specifics, there are many therapies that are often labelled as "cures" for autism, but in reality, all they are doing is teaching autistic people how to make their autistic traits less noticeable to others. This is called masking, and it's a skill that often comes at great cost to an autistic person's mental health, especially when it's a behaviour that is forced on them. Many of these therapies give the appearance of being a cure, but the disability is still there, as are the needs and difficulties that come with it, they're just hidden away. From an outside perspective though, it often does look like a success, at least in the short-term. Then there are the entirely fake cures with no basis in reality, the things you'll find from your classic snake-oil salesmen. Even in a fantasy setting where real magic exists, these kinds of scams and misleading treatments can still exist. In fact, I think it would make them even more common than they are in the real world, since there's less suspension of disbelief required for people to fall for them. "What do you mean this miracle tonic is a scam? Phil next door can conjure flames in his hand and make the plants grow with a snap of his fingers, why is it so hard to believe this tonic could regrow my missing limb?"

I think the only example of this approach I've seen, at least recently, is from The Owl House. The magic in this world can do incredible things, but it works in very specific and defined ways. Eda's curse (which can be viewed as an allegory for many disabilities and chronic illnesses) is seemingly an exception to this, and as such, nothing is able to cure it. Treat it, yes, but not cure it. Eda's mother doesn't accept this though, and seeks out a cure anyway and ends up falling for a scam who's "treatments" just make things worse.

In your own stories, you can either have these scams just not work, or kind of work, but in ways that are harmful and just not worth it, like worse versions of the examples in the previous point. Alternatively, like Eda, it's entirely reasonable that a character who's been the target of these scams before might just not want to bother anymore. Eda is a really good example of this approach handled in a way that doesn't make her sad and depressed about it either. She's tried her mum's methods, they didn't work, and now she's found her own way of dealing with it that she's happy with. She only gets upset when her boundaries are ignored by Luz and her mother.

Think about how the healing magic is actually working

If you have a magic system that leans more on the "hard magic" side of things, a great way to get around the issue of healing magic erasing disability is to stop and think about how your healing magic actually works.

My favourite way of doing this is to make healing magic work by accelerating the natural processes of your body. Your body will, given enough time (assuming it remains infection-free) close a slash from a sword and mend a broken bone, but it will never regrow it's own limbs. It will never heal damage to it's own spinal cord. It will never undo whatever causes autism or fix it's own irregularities. Not without help. Likewise, healing magic alone won't do any of these things either, it's just accelerating the existing process and usually, by extension making it safer, since a wound staying open for an hour before you get to a healer is much less likely to get infected than one that slowly and naturally heals over a few weeks. In one of my own works, I take this even further by making it that the healing magic is only accelerating cell growth and repair, but the healer has to direct it. In order to actually heal, the healer needs to know the anatomy of what they're fixing to the finest detail. A spell can reconnect a torn muscle to a bone, but if you don't understand the structures that allow that to happen in the first place, you're likely going to make things worse. For this reason, you won't really see people using this kind of magic to, say, regrow limbs, even though it technically is possible. A limb is a complicated thing. The healer needs to be able to perfectly envision all the bones, the cartilage, the tendons and ligaments, the muscles (including the little ones, like those found in your skin that make your hair stand on end and give you goose bumps), the fat and skin tissues, all the nerves, all the blood vessels, all the structures within the bone that create your blood. Everything, and they need to know how it all connects, how it is supposed to move and be able to keep that clearly in their mind simultaneously while casting. Their mental image also has to match with the patient's internal "map" of the body and the lost limb, or they'll continue to experience phantom limb sensation even if the healing is successful. It's technically possible, but the chances they'll mess something up is too high, and so it's just not worth the risk to most people, including my main character.

Put Restrictions on the magic

This is mostly just the same advice as above, but for softer magic systems. put limits and restrictions on your healing magic. These can be innate (so things the magic itself is just incapable of doing) or external (things like laws that put limitations on certain types of magic and spells).

An example of internal restriction can be seen in how some people interpret D&D's higher level healing spells like regenerate (a 7th level spell-something most characters won't have access to for quite some time). The rules as written specify that disabilities like lost limbs can be healed using this spell, but some players take this to mean that if a character was born with the disability in question, say, born without a limb, regenerate would only heal them back to their body's natural state, which for them, is still disabled.

An external restriction would be that your setting has outlawed healing magic, perhaps because healing magic carries a lot of risks for some reason, eithe to the caster or the person being healed, or maybe because the healing magic here works by selectively reviving and altering the function of cells, which makes it a form of necromancy, just on a smaller scale. Of course, you can also use the tried and true, "all magic is outlawed" approach too. In either case, it's something that will prevent some people from being able to access it, despite it being technically possible. Other external restrictions could look like not being illegal, per say, but culturally frowned upon or taboo where your character is from.

But what if I don't want to do any of this?

Well you don't have to. These are just suggestions to get you thinking about how to make a world where healing magic and disability exist, but they aren't the only ways. Just the ones I thought of.

Of course, if you'd still rather make a setting where all disability is cured because magic and you just don't want to think about it any deeper, I can't stop you. I do however, want to ask you to at least consider where you are going to draw the line. Disability, in essence, is what happens when the body stops (or never started) functioning "normally". Sometimes that happens because of an injury, sometimes it's just bad luck, but the boundary between disabled and not disabled is not as solid as I think a lot of people expect it to be, and we as a society have a lot of weird ideas about what is and isn't a disability that just, quite plainly and simply, aren't consistent. You have to remember, a magic system won't pick and choose the way we humans do, it will apply universally, regardless of our societal hang-ups about disability.

What do I mean about this?

Well, consider for a moment, what causes aging? it's the result of our body not being able to repair itself as effectively as it used to. It's the body not being able to perform that function "normally". So in a setting where all disability is cured, there would be no aging. No elderly people. No death from old age. If you erase disability, you also erase natural processes like aging. magic won't pick and choose like that, not if you want it to be consistent.

Ok, ok, maybe that's too much of a stretch, so instead, let's look at our stereotypical buff hero covered in scars because he's a badass warrior. but in a world where you can heal anything, why would anything scar? Even if it did, could another healing spell not correct that too? Scars are part of the body's natural healing process, but if no natural healing occurred, why would a scar form? Scars are also considered disabling in and of themselves too, especially large ones, since they aren't as flexible or durable as normal skin and can even restrict growth and movement.

Even common things like needing glasses are, using this definition of disability at least, a disability. glasses are a socially accepted disability aid used to correct your eyes when they do not function "normally".

Now to be fair, in reality, there are several definitions of disability, most of which include something about the impact of society. For example, in Australia (according to the Disability Royal Commission), we define disability as "An evolving concept that results from the interaction between a person with impairment(s) and attitudinal and environmental barriers that hinder their full and effective participation in society on an equal basis with others." - or in laymen's terms, the interaction between a person's impairment and societal barriers like people not making things accessible or holding misinformed beliefs about your impairment (e.g. people in wheelchairs are weaker than people who walk). Under a definition like this, things like scars and needing glasses aren't necessarily disabilities (most of the time) but that's because of how our modern society sees them. The problem with using a definition like this though to guide what your magic system will get rid of, is that something like a magic system won't differentiate between an "impairment" that has social impacts that and one that doesn't. It will still probably get rid of anything that is technically an example of your body functioning imperfectly, which all three of these things are. The society in your setting might apply these criteria indirectly, but really, why would they? Very few people like the side effects of aging on the body (and most people typically don't want to die), the issues that come with scars or glasses are annoying (speaking as someone with both) and I can see a lot of people getting rid of them when possible too. If they don't then it's just using the "not everyone wants it approach" I mentioned earlier. If there's some law or some kind of external pressure to push people away from fixing these more normalised issues, then it's using the "restrictions" method I mentioned earlier too.

Once again, you can do whatever you like with your fantasy setting, but it's something I think that would be worth thinking about at least.

[mysewingadventures]

Making the ✨Lioncourt Gown✨ (Part 4/4)

It's been such a fun project working on the Lioncourt Gown (aka Interview with the Vampire's Lestat de Lioncourt's theater costume -

made into a 1790s women's redingote) and I can finally say that I have finished it. It's done, and I love it. It didn't turn out exactly how I'd planned, but that's how it is with me and sewing. I admire anyone who can just stick to their original plan haha but that person is not me. Usually, when sewing I don't think too far ahead, I just do it until I hit a point where something just isn't working out and have to find a way around it. I'm also self-taught, so my workarounds may not be standard procedures when you actually know what you're doing. But I'm still really, really happy with it, and I did a little photo shoot as soon as it was done.

But anyways, here's the final part of this project.

In my last post, we left off with the still detached but finished collar/yoke and the finished bodice. I attached the yoke to the bodice, and then went on to make the final piece - the outer skirt.

For that, I essentially did the same thing I did with the bodice and the sleeves. I attached the colored satin triangles and stitched them down with the tape. Here is a picture just before I attached the tape:

This process is very time consuming and I had severely underestimated it. I did end up finishing it in a day, but it was the only thing I did that day. You have to stitch super close to the edge or the satin is going to fray and stick out and it's not a pretty look. It did end up happening in a few places, so I had to take the stitches out and redo them. But when that was done, I added red tape to the raw edges of the fabric and finished the skirt.

Then finally, it was time to attach the skirt to the bodice. For that, I gathered it with a quick basting stitch to bring it to the needed width and then had to hand stitch it in place, making sure I was attaching it only to the lining layer so the stitches wouldn't be visible from the right side.

Once that was done, it was time for the first complete try on! For one, I was really excited to see it as a basically completed project, but more importantly, I needed to know where to put the buttons. So I put on all my layers for this (shift, stays, bumroll, two petticoats, the skirt, and the bodice with the outer skirt), and realized... it was a bit smaller than anticipated. It fit, but I'd planned to make it double-breasted and the front panels didn't overlap quite enough to make two button rows possible while keeping them centered. So I ended up deciding in that moment I was only going to do one row of buttons. The original only has one row, so it was fine either way. But while on the topic of buttons, another thing: I'd mentioned in a previous post that I wasn't sure whether to add buttonholes or to fake the closure with hooks and eyes, and I decided to do neither. I was way too scared of the satin fraying if I did button holes and the whole hook and eye system is pretty annoying to do, and since I'm only really gonna wear it once or twice a year I decided to just use some red pins to pin myself into the dress for the day. This protects the satin from fraying and is less work for me. It doesn't look super professional though and while historically accurate for some dresses in the 18th century (some even used to sew themselves, or have someone sew them into their dresses), it was not used on redingotes (as far as I'm aware) for practicality reasons. Redingotes are essentially riding coats and were used primarily outdoors, so buttons was the most common way to close up these types of garments. Still, I did not want to risk ruining the fabric, so I decided to do it this way.

So once I'd figured out where to place the buttons, I sewed them into place. On a side note, I do love the way they look. They're so pretty.

I added four in the front, two on each sleeve and four in the back.

So this is it. It's done.

This was, mostly due to the color details, the most time time-consuming and frankly expensive project I've ever worked on (well, maybe except for my very first dress as I still didn't know what I was doing back then - that one took me literal months hah). But it was so worth it. It's been in my bedroom for a few days now and I smile every time I see it. I still can't believe it's in my possession.

Part 1 | Part 2 | Part 3 |

[hello-vampire-kitty]

Servamp chapter 136 translation "The gentle flutter of a butterfly's wings"

Read the chapter on Mangadex!

Keep reading for translation notes.

Oh boy, this chapter had some difficult lines that took me a while to translate and hopefully I managed to convey them ;;

Alright, to start off, I want to point out that in the top left panel, Hokaze is holding the novel Jane Eyre by Charlotte Brontë, so if you know the plot of the story, you can make connections with her. Also, regarding her name...It's sounds weird for her because she's a woman. I looked up Hokaze (歩風) on Japanese names sites and it was listed for boys, while the readings Ayuka or Honoka were listed for girls.

Well, if Tanaka-sensei hasn't mentioned so far that it wasn't a mistake, then her name is Hokaze.

In Japanese, 情欲 and 色欲 mean lust the latter is the one used regarding Lily, however they have different nuances. Basically, the former implies a desire for emotional attachment as opposed to 色欲 that is focused on the physical aspects of attraction, without necessarily implying emotional attachment.

As you can see in the translation, the intended reading is 私 (I, myself) while the other reading is 色欲 (lust).

愛のない情欲のことだけを私 (色欲) の名前で呼ぶのでしょうから。

I had the most trouble with this page, like OMG...

Lily had some difficult lines and it's possible that I haven't conveyed them to well, thus I will give insight on how I understood them. Here's the original line 人は美しい時間のままに死にゆく。 それだけがいい。

I don't like to assume things. I try my best to convey what characters say and of course I rely on the grammar that is used so that's why it was difficult to interpret the above line which I ultimately translated as "People dying while they are still beautiful...That alone is a good thing"

A direct translation would be "People will die in a beautiful time" which sounded weird...Like I said, maybe my interpretation isn't good and I wanted to add "should" because Lily's is giving his opinions and I thought it will work but I if it's not suggested by the grammar, I couldn't do that. If you look at the first line on this page where "should" is there because that's how a grammar part translates.

So yeah, it was tough working on this line seeing how it can be interpreted...

Sloth uses words that have alternative meanings. When he says "This makes us even", the other reading is fire. "We should have a discussion after all". The other reading is "fighting" and Sloth also said this in chapter 133.

There is one word with another reading in Tsubaki's first line which I found that it has the meaning of "older sibling" although it's usually translated as head or neck 首 (kubi) My assumption is that Tsubaki used 首 with the connotation of "older sibling" because it reflects how he was born in the Edo period (revealed in later chapters), so he's using an archaic term. The intended reading is もの which means "object" and one theory I have about the other reading is related to the camellia flowers that are said to be associated with a head that is cut off because when they wither, the flowers fall at once.

The last note is about Tsubaki's skill which is difficult to interpret its meaning ;;

I translated it as "Crossing".

The Japanese word 渡 comes from the verb 渡す that has the general meaning of "to hand over/deliver but there is also the meaning of "to transport", "to carry across". While it can be translated in several ways, I like the translation I made and I found that the verb is used "to say a requiem" 引導を渡す I'd say it connects with his ability "Shura Funeral". This term originally refers to a ritual or ceremony in Buddhism called "引導供養" (indou kuyou), where a deceased person's spirit is guided to the afterlife. So yeah, let me know what you think. I'd like to hear your opinions and I hope these notes are helpful!

[suzukiblu]

WIP guessing game: help

"I know about Billy, Marvel," Batman says, and Billy . . . blinks.

"You know?!" he sputters. Okay, so apparently his secret identity was just . . . literally never a secret at all, then. Which, well–Batman, so that just figures, really. So actually this is kind of a relief and might even mean that he's fine with–

"Yes," Batman confirms with a nod. "So I understand your current reservations about parenthood."

. . . wait what.

"Huh?" Billy says, blinking stupidly at him.

"I don't know how much of you is still C.C. Batson or what you do or don't remember about being him," Batman says. "But the resemblance is undeniable, if nothing else. Certainly your and your wife's deaths were . . . well, suspicious. And you're hardly the first archeologists to dig up a god or six."

Oh, okay. Well.

This is apparently what Billy gets for his personal mental image of a "hero" being his dad, then, isn't it.

Crap.

"To be honest I've been looking for Billy for a while now, I just didn't want to bring it up before I found him," Batman admits, looking dissatisfied with himself. "My most recent reliable intel puts him in Fawcett City, but I assume you're aware of that, given your evident attachment to the place."

"You're looking for Billy?" Billy asks incredulously. "Why?"

"Because he's your son," Batman says. "And because he's a homeless child who's been abused and neglected and needs help. I honestly don't know where you go when you're not being Captain Marvel–frankly I'm not sure if you even exist when you're not being Captain Marvel, given what little I actually know about your powers and your death and your role as the Champion of Magic and just how damn impossible you are to find when you're off-duty–but I'm assuming that wherever it happens to be is not necessarily conducive to providing a stable home environment and being legally dead certainly can't be helping with that, so my original intention was to find the boy and help you arrange some manner of care for and visitation with him. And given the revelation of your relation to Robin, well . . . I'd like to take Billy in myself, if you'd both be comfortable with that. It seems . . . appropriate, under the circumstances."

"You want to foster Billy because I'm Robin's soulmate?" Billy says, absolutely positive that he's misunderstood literally every single word that just came out of Batman's mouth. There is no possible way that he did not.

"It's not exactly out of my wheelhouse," Batman replies wryly. "Although I'll be keeping this one out of the tights, ideally. Though I make no long-term promises about that because quite frankly at this point I'm spoiled for soulmates who insist on wearing capes and I wouldn't really be surprised to turn up another one, especially given that Robin is yours and your own involvement in the superhero community."

Billy stares at him.

"Wait, are all the Gotham vigilantes your soulkids?" he blurts unthinkingly.

"Not all," Batman says. "But, well . . . probably more of them than you'd expect."

"Oh my god," Billy says in disbelief. "And you're just telling me that?! You don't tell people things, you're Batman!"

"I haven't always been the father I should have been," Batman says, and then he pulls down his cowl. Billy chokes, and then chokes again because apparently Batman is Bruce freaking Wayne and his brain just . . . just needs a moment to process that fact, like there is literally any way whatsoever that he could ever actually process that fact. He would've been less surprised to see a Kardashian under that mask, he's pretty sure. At least they've got athletes in the family, technically! "So I'm not going to make things difficult for you with Robin. Clearly he needs more than I'm capable of providing, and I'm perfectly willing to be transparent and to co-parent with you as much as possible. I want Robin to be safe and content and grow up well, and frankly put, Batson, you've proven yourself to be a good man time and again and I trust you to do what's best by our son."

Okay, well, now Billy just feels like dirt.

"You do know what happened to Billy, don't you?" he asks just a little bit desperately, because there is literally no way that this conversation is a real and actual thing that's really and actually happening. "Like, just–everything that happened there? There's a reason he's not in school or the system or with a relative or anything like that."

"What happened to Billy wasn't your fault," Batman tells him, meeting his eyes all quiet and intent and sincere. "And I will do everything in my power to help you make it right."

"Oh no, you're actually like . . . just genuinely a really good person, aren't you," Billy says despairingly, staring at him all over again and really, really wishing he could swear right now.

Maybe he'll just go throw himself into the sun. Maybe that's what he'll just go and do.

The corner of Batman's mouth quirks up wryly. His eyes even crinkle a little, which Billy can see on account of his total lack of cowl right now, oh god.

Billy despairs.

"I mean it," Batman says gently. "It wasn't your fault, and it doesn't mean you can't be a good father now."

"I need to talk to Robin," Billy says, because he definitely, definitely needs to talk to Robin. Batman inclines his head in an accepting nod, because Batman is probably under the impression that Billy wants to go give Robin a good ol' traditional "I know I'm not your biodad but I'm here for you, champ!" kind of speech, and Billy just . . . really cannot explain the real situation to him right now. Or ever.

Can he just lie to Batman for the rest of their lives, maybe? He can just pretend to be his own dad for the Justice League and keep dodging whatever Bat-surveillance happens to be in Fawcett and parent his older-than-he-is soulmate, right? That's a thing that he can do?

That's probably not a thing that he can do.

Although he might be willing to try, at this point.

[demodraws0606]

My thoughts on the latest episode (aka HU IS THE CULPRIT I WILL DIE ON THIS HILL)

Warning : My sassy attitude is not directed towards anyone else, I'm simply amusing myself and also I've only gotten barely 5 hours of sleep god save me.

This is gonna be very long and messy so strap in folks

It's so obviously not Eden or Ace it's painful (idc 'i'll die for my hubris). Not even just because Eden lying and being the culprit after all of that would be both underwelming and just...miserable. But also because of how the way we're getting the reveal in advance that it could only be Ace and Eden. The fact the cast was already on Eden's throat as well just makes this point even more clear to me.

This isn't like fucking Korekiyo in chapter 3 of DRV3, this isn't how a culprit reveal happens. Especially not when there's so much we don't know yet.

So who is the culprit ?

...

It's Hu, it's literally Hu.... and like 1 pourcent chance it's Nico but I think both of them are accomplices here.

The thing is, I don't buy any of the shit Nico is saying, their admission of guilt is strangely quick and detached. They also seem to go along with anything people say about them (like them framing Hu) which makes it even more suspicious, they could've just said they used Hu's weapon out of conveniance ? The only thing this episode has proved me is that Nico is an Active accomplice rather than a Passive one like I thought. For what reason ? I honestly don't know fully yet but again we don't know a lot about Nico anyways.

Hu's behavior really makes me think she did it and is acting out, mostly out of guilt. She seems really stressed this trial which while makes sense for character reasons, it also makes sense if she's the culprit and feeling guilty. It would explain her defending Eden and Nico mainly I think despite her probably being the culprit she doesn't want the perception that Eden/Nico has to be broken (especially not bc of her). I've already explained how Hu being the culprit makes sense from a character perspective so I'm not gonna get more into it.

By the way any arguments in this post being like "it would be out of character for Nico or Hu to do that" should honestly review their own hypocrisy if they think Eden did it, or even Ace for that matter.

Another thing that makes me even more convinced that it can't be Ace or Eden is that...you can't fucking prove any of them did it with 100 pourcent certainty. David fucking threw the BDA rule out of the window, so we can't be sure Eden didn't do it but like what decisive evidence would make it clear between the two of them.

The only pieces of evidence we have left is :

-The sticky ball of clothes (most likely turpentine because the soil of the relexation room would cause the ball to have stains on it)

-The alibi for the relaxation room water

-The missing glove (which I think i've changed my opinion on what it could mean here)

Eden did know about the ball of clothes (but that piece of fucking evidence has strings attached so we'll get to that) and Ace doesn't have an alibi against taking the water like Eden does.

The missing glove is the only evidence left untouched here and honestly I actually don't think it had anything to do with the glove having someone's hair or anything, mainly because first of all the culprit could've technically just removed any hair on the glove even if it was sticky.

And also there's something else that makes more sense.

I think they probably had to use the glove to avoid rope burn while trying to set up the mechanism to kill Arei. Especially with how high the playground's ceilling is, it wouldn't be child's play. I'm not really good at deciphering what could've possibly happenened directly in the murder but I'd argue it's just more likely that the culprit would be put in a situation were rope burn could happen. This murder set up would require a lot of physical effort, and if the culprit even slipped for a second their hands would end up being damaged from rope burn making them obviously look guilty (also ouchie), which I think is what happened.

It would also explain the scuffs on the floor, maybe the culprit was struggling to hold onto the rope leading to them causing marks with their feet while trying to pull on the rope.

The reason why I think the glove is missing is probably because it's damaged and the culprit wanted to avoid the cast knowing they used Arei's glove during the murder. In fact it's the only piece of evidence that is completely missing

But why ?

Has anyone realised something about, I argue, the three other main suspects here ?

Nico, Eden, Ace ?

They all have gloves.

"But a huge portion of the cast has gloves this doesn't mean anything, it's just a stylistic choice !!" Yeah, the majority of the cast has gloves.

I think now you can understand why the culprit wouldn't want the cast to know that the glove was used. Because if the cast did see the glove that was probably damaged, they would assume the culprit wore it and it would narrow down the suspect list to an extremely narrow pool. This forces them to basically take the glove and hope to fucking god the cast doesn't catch on which they clearly haven't yet.

You know who doesn't fucking wear gloves.

HU JING

My girl got no gloves on !!!!

So yeah, with the glove being untouched evidence yet I think it will be the main decisive thing to point out who the culprit truly is, and I just don't think it's just gonna be like "oh let's just search everyone to see which one has the glove !". For all we know the culprit could've fucking eaten the glove, I don't think we're getting another Min in trying to search shit on people's person.

Anyways I'm gonna transition to other stuff to explain how the Nico and Hu theory makes sense from a logical standpoint here.

Let's get on to the sticky ball of clothes.

First I want to get it out there that I do not think the ball being sticky is due to the soil of the relaxation room. Mono-TV's talk about the "special formula" was mostly to foreshadow the floor of the playground's properties, also the fucking ball would have stains on it.

For me this means the ball of clothes has to have been covered in turpentine especially now that we have confirmation from Ace directly.

This is extremely huge and I'm flabbergasted has no one has mentioned this. Pray tell where the fuck did that piece of cloth go, did it get isekai'd into another world ?

This question actually has multiple meaning here because that fucking ball of clothing actually has massive implications. It confirms a lot of things and also puts a lot of doubt in things that seemed to be confirmed.

Before that I also want to say that Arei 100 pourcent got knocked out with turpentine. I don't want to argue over and over again that it was used because I've done this before but I have to since there are multiple reasons why she had to have been knocked out.

The floor is extremely prone to scuffs, if Arei was struggling then we definitely would've seen more than just a few marks in one area.

The method of murder would have been extremely difficult if she was struggling, like to a ridiculous point. Especially with someone like Arei who has been shown to have been sneaky and very prone to attacking people in their weak spots.

The tape binding Arei's hand in hindsight actually probably wasn't to avoid her struggling, it was most likely due to how the mechanism of the murder work. Keep in mind how the murder had to have worked and imagine if Arei's hands were just loose and flopping around. There could have been possible injuries with her arms that would ruin the culprit's obvious plan to make it look like a suicide. It also just makes sense for weight reasons, again Arei having her arms flopping around would make moving her body even more difficult.

And even if you want disagree with all of that, the culprit could've just binded her tape to avoid the same mistake that happened with Ace with him waking up from the turpentine.

Now that I've made my case about Arei being knocked out, let's get on the actual new arguments I want to make.

First, we know for a fact that a piece of cloth was used to knock out Ace meaning it has to have gone somewhere, if you say "well they could've just thrown it away" I will personally come into your home and shit in your shoes. And you're also wrong because I've already proven that Arei had to have been knocked out.

This means the only piece of cloth available to us would be the sticky ball of clothes.

But...like let me just explain everything that's mind boggling about all of this.

-This ball of clothes had to have been made for Ace's murder to knock him out

-The only people who knew about the old clothes were Hu, Teruko and Whit. Eden only knowing later on, way after Ace's murder was planned probably, because Hu told her about it.

-The culprit used this ball of clothing against both Arei and Ace

-The cloth is suspiciously absent from the murder scene, which makes no sense considering Nico's account rely on them not having left the gym while trying to murder Ace. Them leaving to chuck the cloth aside only to come back to the gym doesn't make sense with the timeline in how we discover things.

Yep, I'm making the claim that Nico didn't actually kill Ace here, I still think it's Hu. Again you can try and complain all you want about how it's out of character for Nico but the reality is...shit is not adding up.

It's really suspicious how silent Hu becomes when her weapon is brought up, immediatly clamming up and not defending Nico anymore. When Teruko makes assumption that Nico lied to Hu to get her weapon, she doesn't reply with a betrayed "Nico is that true ?" or even a sentence she responds with "That's...". The amout of ellpises both Nico and Hu give are extremely suspicious and just make me side eye both of them extremely hard.

I'm gonna go on another tangent here, on the subject of Hu being suspicious. Mainly because I do wanna point out a moment that both makes Eden seem a lot more innocent and makes Hu a lot more guilty.

The subject of Arei potentially committing suicide.

Now, it's very clear that the way Arei was hung was meant to make it look like Arei killed herself, this was very much meant to be the culprit's intention. Both to hide the true murder mechanism and probably to mislead the cast. The fact that it's only an incidental red mark of Arei's wrist that proves she didn't kill herself, proves that the culprit intended for it to look like a suicide.

However guess who argues against this...Eden, which, if she is the culprit I don't see why she would do something like that (and if you say "well why is Hu defending Nico and Eden" I already explained it). Clearly the Eden!Culprit theory relies on her being capable of manipulation so there's no reason why she would be so caught up in her own feelings to just ruin her own plan like that.

You know who seems to really be into the idea of Arei killing herself though, Hu.

That's all I have to say on that, now let's get onto how I think Nico actually helped Hu.

I do think there's still a 50/50 on them working directly together or just Nico catching onto Hu's plans and deciding on their own to help her.

I do think Nico directly helped her though in two major ways

First, the water, it's the obvious one. Nico probably ended up giving the water the Hu here weither they did so with/without knowing Hu's intention doesn't really matter since they're deciding to keep quiet about it now.

I also want to quickly mention how Hu getting water from the relaxation room makes a lot of sense. Hu was busy with Eden in the kitchen and Teruko had taken all the drinks from the gym, so it's likely Hu was forced to take the water from the relaxation room.

Second, the note

Oooo baby let's get into my favorite realisation in watching this episode.

One piece of dialogue has made me realize something

This made me puzzled too, because yeah, who would be listening in and how did Arei not notice when she went into the room ?

Let me take you all back to Chapter 2 Episode 5

Rose and Teruko have a conversation about Rose's secret and that conversation lasts a good while, until...

Nico was actually shown to have been there the entire time, Teruko and Rose were talking without noticing they were there.

Nico then explains themselves like this, pretty much proving this is something they just like doing casually sometimes.

This actually would explain everything on how the eavesdropping happened, Nico was on the literal fucking floor of the infirmary leading to them listening to everyone's conversation. Which tmeans they could have had the information to write the note.

This would explain the inconcistencies as to why would the culprit know to eavesdrop and how they didn't get caught by Arei when she was barging into the room (if they were outside by the door).

Now this leads to two possibilities with Nico and their relation to Hu.

Either they worked together with Hu and they both came up with the murder together. Which means either of them could've written the note.

Or Nico helped Hu without her knowledge, making the note to help her (edit : just realised this doesn't make a lot of sense ignore this).

I believe this is all I have so far and I'm very tired so you won't get a conclusion

Oh wait I hear something in the background...

"WHAT ABOUT THE TAAAAAAAAPE"

First of all, y'all gaslit me into thinking Ace couldn't have taken the tape so I'm already sick of this tape bullshit being used as decisive unshakeable evidence.

You know what I think probably happened ? Ace took the tape, after all it disappeared when he woke up and it's possible that he just then threw it away in the trash.

I mean Ace did say he was gonna "commit a murder of his own", it would be in line with him taking the tape.

Why isn't he talking about it then ? Because he'd be seen as the fucking culprit and also Ace is not really the most honest bitch out need i mention Ace witholding info about David and Arei's conversation.

[ageingfangirl2]

Hello👋😊 I would like to know if it was possible to do a story in which Buggy(still a "prisoner" of the Straw Hats ) started to feel strange(in a good way of course) with Y/N. After a day, the Reader, who had the task of repairing any damage of the ship, but it was a very hot day and Y/N, in order to stay cooler while working, decided to take off her top, leaving just the bikini top and the shorts. But without realizing that she was being watched by a head👀🤭Buggy began to observe the drops of sweat running down to her back, chest and forehead, leaving him with a strange feeling about Y/N👀🤭❤️‍🔥

Sorry if the recommendation is too long😅😅

I Finally See You! Buggy (OPLA) *REQUEST* - Female Reader

Part 2

BUGGY

This was something I'd never live down, being held hostage, well my head being held hostage by a bunch of young adult pirates calling themselves The Straw Hat Pirates. When I first met them there were only three of them but now that number had doubled and I didn't like being outnumbered. They took it in turns looking after my head, but I hardly got taken out of that stinky bag they kept me in. Once I got my body back I'd bounce, and the next time they crossed me I would come out on top.

The only member of this stupid crew I could stand was y/n. I wasn't sure what they did, but they were quiet and kept to themselves making them an easy target. They had some past trauma and hardly any real-world experience so I could be a flirt and perverted and they took it on the chin. Until Zoro nearly threw me into the sea and told me to watch my tongue or lose it. y/n made an innocent remark asking if my tongue could also detach, and after a wink and a 'shall we find out together kitten' comment Zoro sent my head flying across the deck.

Y/N

It was a hot day and you'd told Luffy you'd fix the damage done by Garp, but working under the hot sun was intense. You were in a pair of shorts and a loose blouse now drenched in sweat which clung to your body. Thinking you are alone you take off the blouse revealing the skimpy blue bikini stop Nami had convinced you to buy and the matching bottoms under your shorts. Little did you know someone was watching you.

BUGGY

The dumb swordsman was sleeping again, this time finding himself shade while leaving me exposed in the sweltering sun. I was about to unload a range of colourful insults when the sound of hammering caught my attention. I hop a little on my barrel and gulp, my eyes fixated on y/n of all people. They were inches away from me bent over fixing the side of the ship unaware of my presence.

I assumed y/n was a prude only having seen them in trousers and long sleeves, but I licked my dry lips and raised my eyebrows seeing them in shorts that left little to the imagination and long legs that would be perfectly wrapped around my waist as they rode me.

I shake my head, what was I thinking? y/n was fun to mess with and nothing more.

Next thing I know y/n is taking off the blouse, and if I was attached to my body I might have just got a hard-on. Why did y/n choose to hide such a magnificent body? The blue bikini top is the same shade as my hair, and I vaguely remember y/n saying their favourite colour was blue. As y/n picks up a glass of water I allow my eyes to wander, like a moth to a flame. Noticing how small their hands were as they reached up to wipe sweat from their brow, but could probably easily wrap around my dick, and how when they arched their back their chest jutted out and little droplets of sweat run down them. Fuck, they would look good arching beneath me.

I curse and y/n gasps loudly hearing me, 'Oh my god--'

I smirk, 'Not god kitten, but I can be whoever you want me to be.'

I'm surprised they don't immediately cover up, instead leaning down to my height giving me a very nice view of their chest, 'Did Zoro leave you in the sun?'

I pout, playing the sympathy card, y/n was too nice and I loved attention, 'wouldn't even give me any water, I'm parched kitten.'

y/n liked cats so my nickname was appropriate, even if they didn't understand the real meaning behind it.

'You can share my glass Buggy, I'll scold Zoro later,' y/n huffs, clearly annoyed at the swordsman as they bring the water to my lips and I start drinking, 'I'll give them a right tongue lashing...I think I overheard Sanji say that once.'

I spit out the water and it lands on y/n's chest, soaking into the material, 'you're one of a kind y/n. if you need any advice I'm sure I could offer some lip service. Maybe when the others are sleeping.'

y/n blushes and I'm not quite sure if they understand me, 'I think we've both had too much sun Buggy, let's get us both inside and you can stay with me for the rest of the day.'

Before I can protest y/n picks me up, and for a split second I'm pressed between their breasts before they turn my head. y/n was going to be the death of me, and I wasn't going to look at them the same way ever again.

[like-rain-or-confetti]

In the Circle. (Alec Volturi x Reader)

Escaping the Volturi was no easy thing and you wish you weren't surprised when it was the twins of all guards to be sent after you. Alec seemed more driven than Jane to hunt you down and retrieve you. He was like a dog with a bone, taking off into the forest after you and catching up fast until he tricked you into staying still long enough to use his gift, making a ring of black mist around you.

The black mist twirled and circled around you, but didn't touch you. The waves, twists and turns of the most collapsing in on itself was almost calming- had it not been possible danger. You didn't know enough about Alec's gift to determine if you stepped through it if it was a one touch and you were finished or if it took time. You also didn't want to find out. Jumping it was another matter. It bought the guards time to catch up. Realisation crashed down as you realised you were stuck. Trapped. You knew it...and so did Alec.

Alec stood by a tree, hands slightly outstretched, staring you down as the mist descended from his hands and slowly seeped into the loop. "I'd ask you why you'd run off but...it doesn't really matter. You're coming back either way. It's whether you'll come back intact." Alec began, his eyes roaming over your body before meeting your eyes again. "Come back willingly...so we don't have to hurt you. I'd rather not. I don't want to see you hurt." He took a step forward, his eyes a little more intense, his tone more forceful. "You wouldn't really leave me. You're just a little lost. A little afraid. It'll pass. The volturi...it's not...easy. I understand that. We've all been there." The tone shifted back into the soft innocence he adopted previously to lure you back.

The words were smooth as silk. The words were correct. He clearly understood the turmoil you felt. Yet the delivery, try as he might, it was off. It came off sing song-y. He understood it but he didn't feel it. There was no recollection of such a feeling in his delivery. It made you consider he wasn't telling the truth. The only way he could be telling the truth was if he had changed so much that the feeling was a distant dream that couldn't be brought to the surface. Regardless, his intent was clear. To lure you back. Even if you weren't sure why he wasn't just using force. Somehow, that made it worse.

You knew you had to be careful. So very careful. If Alec didn't get his way, his calm demeanor would switch immediately. It was something he never grasped or if he did, he didn't care. It wouldn't be the first time he made himself sound innocent- almost childish to get his way or provoke a false sense of security. Perhaps it worked on Aro, but to outsiders and especially to you- it was creepy. The voice and attitude not matching the twins ages, and it made your skin crawl.

There was nothing stopping Alec from using his gift or even attacking you outright. Yet he stood as still as a statue, staring you down, silently daring you to go against him. Even if this was a chance he didn't give anyone else. Then again, some whispers around the guards said Alec was very particular about you. Dare anyone say...attached. "Why are you doing this?" You pleaded. Alec smiled and in that strange, eery mimicked childish tone of innocence he replied. "I just want you to stay with me." Then everything went black.

[ikaroux]

How are they with their pregnant companion? Tighnari

Synopsis: Pregnant, your husband/partner is over the moon. But how would he take care of you during pregnancy?

Style: Cute, fluffy, female reader.

Bonus NSFW (18+) I remind minors to avoid reading this kind of content.

Alert: May contain story spoilers for some characters.

Characters: Tighnari.

Note: I wanted to do Capitano and Kaveh at the same time as Tighnari, but having had the flu this week, I unfortunately didn't have the strength to move forward. I still wanted to get something out for the holidays. I hope to have time to do Capitano and Kaveh for the new year. I really enjoyed writing this for Tighnari, I got very attached to the character, especially from my other fic "Before the Sun and Moon." (I unfortunately didn't have time to translate the last few chapters into English). I hope you'll like it!

Part 1 Diluc, Zhongli, Kaeya, Xiao, Venti, Albedo, Kazuha, Childe.

Part 2 Scaramouche, Dainsleif, Thomas.

Part 3 Dottore, Pantalone, Alhaitham

Part 4 Cyno, Ayato

"Tighnari, which color do you prefer?"

Tighnari was working on a poison remedy for foresters when you walked in with a pair of clothes in hand, one fir green and the other indigo. "Um… Indigo, I'd say." And once he had given his opinion, he returned to his research, not catching your insistent gaze on him. After a few seconds of your lover remaining focused on what he was doing, you noticed that his body froze, ears and tail erect while his eyes were as round as an owl's. The clothes you brought him were far too small for an adult… Tighnari turned back to you, his eyes darting between what you held in your hands and your face. The gentle smile you offered him and then your nod propelled him into a daydream. You were pregnant, he had been waiting for this moment for months! The fox man rushed to you, lifting you off the ground to trap you in a warm, loving embrace. He was finally going to build a family with you, his beloved. He was the one who brought up the idea of a baby, the enthusiasm and warmth of his words making you melt for him more and more. Before he met you, he was once a distant and solitary man, preferring to stay away from the hustle and bustle of the city, the academy, and the plots. It was in his genes, he was made that way. But with you, everything was different. He loved you more than anything else and the day he asked you to be the mother of his child was the most beautiful proof of love he could offer you, not to mention his marriage proposal…

Tighnari would only tell close friends about your pregnancy, so Cyno will be the first to know. Although he feels a great affection for Collei, he will prefer to wait a little before telling her that he will be a father in a few months. He knows that she is quite emotional and awkward, so it was better to bring it up gently.

You both chose to stay in Gandharva, the atmosphere being more peaceful than in the city of Sumeru. It will be Tighnari who will take care of you during the whole pregnancy. Nevertheless, he will not hesitate to ask for advice from colleagues when his knowledge reaches its limit.

Tighnari will do his best to be by your side as often as possible during the first months of your pregnancy, wishing to support you during the first trimester which was the hardest for a pregnant woman to bear. He knows that his presence reassures you and calms your anxieties as a mother-to-be and Tighnari is well aware that this child must be expected by two.

Your husband will always be behind you when you feel ill, gently stroking your back if you are vomiting, or applying an herbal balm to your temples to soothe your headaches. He will stay by your side when you sleep, rocking you tenderly, his soft eyes admiring your face. Maybe you dreamed it, but you could swear you heard him whispering words of love in your ear…

Unfortunately for you, your sleep will often be disturbed during the first weeks. Tighnari, having a very developed hearing, will wake up at the slightest noise you make. Seeing that your eyes are wide open, the man will whisper a few soft words to you, his hand tenderly caressing your face to numb your senses before wrapping you in the warmth of his arms. He will only fall back asleep once he feels your steady breathing against his skin, indicating that you have fallen into a peaceful torpor.

Tighnari has made a habit of letting you stroke his ears and tail when you're stressed, even if he's in the middle of his work. He knows that this soothes and comforts you. He'll usually wrap his arm around your hips and pull you closer to him, resting his head against your belly.  Anyone in Teyvat could tell you were the most adorable couple they had ever seen.

Being a forestry brigadier, Tighnari is sometimes forced to be away in the forest for days at a time. You both hate being away from each other, and even more so now that you are pregnant. Fortunately for him, you get along well with Cyno, who will always offer to take some time to visit you and check on you. "I want your child to call me uncle Cyno." He will say with a serious look to Tighnari as a token of thanks. The fox man will look at him blankly, ears lowered as Cyno nonchalantly raises his thumb in the air before joining you. "Ah?!" Was all that Tighnari found to say, his friend being already too far away to hear him (or pretended not to hear him…).

It is after a long week of absence that Tighnari realized the volume that your belly took. Slightly rounded, hardly visible to those who were not paying attention. For your husband, however, it was obvious and he found it beautiful… Seeing you, the one he cherished most in the world, going about your business as your child grew inside you. He couldn't help but look at you in silence, his eyes full of love and tenderness.

You were in the early stages of your second trimester, and your belly had taken on a shape that made Tighnari blush with joy. How many times did he feel like he was being slapped in the face by the evidence of your pregnancy? He couldn't stop looking at your belly, let alone touch it. So in those moments, you'd invite him to join you on the couch or bed, making yourself comfortable before inviting him to rest his head on your belly, stroking his hair as he savored the moment. "Tighnari, I'm sure our little boy will look just like you." The man laughed against you, gently making the baby react against his cheek. "Why do you think it will be a boy?" "I saw him in a dream." Tighnari looked up at you, clearly amused. "Oh, then it will be a girl." Your eyes opened wide, further amusing your husband. "You have a 50/50 chance of cheating on you my love, so my money is on a little girl. Besides, how many mothers have been wrong in their dreams of their unborn child?" You grunted, frustrated by your husband's words. He reassured you, however, whispering that no matter what sex the baby was or who it looked like, he would love and cherish it as his greatest treasure.

Your outings into town were always in pairs. Tighnari would stay by your side, affectionately holding your hand as he nonchalantly strolled the streets of Gandharva. Your belly was now perfectly visible to everyone, prompting locals who knew you well to approach you. Tighnari's colleagues and friends even dared to ask you to touch your belly, despite your husband's reluctance… He begged the Rani Kusanali to help him when he felt the impatience rising in him at the sight of all these people touching you without fear in front of him… Your husband has become particularly good at finding any excuse to keep you away from the crowd…

When you reach your seventh month of pregnancy, it becomes increasingly difficult for you to rest, especially when the baby seems to be living its best life in your belly. Although fun for those who touched your belly, it was unfortunately something that made your daily life more exhausting. The pain in your back intensified with the fatigue and stress of the approaching birth… When you felt exhausted, you looked for your husband who was your lifeline when you felt like you were drowning in uncertainty and doubt… Tighnari would listen to you calmly before taking you to a quiet place to sit on him, his hands and lips taking over his words to soothe you.

As you approached your ninth month of pregnancy, you felt unable to move because your belly was so round and heavy. Exhaustion was showing on your face and the pain in your back was becoming unbearable. Tighnari had become the one thing in your life that made you feel safe, cherished and loved. You relied entirely on him… As you were nearing the end of your pregnancy, Tighnari took a few weeks off to devote all his time to you. When he wasn't busy with household chores, your husband would sit on the bed next to you, chatting quietly with you while keeping his head and hands on your belly, enjoying your caresses in his hair. He cherished his moments of intimacy with you, basking in your caresses as he felt his child playing in your belly. He had told you so many times since you were together, but by the seven archons, he loved you more than anything in the world. Tighnari has never felt happier…

Tighnari will be an extremely gentle father, never raising his voice at his child, believing that education should not be about obedience, but about self-respect. He loves the contact with his baby, looking for every possible excuse to hold him. Having already had Collei under his wing, he will be very pedagogical with his little one, loving to answer his questions and teach him new things.

NSFW Bonus:

It was not easy to imagine that Tighnari was the kind of man who sought physical contact, he who was always known as a solitary man, preferring to hole up in his office or go off into the forest on his research and patrols. Yet he was the first to come to you and claim you, loving and savoring every part of you with a consuming passion. You had never felt so loved and wanted as you did with him…

Seeing your body change with pregnancy, you were afraid that it would turn him off and that he would pull away from you while your sexual desires only intensified. Your fears were unfounded, and while Tighnari avoided touching you for the first few weeks of the pregnancy, preferring to give you time to recover from the nausea and exhaustion that your first few hectic nights had caused, once he felt your intense gaze on him, he knew he could once again indulge his need to touch you.

He was always the first to make contact, approaching you from behind like a fox looking for its prey and wrapping you in his loving arms as his lips sought the softness of your skin. His hands always lingered on your belly before slowly moving up to your aching chest, massaging it languidly as you felt his canines nibble tenderly at your neck. He always had loving, passionate words to whisper to you before he started anything, telling you how beautiful and desirable he thought you were with his baby in your belly. He knew that you were afraid that you wouldn't be desirable anymore, that the stretch marks would appear more and more as your belly grew… Or even that the thought of making love to a pregnant woman might scare him away from you. But you were beautiful in every way, pregnant or not, Tighnari needed to feel you against him, your warm skin, your moans and the melodious whisper of his name when he made you feel especially good…

The sex was always passionate and languid, and while you liked to hold him, Tighnari had a preference for taking you doggy style. Although it was easier for you and for him with your increasingly rounded belly, it was a habit he'd picked up long before you got pregnant. He was always gentle with you, only getting carried away when he felt your orgasm approaching. His lips were never far from your skin as his ears strained, the pleasure he felt inside you making him dizzy. He was always careful not to crush you, constantly keeping a protective hand on your stomach.

As soon as he felt you tighten around his member, Tighnari would slow down to savor the feel of your tight walls, before straightening up behind you, grabbing your hips to lift you a bit off the mattress you were lying on. He would seek release as soon as you calmed down, flipping you onto your back before penetrating you again. The quick movement of his hips made you moan and Tighnari crushed his lips to yours to swallow the vibrations of pleasure from your throat. And as he felt his orgasm pouring into you, one of his hands grabbed yours, tangling your fingers together as the pleasure overwhelmed him, his moans swallowed by your passionate kiss… Archon, he loved you so much it was painful. His forehead resting tenderly against yours, Tighnari closed his eyes, thinking of how happy he was to be starting a family with the only woman he'd ever loved…