#something other characters can take a page from

[creatingblackcharacters]

Question 6 anon here, obvs u rlly don't have to but if u wanna argue w/ my comment pls do argue, if I'm full of shit I wanna hear it 👍 This question has been driving me up the wall for years I just want to know why ppl all seem to agree fandom racism is bad and agrees with all the arguments and yet everything's still so racist and would appreciate different perspectives

I just think that the idea you have, that the people who are racist and aren't don't hang in the same circles, is just fundamentally not true.

Like sure, Trumpers might not click on my blog to learn about designing Black characters lol. But a good majority of the antiblackness I've seen on this website has come from people who swear they're liberal or progressive or fight for some cause for something that they deem important... And then just don't apply that grace and logic to Black people. So you'll see people saying intelligent things... and hate negroes 🤣. And then you'll see those people being reblogged en masse by people who agree with their good takes... And maybe don't know about the antiblackness they were just spewing. Not that you can tell who does and doesn't, out of the tens of thousands.

So yes, y'all do hang in the same circles. Yes, the people who need this page very much are also people around you. We have to stop acting like they aren't. I have mutuals who reblog people that I won't follow, simply because I've seen those people keke-ing it up with antiblack, whitewashing bloggers. Even the distant connection there is enough for me to be like "nah, unfortunately I can't kick it with you", even though we're in the same fandoms and such.

Essentially, the call is more often coming from inside the house, and the unwillingness to approach it from within because "oh I'M not racist" is preventing it being answered. Every antiblack sentiment you see in fandom isn't gonna look like an overt slur. It's gonna be in the way people perceive and treat Black characters versus others, in the way they treat Black character design, the way they allow others to slide when they are racist because "their art is cool". That tolerance I've been talking about? That's where you see the line for people, and it's so much closer than folks think.

[selfloverrrrrr]

Witch!Reader x Demon!Satoru. He promises to fulfill her wish in exchange for something. She wants to be seen as a human being instead of a monster, the only thing she really wants is to be loved, and unfortunately he knows that. He fulfills her wish, but in return he imprisons her in his castle and promises to give her all the love and care she deserves (but in a very dark way).

The Ritual~

Warnings : smut , heavy smut, unprotected sex, Noncon, Kidnapping, physical and emotional abuse, biting, size difference, Yandere Gojo, demon Gojo, witch reader, jealous, obsessive, manipulative....

( All characters are aged up/18+)

Minors Do Not Interact

Read the warnings carefully....if you don't like my stories block me not report

Y/n's POV

I was born in a witch family. My mother was a witch too. So were my ancestors. I'm also a witch. I didn't know what was it when I was a kid. Is being a witch a good thing or a bad thing? I always used to ask myself. But all I knew was my mom always used to hide the fact from everyone that we all are witches.

So many years passed. I grew up. I'm an adult now. And I still don't have the answer that if being a witch is good or bad. But for me it became a curse. A curse for which my whole family got killed. The king hired to kill all the witches in his kingdom. He's such a powerful king. And that's why my family isn't with me now.

We all were unaware that they were attacking us. It was the middle of the night. I saw them kill everyone in front of my eyes. I ran away from there. But they saw me. I ran all I could. And for god's blessings they couldn't find me. Now I made a small hut in the forest.

All time fear attacks me that they will find me and kill me too. I can't live like this. I need to find a way where I can live like normal people. So I started learning witches techniques. Maybe any of them will help me? I started reading the books of my ancestors.

I started learning many magics. But none of them are for what I was trying to find. I never did witch activities before. I started searching in all those books. Maybe, just maybe something that will make me like the other normal people and I can live a normal life just like them?

I searched all I could. But nothing was related this. But then I found something. A book which is sealed. I looked at it. It was the last hope. I opened the seal. It was too old. Am I even gonna find anything from here? I opened the book anyways. After some time of reading what I found can actually help me. The things written in the book are:

"He got sealed. After all those trying, we all witches are successful. We sealed him. He, the strongest demon. He got birthed and from that day it was all the witch's job to end him. Though its not possible to kill him. He's too powerful. We all were also shocked that we got him sealed. He was birthed to destroy the world. He wants to rule it. He has destroyed too many places. He has killed too many people. And after doing rituals we managed to seal him. That demon, that monster's name is:

Gojo Satoru"

I kept turning the pages and the last page got my attention.......

Process to unseal Gojo Satoru

He'll fulfill your wish

My heart started beating wildly. Should I do it? It is mentioned that he is too dangerous. But he'll fulfill my wish. I don't have anything in my life. Does it even matter if I risk it? If I don't do it people are gonna try to kill me all the time. Then I should take a risk. I have to go to the place mentioned in the book.

The place mentioned in the book is the old burnt castle at the end of the forest. I've seen that castle from the young age. Everyone told me to stay away from there. But they never told me the story behind it. Today I got to know about the real story behind it.

The ritual needs to be done at night. So I collected all the things that were needed in the ritual that day. And I went there the next night. I wore a hooded dress so that no one could recognise me. And I was lucky that there weren't any people there. I quickly made my way inside the old castle with a candle in my hand.

I entered the castle. It was huge. There's dust everywhere. And the castle is burnt also. It made me curious about what happened here? I kept walking. The huge stairs from the middle. I have to go to the top room of this castle. As in the book there's a throne room which is the ritual room. I went up there.

I pushed the door open and my mouth was wide open by the beauty of the throne room. I wondered what it looked like when it wasn't burnt. I went towards the throne. I don't have enough time to do the ritual. I quickly set up what was written in the book. Then lit up all the candles. Then started doing the ritual. My heart was thumping against my chest.

As I completed the spell. The wind started flowing heavily. Suddenly all the candles were extinguished together. Then the wind stopped flowing. And all of a sudden all the candles lit up together again. Then I saw a tall human figure sitting on the throne.

He has a huge masculine body. He's tall, has handsome sharp features, white hair, white eyelashes and those gorgeous blue eyes. He looks exactly the same said in the book. He's wearing all black royal clothes. He turned his head on both sides and the cracking sound echoed through the room. Then he looked at me.

Can that beautiful person be that dangerous? I asked myself. "So you're the one who unsealed me?" He spoke. I have to respect him. "Yes, my lord" I replied looking at the ground. "Hmmmmm.....well, this place is still burnt and dusty everywhere.... and I don't like my castle to lose its beauty" he said and threw a hand beside him.

A blue ray came out of his hand. And all of a sudden the castle turned all new. Not burnt anymore neither dust anywhere. I was already gorgeous and now it has become more gorgeous. A huge black gorgeous castle. "Hmm.....so what's the reason you unsealed me?" He asked.

"my lord, I'm a witch.... people of the king are killing all the witches. They killed my family too. I don't wanna live like this. I was to live like normal people. I want everyone to think of me like normal people. I want to be loved." I replied. And then there was silence. I could feel him staring at me.

"So you don't wanna be a witch any more and want to be loved right?"he asked. "... yes. My lord" I replied. He smirked. "Okay....done" he said swiping his finger in the air. My eyes widened in hope that now I can live like normal people. I looked at my hand and the witch sign was gone.

That means..... that means I'm not a witch anymore? I was so happy. "T-thank you... thank you, my lord" I said with a smile on my face. I stood up. I said "I should go now-" he didn't let me finish "No" he said. It almost seemed like an order. I dared to look at him. And there was a sinister smirk on his face.

"I didn't give you permission to leave" he said and went up from the throne. And within a blink I was standing in front of me. I got frightened and took a step back with a gasp. "You scared?" He asked with a smirk. I didn't reply. "Are you?" He asked again tilting his head. ".... N-No" I replied.

"okay.... then come with me... let me show you something" I said with a grin offering a hand to me. I have to accept his hand and so I did. And within a blink we both were standing in front of the window. How fast is he? "Look at the kingdom. I own this. I'm gonna burn this place" he said. Now he was definitely terrifying me.

He placed a hand on my waist and pulled me against him. Now this is getting too uncomfortable. "And you'll be watching them die with me from here. And I'll kill them first who killed your family" he said. What does that mean?! "M-my lord I should go now" I said. "And I already said no" he said looking at me.

"you want to be loved, right?..... you'll be living here in my castle with me.... and I'll give you all the love you need" he whispered in my ear. My eyes widened. Oh no no no. This is not what I want. He wants to kidnap me in his castle?! Shit I don't have my powers anymore either. What should I do now?!

"what happened?" He asked and nuzzled his face on my neck. I took a deep breath and pushed him. Then ran all I could. I was running through the corridor and bumped into someone. Of course it's none other than Gojo Satoru. I don't have any ways now. I automatically started crying.

He smirked. "Didn't thought someone has the bravery to disobey me" he said and started walking towards me and I started walking backwards. "P-Please let me go I don't want that life" I cried. "Oh darling you don't know how much I love to see people crying. And for your life I'm the one have the power to decide how you'll live" he said.

Then he clapped his hand and we both were standing in a.... BEDROOM?! He grabbed my hand and pulled me against him. "Now tell me what you were saying?" He asked. "P-Please....let go... P-Please" I said. "Let you go? But didn't you wish to be loved? I'm giving you the love you deserve" he said while grabbing my ass and squeezing it.

I yelped at that. "P-Please I don't want to stay her-" before I could even complete my sentence he threw me on the bed and claimed on me. I screamed so loudly out of fear when threw me on the bed. "Didn't you say you're not scared? That seems like a lie now" he said and took off a strand of hair out of my face.

"it's been years since I was sealed. Never thought I'll get this gorgeous gift as soon as I get unsealed " he said with a smirk and pressed his lips on mine. I tried to push his chest but he grabbed my hands and held them beside my head while kissing me aggressively. He pushed his tongue inside my mouth.

I was shaking my head in protest but he didn't stop. When he stopped he immediately grabbed the top of my dress and tore it off. How strong is he??? He tore off a dress with Corset with his hands?! I almost screamed when he did. I covered myself and tried to crawl up.

He grabbed my hair and made me look at him. "Did I say to cover yourself???" He asked. His eyes shined. Tears falling down from my eyes. He smirked and licked my neck with his long tongue. I was shaking from fear. "You know seeing you scared makes me more turned on" he whispered.

I couldn't breathe. He grabbed the hem of my dress and pulled it over my head. My boobs bounced out. He looked at those with lust in his eyes. His eyes shined in the dim light. He didn't waste any time, crashed his mouth on my breast licking, sucking and teasing the nipple and squeezing the other one with his hand. I moaned in the sensation. I grabbed his hair and tried to stop him by pulling it but it didn't even affect him. "M-my lord stopppp" I screamed but he didn't stop. "It's Satoru, darling.... I won't kill you if you call me Satoru"

Then he took off my pantie. He looked at my pussy. He rubbed his finger on my clit and whispered " so wet. You naughty little slut, getting wet for me huh?". Then he licked my pussy. I couldn't help but moan loudly. He smirked at my reaction and undo his pants.

His dick sprang out. It was too big and too thick. "Look... this is what you have done to me..." he said while stroking his dick. Fear grabbed me by my neck. " S-Satoru no no no... P-please no... s-stop" I begged and called him Satoru as he said so maybe he listens to me? but didn't even listen to me and slammed his whole dick inside me in one slide. I screamed. He didn't even give me time to adjust his size and started thrusting in and out roughly. I was through my legs with pain and begging him to stop. And he liked it so much. His thrust became harder and harder.

I clenched around him tightly and he moaned loudly " you know.... you're the first witch I love....I always hated all the witches.... never seen such a gorgeous witch like you.... f-fuck what great present I got as soon as I got unsealed" he started rubbing my clit with his thumb and I bite his shoulder scratched his back to control myself. With a few more thrusts I came. He was still thrusting roughly. I felt his cock pulsing inside me. I tried to push him away with all of my strength." Ughh...no no no no...ahhhhhh... I don't want this ..." I moaned. "Do you still think you can make me stop?" He said with a smirk. I dig my nails more deeper into his back as he Marked me. He continued thrusting. Within a minute he came inside me I could feel his seed inside me. He pulled out. He fell beside me on the bed.

"You need to be loved? I'll give you all the love you deserve..... now spread your legs again.... I'm not done yet.... I was sealed for over 500 years.... you don't expect me to stop right now, do you?" He said and chuckled demonicly.

Give me your requests guys....

I love when you give me your requests 💕

[alpaca-clouds]

Arcane Season 2 - How Bad Pacing Can Ruin Everything

So, Arcane season 2 ended. And I am sorry, I need to vent.

I am honestly not sure whether the rumors are true and this were originally meant to be more seasons. The Riot CEO apparently denies it, but then again, I have seen CEOs confidently go out on stages to talk about a project which they knew was cancelled at that point in time. So, sorry, but I will never ever trust a CEO. Lying is like 50% of their jobs. Being greedy is the other half. Sorry, not sorry.

I am gonna write something about disability in Arcane (overall) during the next few days, but let me just talk a bit about the pacing issues of season 2.

Spoilers for season 2 - all of it - obviously.

Believe me or not, but I know the exact issue of Arcane season 2. It is called: Too many characters. Too many plotlines. It is something that easily happens when writing an ensemble story (no matter what the format is you publish the story in - it happens in books, movies, shows, games). At times it works fine if you manage to weave the entire ensemble into the same main plot. But as soon as you wanna give everyone their own little storyarc with a bit of their own themes, it often goes haywire. Either you will end up dropping some characters to the side and not properly finish up their story, or you will end up rushing everything. Neither is gonna be good.

Here I am mainly thinking... Was the entire Black Rose/LaBlanc stuff planned to be there from the beginning? Was it put in later? I mean, given that the entire story felt like it might set up Mel as a Champion for LoL... How do I put it? Mel was too overdesigned in the show, to not be a future Champion. That was my feeling from the beginning. I don't know if they gonna make her a Champion, but man, it feels like it.

But no, the main issue really is the pacing. There is just too much stuff happening.

I will remain, that the thing that shows this better than anything was the second "arc" of season 2. Episode 4-6. And the general way the entire Caitlyn, Vi, Jinx thing plays out. We have the following things happen in the first six episodes of season 2:

Cait's mother dies

Cait swears revenge and asks Vi to assist her as an enforcer

Vi does not want to. Ends up getting drunk.

Vi decides to do it anyway.

They do a bit of chemical warfare for good measures.

They go down there. Fight Jinx. Vi cannot do it - partly because Isha.

Cait breaks up with Vi and becomes the evil fascist dictator

Vi becomes an alcohol addict.

Except, never mind, Caitlin is already feeling shitty about it next episode.

Jinx gets Vi and Magic Pixie Dreamgirls her out of her new-found addiction.

Jinx and Vi are good again. They go help Vander.

Cait meets Vi for the first time since the break up. They instantly are back on the same page.

Like, there is so many plothooks in this storyline alone that do go completely unexplored.

There are two characters here, that do play a role in the last three episodes too and that felt like they were some proper characters at some point. Those two are Maddie - the Scottish-dialect enforcer girl - and... Frankly, I do not feel like looking up the name. The big burly one, who after the break-up takes care of Vi.

Those two feel like they were at some point meant to be more real characters. But because of the pacing, they are barely ideas. Maddie starts making out with Caitlyn because...? I don't know. Because I literally do not know anything about this character but "she is an enforcer", "she is queer", "she is attracted to power(?)", and thats it.

And the other guy goes with Vi because... Uhm... I don't know. I know literally nothing about this chaaracter other than that he is big and an enforcer. *shrugs*

It most certainly feels like there was some planned version of this show, in which Cait and Vi both had a proper corruption arc. In which we really saw the two of them struggle. In which we actually saw Piltover and Zaun under the control of Commander Caitlyn and Noxus, and saw the horrible things they were doing and what it was doing with Caitlyn. In which we also saw Vi struggling with addiction and stuff.

But that was not the version we got in the end. Instead in this version... things go magically well.

Hooray?

Same with Jinx. Her mental health issues just magically get better when Isha is there, because that is what the story needs to happen now.

Here, too, it also feels like huge chunks of the story are missing. It feels like there was a story going more into the relationship of Sevika and Jinx for a bit. But if that story had been there once, it was most certainly no longer there. It was hinted at, yeah, but that's it.

And then there is the entire magic plot.

Look, I think among the fans of the LoL Lore I am not the first one to say: "Yeah, trying to marry the worldbuilding of Arcane to the established Runeterra worldbuilding does not work, because of the magic." Runeterra so far was always a fairly high magic world - at least that was implied by comics and short stories. Magic was a common thing in this world. Otherwise we could not have that many magic champions and a whole place whose entire thing it had been: "We are anti-magic Nazis building mage concentration camps!"

When Riot said, that Arcane was now the main canon, A LOT of fans of the lore were like: "You get that it is not gonna work." And yeah, Arcane Season 2 clearly shows how it doesn't work.

Because the way they put in the entire "Mel is magic, also the Black Rose is a thing" stuff just... It did not fit in the entire plot around it. Because Arcane had been designed as a world where magic was very rare and strange. But now Mel had to be magic and somehow had to be connected to the Black Rose.

Also... What the fuck even happened there in the end? Why put that in? Why make Mel go against LaBlanc? I am sorry, but that was simply too much for this plot. The entire Black Rose stuff stuck out of this plot like - pardon the pun - a thorn.

Generally there are several relationships that feel, like they had at one point been a whole more explored, but then got dropped to the wayside.

As I said, Sevika and Jinx are definitely an example. Ekko and Heimerdinger as well. I also feel like what was episode 7 of the show was probably originally more than one episodes and slower paced - though it still to me was the one episode in this, that kinda worked in of itself. And that the Ekko and Jinx relationship was better established.

I also feel that Viktor and that echo of Skye was probably at some point supposed to actually have talks. Like: "I will miss talking to you." - "No, you won't." Okay? THEN SHOW ME THEM TALKING PLEASE?!

Which kinda brings me down to the main thing that happened because of the pacing issue. Season 2 of Arcane knew only two extremes in terms of "Show, don't tell". Either it goes full "music video" in whcih indeed it just shows us shit without context or dialogue - or we get the information just via dialogue, in a complete tell.

This also shows in the last episode, with the entire thing of Piltover asking the Zaunites for help, after brutally surpressing them forever. Yeah, I see where they were going with this. About being the bigger people and planting seeds and what not. But frankly, there might have been a time and space for a story like that, if properly told (you know, with giving more of the Zaunites a voice in this story, showing more of the conflict and spacing this plot out over several episodes). But a) it was not properly told, and b) a world in which several genocides happen while Trump somehow won a second term is not that world. Yes, b) is not the fault of anyone working on Arcane. That was simply bad luck on their part. But a) is very much their fault - and even if we did not have a Palestinian Genocide and no second Trump term: Without a) being done properly, it would not have worked. It would have just not felt quite as miserable.

You know, the most frustrating thing about this was, that... While I think that one way or another I would still have hated how the show handles the topic of disability (again, I will write about this during the next few days), I generally might have liked the same plot, if it had been given the needed space to breathe.

Like... Sure, I would have never really been on board with "fascist Caitlyn", or rather with "fascist Caitlyn, who gets then forgiven by everyone". But I could have somewhat swallowed it, if that forgiveness had to be earned. But because of the breakneck speed of this show, it never got earned. I am not even talking about redemption arcs here - those are always a headache - but specifically about the fact that Caitlyn gets instantly forgiven by everyone.

Also, lol. The entire thing with Ekko convincing Jinx to come along off-screen. That was unelegant.

Heck, it feels in the first four episodes, as if there was an arc being set up for Sevika in general. And it feels like that arc needed to happen, given that Sevika ends up on the COUNCIL OF PILTOVER in the epilogue. However, that Arc just does not happen. Then, like... why set it up?

That is general the issue. There is a lot of set-up and very, very little payoff to any of it.

And here is the thing. I have heard people argue about whether or not this was meant to have more seasons. But frankly: I do not think that the writers who wrote season 1 would have written this story this way had they known it would be two seasons.

Mind you, compared to some people I would not rate the writing in season 1 higher than maybe 6 or 7 of 10. It was solid, but not overwhelmingly great. But season 2 in comparison is a 2 of 10, maybe a 3 of 10, if I am being gracious.

And frankly, I do not think any writer, who is in any way worth their salt, would write a story where a main character goes evil, and then do exactly nothing with it. I mean, sorry, us writers, we are a dramatic bunch. And we will not resist the drama being served on a silver platter unless we are forced too. I cannot imagine a single writer, who will go with the end of episode 3 and then not write a bunch of angst with Caitlyn and Vi - unless they were forbidden.

And mind you, CaitVi is by far the ship I am least invested in. But it is simply such a glaring example of where the plot is rushed in a way that it hinders the character arcs.

Oh, and also... Lest. Lest in the first six episodes clearly felt like a character, who was going to play a role. Only to then disappear to not be seen again during the finale. What happened to Lest? Is she dead? Is she alive? I guess we'll never know.

*sighs* I am sorry. I really am. I am just... very disappointed. This has been a mess. And I think it would not have needed to be.

Like, the animation is still the most pretty thing ever made in the world. But man... The plot? The plot sucks balls. And not in the sexy way.

[posts-written-by-murderbot]

I want to write a screenplay for the competition that's happening here. If you win they make it into a short movie. I think it's super cool. But mama says nobody is going to like my story here. She also says I'm too young but I'm not too young because I'm twelve. It is too young to make a submission but I can ask my older sibling to help. Te likes my idea.

This is my story: they are on an asteroid mining facility. The main character is a miner. Te is very cool and strong. And the other main character is a researcher. She is not so strong but she is very cool also. And one day they mine deep and find a cavern, and there's a monster there. So it steals the main character (the miner) and brings ter to its lair. The researcher is very sad because she thinks she's never gonna see her friend.

But then the third main character comes. They are a SecUnit, and they are super cool. They are two meters tall and can run really fast and jump and they have guns in their arms. So they go to the mine and kill the monster. There's blood everywhere, they tear it apart and then smash it into wall and it's super super cool. But then the wall cracks and rocks start falling on their heads and then SecUnit takes her in their hands and start running really really fast and they escape the mine just before it collapses. The researcher is very happy and she and te hug and kiss. (I think kissing is gross but adults always kiss in media so I think they have to kiss here.)

But then camera shifts to the cave (it's only half collapsed) and there's a woman there in a suit and it has a corporation logo on it..... The same corporation the main characters work for! It was a betrayal, she summoned the monster to kill everyone. And SecUnit can see that because they have fifty drones and can see everything. And so they tell the researcher and the miner and they all take a shuttle and leave. But then the shuttle has a bomb in it! But then SecUnit finds it but it blows up and blows off an arm off of them but the researcher creates a new arm and it's super cool and has five weapons in it! An energy weapon, two different projectal weapons, a sword they can make burn with blue flames and also a weapon that can shoot bombs! And so they all start travelling the universe and fighting evil corporates! And SecUnit goes undercover and pretends to be an augmented human and kills everyone who is bad and saves all the good people! The end.

Do you like my story? Do you think it's gonna win? Do you think I should get my sibling to submit it?? I really want to see it on the screen!! I think the SecUnit character would be super cool.

PS. Tata says you saved ter and ter friends' life like three times and were super cool and then te found out you were a SecUnit!! It is so much cooler than an augmented human!!! I wish I could have weapons in my arms if everyone hurts you you can just blast them to pieces!!! I was so excited when I saw this page you are very cool!

PSPS. They say your name is Eden but this page says you're just SecUnit? Which is weird, is it like your name or what you are? No offence! How do you think I should call my SecUnit?

PSPSPS. Aunt Tapan showed me World Hoppers and said you liked it and I watched it and it's my favorite show now! It's so cool!! And no I'm not ripping it off, my plot is completely different, even from episode 35, for one my story takes place on an asteroid and not a ship. And also everyone survives because the SecUnit is so cool! It was so sad how they just killed off that guy. Like yes he's not important but it's still sad!! I'm so glad they didn't kill off any of the main characters, that would be a bummer. Do you have any other fun shows I could watch??

I... like your story. I don't know if it'll win the competition though. If you want to submit it you should do that, but even if it doesn't win, that doesn't mean it wasn't good. So just keep making stories if you want. Other people's opinions are less important than you doing something that you think is interesting. If they don't like it, fuck 'em.

A few things:

Screenplay has a particular standard of formatting, traditionally. You have a comprehensible synopsis here but you might be interested in learning about format.

A lot of stories have kissing in them but you don't have to add it if you think it's gross. Your tastes might be different from most people and that's fine. (For example, the idea of a heroic SecUnit might not be something that most people understand.)

You probably don't want guns in your arms. There's a lot of legal problems with being classed as a weapon, like making travel more difficult.

I've used different names in different situations, and I've used human names when pretending to be an augmented human. Currently I just go by "SecUnit" most of the time. Your SecUnit character could have any name, but maybe consider why it has the name it does.

Anyway, I'm glad you and your aunt are doing okay. World Hoppers is a good show. If you're interested in adventure serials, you might try Timestream Defenders Orion, Legends of the Fire, and Adventures in the Free Systems.

[homestuckreplay]

Pagecount: Over 900

(page 886-902)

With 17 pages, 11/22/2009 is the longest Homestuck update by number of pages to date. It contains not one but TWO huge story developments: the ominous planet and the Peregrine Mendicant.

Ominous Planet

Just as WV told us, the ominous planet is bright purple and lies ‘beyond an impenetrable veil of darkness’ (p.704/886).

Dad is here!! I think a lot of the sudden character transitions in Homestuck actually make sense – we went from John thinking about going into his dad’s room, over to Dad himself. He barely appeared in Act 2, getting kidnapped by the imps at the start and breaking out of his trick handcuffs at the end, and now he easily bests them. Clowning is a physically demanding pursuit so Dad must be well in shape beneath the business clothes, because he launches one imp right through the wall.

We also meet an imp security guard (?) who’s wearing similar but more intricate harlequin gear.

They’re watching Dad fight the imps and somehow also watching John battle the ogres, through a pair of windows similar in design to ‘one of [Jade’s] GRANDPA'S more mysterious inventions’ (p.790), the freestanding window on Jade’s gadget table. There is apparently no end to the number of people watching John.

He looks kind of familiar. On page 833, we’re introduced to the full Midnight Crew as the sky switches from blue to bright purple. And comparing these face shapes and designs side by side, these two characters feel like they could have something to do with each other. They’re both really angry, as Spades Slick’s answer to everything is violence, and this new guy refers to the other imps, John and Dad, or both as ‘graveyard stuffers’ (p.891). It’s the only text we get in relation to the character. The narrator apparently has nothing to add and no witty comment on that thought of theirs. There’s then a quick cut where seeing the next page title ‘You are now…’ suggests that we’re about to become this guy, but we instead suddenly become-

Peregrine Mendicant

THE MAIL HAS ARRIVED. Mail, packages and deliveries are a recurring motif – there have been several important colorful packages, several envelopes containing discs, and now there is a letter to Dr. David Brinner, ATTN: SERIOUS BUSINESS. Serious Business is of course the messaging client that Dad uses to keep in touch with his troupe, and we just returned to Dad in the story, so is this finally the moment that wellPressedAttire or officeurchin1280 take their starring role in the narrative? It’s definitely a person in John’s neighborhood but not Dad himself, as we’ve seen the insides of the Egbert mailbox.

PM’s mail based tirade (p.894-896) is of course reminiscent of WV’s mayoral calling (p.686) and PM’s adoption of the hat is just like WV making their sash. So there’s something to say about these chess pieces arriving at these Skaian bunkers and immediately adopting an institution of society as critically important. Both PM and WV’s monologues read as very idealistic, imagining these overly simplistic societies that function like textbook diagrams, as though they know about these things from books similar to WV’s Human Etiquette tome and have never been part of an actual human society. Comparing the two, WV’s monologue feels more peaceful, as it’s focused on everyone getting along, mutual respect, civility and a kind leader. PM talks of soldiers, a crusade, defenders and hope among the ashes; it’s far more violent and adventurous, and feels more grounded in harsh realities even while it maybe overestimates the mail’s capability.

Which is not to criticize the mail or PM’s speech, because I think they’re both great. I agree that mail is very important, highly underappreciated, and I think it’s beautiful to explore an empty wasteland and to think ‘if there are any people left here, I need to make sure they can communicate with each other’.

Looking stylish in their new hat, PM loads their terminal and tries to greet Jade the same way WV commanded John. Jade is already covered by a lot of green static, but it appears to be snowing where she is, with flakes and drifts behind her. Which is weird in itself, because Jade is close enough to the equator that a quick search suggests it wouldn’t snow in her area no matter the time of year, especially not with the geothermal power near her house. But it gets weirder, because when John resisted a command he just felt frustrated and got a headache as he tried to ignore a weird voice in his head. When Jade resists a command, she apparently blows up the command station with lightning that she transmits through time and space. Yet another way that Jade is weirder and more powerful than the other characters.

> PM: Sacrifice yourself to save the mail.

[lainalit]

Jurian (who's people where enslaved for hundreds of years) when he gets vilified for killing a bunch of fae slaveowners

[mokeonn]

I think that the 2010's media landscape of Buzzfeed articles about plotholes in disney movies, Cinemasins critiques, and Watchmojo Top Ten scenes in movies that make no sense has truely ruined a lot of media. People are afraid that their work will be torn down if they dare leave a single thing up in the air, if they dare ask their audience to suspend their disbelief.

All too often nowadays I see stories (especially fantasy), take the time to explain how every small aspect of the world works and how it all logically makes sense. The constant time stopped to explain why an event happened, how this object works, or why this is important to the characters. It's just really not needed and it honestly makes a lot of stories worse.

I am of the opinion that the best stories truly just drop you into their world and explain nothing. They just take you through the story of this world and you just have to accept it and continue on. "When he became king, the land became barren." I don't want the story to stop and explain why this is, or how it happened, I want us to move on so we can just assume that the king has such rancid vibes that everything died.

[anotheruntitledsong]

i did like the hidden palace but (SPOILER if anyone hasn't read it?) i'm genuinely so annoyed at how Arbeely is handled like... I wish i could be sad but i'm just fucking irritated. I was overly invested in him and that's def why but i just feel like they did him dirty

[ambrosiagourmet]

I want to talk about why I think this is the one of the most important Falin panels:

So, Falin is really nice, right? It's one of the first things we really learn about her. She's kind even to the monsters of the dungeon - choosing to ward the party rather than fight spirits and cause them needless harm.

In the above early flashback in chapter 11, we see Marcille fawning over Falin's kindness, calling her an angel. Namari calls her soft-hearted. We see Falin choose not to fight even when a zombie attacks - instead she resolves the confrontation with a hug. After the flashback, the first thing Senshi says is that Falin "sounds like quite the person," which Marcille strongly affirms.

At this point in the story, all we have seen of Falin are these impressions; she is a healer, an angel, a caretaker with an infinite well of kindness towards everyone she meets - both friend and foe.

And honestly, that remains most of what we have to go by to understand her. The only times we get to see Falin on the page, alive and just herself, are in the opening and closing pages of the story and in the brief period of time after she is resurrected.

Nonetheless, we do have some more details to work with. For one, there is the scene that The Panel is from - a short memory in chapter 75, when Marcille flashes back to while she's dying. In that scene, Falin prepares to teleport them all out, and says that she's sorry "if there is a person at [their] destination." And that's when we get The Panel.

If you teleport someone or something into another person, the person teleported into is likely to be, at minimum, severely injured. They could die.

We can see a lovely little horrifying example of exactly why in one of the Daydream Hour doodles:

So, hmm. That's not... that's not SUPER nice. Certainly not displaying the same "kindness to all, friend and foe included" we saw represented earlier. On a basic level, this adds some nuance to Falin's kindness. We see it break a little, when pushed to the limit. We see her chose to protect the people she loves above all else.

Which makes sense! As Laios says when the Winged Lion accuses him of similarly being motivated more by his friends' safety than everyone else in the dungeon, "...most people, aside from virtuous do-gooders, would feel the same way."

So, we can take The Panel as simply showing a moment of weakness for Falin. A time when she was pushed to her limits, and that "most people" selfish side of her shone through.

However... I think there's a little more going on with Falin than just her being an angel 99% of the time, except just that once. I love The Panel because I think it helps us understand that Falin isn't just motivated by kindness - she also has a desire to avoid seeing people in pain.

Isn't that the same thing?

No, no it very much is not.

Let's look at a short comic from the Falin section of the Adventurer's Bible, because I think it illustrates this point perfectly. The group is complaining about how much Marcille's healing hurts, and comparing it to Falin's, which "doesn't hurt a bit." Marcille retorts with the following:

Now, the punchline of this comic is that, despite Marcille's sentimental assertion that she's "thinking of [them]" by letting her healing magic hurt, they all still prefer to be healed by Falin.

But hey, this wouldn't be the first time that Dungeon Meshi hides a very real character beat or insight in a gag, so let's think about this somewhat seriously.

If Marcille is right (and she knows a fair bit about magic, so we can assume that she has at least somewhat of a point), then what Falin is doing isn't kind. I suppose if someone specifically requested to not feel the pain, it could be kind, but that's not really what happened here. She is the one who felt badly about the others being in pain, and she is the one who decided, without telling them or giving them a choice in the matter, to take away that pain.

Both Marcille and Falin are healing the party, but Marcille is doing it in a way that accomplishes the task in the most straight forward way, without any additional interference. Falin is going out of her way to perform the healing in a way she is more comfortable with. A way that avoids pain.

Going back the The Panel, I don't think its a coincidence that the only time we see Falin (well, non-chimera Falin) willing to do something that could hurt someone is when any potential pain will be far away from her. If she got someone hurt or killed by teleporting the party to the surface? Not only would it be far out of her sight, but she'd be dead before she had to deal with any consequences of that action.

Falin is not a confrontational person. She doesn't push when Marcille won't tell her the truth about the resurrection, and she comforts Laios about her own death - both of those things happening in the only full chapter she is alive and conscious in the whole story.

We also know that she considered accepting Shuro's proposal, despite not having any special feelings towards him, and that Falin never explained to Marcille that she wanted them to share a meal together. When she brought Marcille various foods at the academy, she just accepted Marcille's confused rejection and gave up.

And lastly, we know that she is still in contact with her parents, despite the neglect and abuse she suffered at their hands. Although the way someone chooses to handle contact with abusive or bad family is a complicated topic, which I don't want to overly simplify, I do I think this fact gets at the heart of how she handles conflict.

So many people that Falin loves have hurt her. There are understandable hurts, like Laios leaving the village, or Marcille not understanding the food. And there are bigger, far less justifiable hurts - like her parents neglecting her throughout her childhood, and sending her away to be alone at the magic academy.

It doesn't seem like Falin has ever confronted any of it directly.

And the unhealthy aspects of this kind of avoidance of pain and confrontation is one of the things that the story of Dungeon Meshi is all about. We see Laios grapple with it before he goes to kill Falin, and we see Marcille acknowledge it at the end of the story, when she tells Laios that she has come to terms with Falin's death:

Eating is a part of life. Consuming other living things is a part of life. It isn't really possible to avoid that pain - you can only hide from the truth of it. You have to be selfish everyday. You have to eat - to choose to live. To choose to take up space.

And this is something Falin embraces, too. She comes back to life, after all.

We see her choose to come back to life.

And how does she make that choice? She eats. She consumes, and then she is asked a question by the manifestation of hunger itself:

Do you want to eat more?

There is a double meaning in the Winged Lion's final words on the next page.

When I first read this, I took it as him saying: life is cruel. You will suffer. You will feel more pain.

But perhaps, especially for Falin, this also means: you are choosing a path where you must cause pain. Where you must consume. Where you must take, and must be selfish. Because eating is the special privilege of the living, and it is their burden, too. In order to stay alive, she will need to keep eating.

And she chooses that. Chooses to be selfish. It's why her resurrection scene is so important, and it's why The Panel is so important. Because Falin coming back isn't the ultimate reward for all of the party's hard work.

It's her choice. Just like it was her choice that started everything in the first place. But this time, she doesn't choose to accept causing pain for the sake of Marcille and Laios. She does it for her own sake.

[urfriendlywriter]

How to write angst ?

@urfriendlywriter | req by @everynowandthenihaveacrisis @aidyaiden :)

know your character. from their deepest fears to what they cherish the most. know your deepest fear, ask yourself how you will react and feel at that moment. "oh shit, if this happened to me I'll lose my mind" what's that type of scenario for you? write it. :)

decide on the type of angst you are going for!

major, minor, physical, emotional, paranormal, spiritual, verbal, abusive, quarrel, misunderstanding, etc.

and then, decide on--what reaction you can take out of your character by doing what to them.

are they gonna be, held at a gunpoint to give something up? or have their soul wrecked by whom they thought were close to them? or is it going be horror, or etctec, decide on it.

moving on to actually writing it-

Tip 1 - Use sensory details.

her eyes brimmed with tears

his chest heaved

pain clawed at his heart, as his face twisted with hurt

his scream pierced my heart

her lips quivered

she dug her nails into her palms (to distract herself, to stop it from shaking, etc)

show what is happening to ur MC, instead of telling it.

Tip 2 - how to actually write it.

If they're panicking, make them notice too many things at once, show every detail that they're seeing, feeling, from touch, to that burning sensation on their eyes, the blood on the ground, that dryness of their throat, the buzzing in their head and their parted lips unable to trust their own sight, and--and, boom! have them register that they're really really in trouble. and that they've to act fast.

use short, very minimal type of writing for this. make it long, but not long enough that it feels like it's being dragged.

the readers should hold themselves back from skimming the page out of curiousity, they should be in their toes to find out what happens next.

what does your MC do in times of panic? do they chant calm down to themselves, do they get angry, or start crying.. or?? what makes your character genuinely feel an emotion so hard that they'll burst?

there's always something, someone that'll always give them love and easily can be that something or someone to take it away. yk.

Tip 3 - crying.

what is close to your character that u can deprive them of? will it make them cry? beg for it?

what will make ur character cry so hard, that their scream fills everyone's ear, stays in their minds like ghosts and always haunts them?

make a character who never cries, burst out with tears.

while writing crying, focus on the 5 senses, one after the other.

focus it on their breath, make them run out of breath, gasp for air, feel like they're being choked, cry so scrutinizingly. it shud punch the reader's gut.

have them replay what had just happened over and over again in their head

best books and writing styles (for angst) to analyse and learn from (in my opinion);

3rd book in the AGGTM series (yk it hit hard like a truck. it got me depressed in bed the entire time lmao)

Five Survive by Holly Jackson. The moments of red outside of the truck, and moments leading to it.

there's this book called " Warm by @untalentedwriter127 " in wattpad. the author served angst for breakfast, lunch anddd dinner.

and if there's more angsty ones, drop em in the comments! :)

Hope this helps, tag me when yall write a masterpiece! ;)

[derinwrites]

The Three Commandments

The thing about writing is this: you gotta start in medias res, to hook your readers with action immediately. But readers aren’t invested in people they know nothing about, so start with a framing scene that instead describes the characters and the stakes. But those scenes are boring, so cut straight to the action, after opening with a clever quip, but open in the style of the story, and try not to be too clever in the opener, it looks tacky. One shouldn’t use too many dialogue tags, it’s distracting; but you can use ‘said’ a lot, because ‘said’ is invisible, but don’t use ‘said’ too much because it’s boring and uninformative – make sure to vary your dialogue tags to be as descriptive as possible, except don’t do that because it’s distracting, and instead rely mostly on ‘said’ and only use others when you need them. But don’t use ‘said’ too often; you should avoid dialogue tags as much as you possibly can and indicate speakers through describing their reactions. But don’t do that, it’s distracting.

Having a viewpoint character describe themselves is amateurish, so avoid that. But also be sure to describe your viewpoint character so that the reader can picture them. And include a lot of introspection, so we can see their mindset, but don’t include too much introspection, because it’s boring and takes away from the action and really bogs down the story, but also remember to include plenty of introspection so your character doesn’t feel like a robot. And adverbs are great action descriptors; you should have a lot of them, but don’t use a lot of adverbs; they’re amateurish and bog down the story. And

The reason new writers are bombarded with so much outright contradictory writing advice is that these tips are conditional. It depends on your style, your genre, your audience, your level of skill, and what problems in your writing you’re trying to fix. Which is why, when I’m writing, I tend to focus on what I call my Three Commandments of Writing. These are the overall rules; before accepting any writing advice, I check whether it reinforces one of these rules or not. If not, I ditch it.

1: Thou Shalt Have Something To Say

What’s your book about?

I don’t mean, describe to me the plot. I mean, why should anybody read this? What’s its thesis? What’s its reason for existence, from the reader’s perspective? People write stories for all kinds of reasons, but things like ‘I just wanted to get it out of my head’ are meaningless from a reader perspective. The greatest piece of writing advice I ever received was you putting words on a page does not obligate anybody to read them. So why are the words there? What point are you trying to make?

The purpose of your story can vary wildly. Usually, you’ll be exploring some kind of thesis, especially if you write genre fiction. Curse Words, for example, is an exploration of self-perpetuating power structures and how aiming for short-term stability and safety can cause long-term problems, as well as the responsibilities of an agitator when seeking to do the necessary work of dismantling those power structures. Most of the things in Curse Words eventually fold back into exploring this question. Alternately, you might just have a really cool idea for a society or alien species or something and want to show it off (note: it can be VERY VERY HARD to carry a story on a ‘cool original concept’ by itself. You think your sky society where they fly above the clouds and have no rainfall and have to harvest water from the clouds below is a cool enough idea to carry a story: You’re almost certainly wrong. These cool concept stories work best when they are either very short, or working in conjunction with exploring a theme). You might be writing a mystery series where each story is a standalone mystery and the point is to present a puzzle and solve a fun mystery each book. Maybe you’re just here to make the reader laugh, and will throw in anything you can find that’ll act as framing for better jokes. In some genres, readers know exactly what they want and have gotten it a hundred times before and want that story again but with different character names – maybe you’re writing one of those. (These stories are popular in romance, pulp fantasy, some action genres, and rather a lot of types of fanfiction).

Whatever the main point of your story is, you should know it by the time you finish the first draft, because you simply cannot write the second draft if you don’t know what the point of the story is. (If you write web serials and are publishing the first draft, you’ll need to figure it out a lot faster.)

Once you know what the point of your story is, you can assess all writing decisions through this lens – does this help or hurt the point of my story?

2: Thou Shalt Respect Thy Reader’s Investment

Readers invest a lot in a story. Sometimes it’s money, if they bought your book, but even if your story is free, they invest time, attention, and emotional investment. The vast majority of your job is making that investment worth it. There are two factors to this – lowering the investment, and increasing the payoff. If you can lower your audience’s suspension of disbelief through consistent characterisation, realistic (for your genre – this may deviate from real realism) worldbuilding, and appropriately foreshadowing and forewarning any unexpected rules of your world. You can lower the amount of effort or attention your audience need to put into getting into your story by writing in a clear manner, using an entertaining tone, and relying on cultural touchpoints they understand already instead of pushing them in the deep end into a completely unfamiliar situation. The lower their initial investment, the easier it is to make the payoff worth it.

Two important notes here: one, not all audiences view investment in the same way. Your average reader views time as a major investment, but readers of long fiction (epic fantasies, web serials, et cetera) often view length as part of the payoff. Brandon Sanderson fans don’t grab his latest book and think “Uuuugh, why does it have to be so looong!” Similarly, some people like being thrown in the deep end and having to put a lot of work into figuring out what the fuck is going on with no onboarding. This is one of science fiction’s main tactics for forcibly immersing you in a future world. So the valuation of what counts as too much investment varies drastically between readers.

Two, it’s not always the best idea to minimise the necessary investment at all costs. Generally, engagement with art asks something of us, and that’s part of the appeal. Minimum-effort books do have their appeal and their place, in the same way that idle games or repetitive sitcoms have their appeal and their place, but the memorable stories, the ones that have staying power and provide real value, are the ones that ask something of the reader. If they’re not investing anything, they have no incentive to engage, and you’re just filling in time. This commandment does not exist to tell you to try to ask nothing of your audience – you should be asking something of your audience. It exists to tell you to respect that investment. Know what you’re asking of your audience, and make sure that the ask is less than the payoff.

The other way to respect the investment is of course to focus on a great payoff. Make those characters socially fascinating, make that sacrifice emotionally rending, make the answer to that mystery intellectually fulfilling. If you can make the investment worth it, they’ll enjoy your story. And if you consistently make their investment worth it, you build trust, and they’ll be willing to invest more next time, which means you can ask more of them and give them an even better payoff. Audience trust is a very precious currency and this is how you build it – be worth their time.

But how do you know what your audience does and doesn’t consider an onerous investment? And how do you know what kinds of payoff they’ll find rewarding? Easy – they self-sort. Part of your job is telling your audience what to expect from you as soon as you can, so that if it’s not for them, they’ll leave, and if it is, they’ll invest and appreciate the return. (“Oh but I want as many people reading my story as possible!” No, you don’t. If you want that, you can write paint-by-numbers common denominator mass appeal fic. What you want is the audience who will enjoy your story; everyone else is a waste of time, and is in fact, detrimental to your success, because if they don’t like your story then they’re likely to be bad marketing. You want these people to bounce off and leave before you disappoint them. Don’t try to trick them into staying around.) Your audience should know, very early on, what kind of an experience they’re in for, what the tone will be, the genre and character(s) they’re going to follow, that sort of thing. The first couple of chapters of Time to Orbit: Unknown, for example, are a micro-example of the sorts of mysteries that Aspen will be dealing with for most of the book, as well as a sample of their character voice, the way they approach problems, and enough of their background, world and behaviour for the reader to decide if this sort of story is for them. We also start the story with some mildly graphic medical stuff, enough physics for the reader to determine the ‘hardness’ of the scifi, and about the level of physical risk that Aspen will be putting themselves at for most of the book. This is all important information for a reader to have.

If you are mindful of the investment your readers are making, mindful of the value of the payoff, and honest with them about both from the start so that they can decide whether the story is for them, you can respect their investment and make sure they have a good time.

3: Thou Shalt Not Make Thy World Less Interesting

This one’s really about payoff, but it’s important enough to be its own commandment. It relates primarily to twists, reveals, worldbuilding, and killing off storylines or characters. One mistake that I see new writers make all the time is that they tank the engagement of their story by introducing a cool fun twist that seems so awesome in the moment and then… is a major letdown, because the implications make the world less interesting.

“It was all a dream” twists often fall into this trap. Contrary to popular opinion, I think these twists can be done extremely well. I’ve seen them done extremely well. The vast majority of the time, they’re very bad. They’re bad because they take an interesting world and make it boring. The same is true of poorly thought out, shocking character deaths – when you kill a character, you kill their potential, and if they’re a character worth killing in a high impact way then this is always a huge sacrifice on your part. Is it worth it? Will it make the story more interesting? Similarly, if your bad guy is going to get up and gloat ‘Aha, your quest was all planned by me, I was working in the shadows to get you to acquire the Mystery Object since I could not! You have fallen into my trap! Now give me the Mystery Object!’, is this a more interesting story than if the protagonist’s journey had actually been their own unmanipulated adventure? It makes your bad guy look clever and can be a cool twist, but does it mean that all those times your protagonist escaped the bad guy’s men by the skin of his teeth, he was being allowed to escape? Are they retroactively less interesting now?

Whether these twists work or not will depend on how you’ve constructed the rest of your story. Do they make your world more or less interesting?

If you have the audience’s trust, it’s permissible to make your world temporarily less interesting. You can kill off the cool guy with the awesome plan, or make it so that the Chosen One wasn’t actually the Chosen One, or even have the main character wake up and find out it was all a dream, and let the reader marinate in disappointment for a little while before you pick it up again and turn things around so that actually, that twist does lead to a more interesting story! But you have to pick it up again. Don’t leave them with the version that’s less interesting than the story you tanked for the twist. The general slop of interest must trend upward, and your sacrifices need to all lead into the more interesting world. Otherwise, your readers will be disappointed, and their experience will be tainted.

Whenever I’m looking at a new piece of writing advice, I view it through these three rules. Is this plot still delivering on the book’s purpose, or have I gone off the rails somewhere and just stared writing random stuff? Does making this character ‘more relateable’ help or hinder that goal? Does this argument with the protagonists’ mother tell the reader anything or lead to any useful payoff; is it respectful of their time? Will starting in medias res give the audience an accurate view of the story and help them decide whether to invest? Does this big twist that challenges all the assumptions we’ve made so far imply a world that is more or less interesting than the world previously implied?

Hopefully these can help you, too.

[always-just-red]

Hii! I've seen some Pregnancy scenario with LaD's men, but I have this HC-- personally for Sylus. That when fem!reader got pregnant, he didn't really understand how the Pregnancy hormones work, until he experienced one and he got confused how he should act or react because it's feels like he's walking on landime, one wrong move/word, she'd throwing tantrum or being sulky at him

I've heard from my Friend who got pregnant before, when she craving something and her Husband showing any form that he can't fulfill what she's craves, she felt her heart broken, and she'd sulk and acted as if he just cheated on her. The problem is, she always craved something that didn't even exist at that moment😂, she's craving certain type of Mango while it's not even that Mango season, so nobody selling it. He literally being desperate to negotiate with her cravings

So... Can I request a scenario smiliar like that? It doesn't have to be mango, or any foods. Just... how Pregnancy hormones or Cravings could make Sylus got frustated lol

Aaaaa anon this is adorable, thank you! We love making Sylus suffer in cute and harmless ways. He's always asking for trouble, so let's give him some! 😌💅

Something Sweet

Sylus x Reader 🩸

Summary: Sylus knows how to get what he wants. Getting what you want might be a little more tricky...

Genre: fluff!

Warnings/Additional tags: female!reader, IMPLIED pregnant!reader (pregnancy not actually mentioned or described- just hormones being hormones ✌), established relationship, canon pet names, a lil bit of roleplay because Sylus refuses to leave his Mystic Adventure era

| Word count: 2.1k | Masterlist | Opt-in to my taglist here!

Disclaimer: Characters belong to Love and Deepspace. All work is my own, so please don't repost or plagiarise!

“Sy, d’you know what I’m craving right now?”

“Always, sweetie.” Sylus doesn’t look up from his book. “Not now, though. I’m tired.”

Morning sunlight streams through the gaps in your living room curtains, casting pale yellow shapes over the floor. A shard of it has been inching over the sofa towards Sylus, the sharp edge now grazing the side of his face. He shifts, ever so slightly, away from its touch. His eyes are open but heavy.

“No,” you scold, leaning forwards to swat at him with your book. “That’s not what I meant, you narcissist.”

He chuckles with his usual low timbre— his gaze still not lifting— and the sound is deeper for how close he is to sleep. He wants to give in to it, you can tell. When he turns a page, the movement is languid, soft. You’re losing him.

“Sy,” you say again, then with more of a whine: “Sylus.”

His eyes flutter closed as he draws in a deep breath. His hand raises, his fingers stretching to pull his reading glasses from his face. They’re set down on the arm of the chair beside him, along with the book, and he turns to you with a smile. “What are you craving, sweetie?”

You rest your book on your stomach. Your legs are stretched out over Sylus’s lap, and his hand finds one of your feet, massaging an ache from it as you begin your speech. “Do you remember that café we used to go to? The one we found when it started raining in the park that day? We didn’t think it was open, but then the owner knocked on the window and said we could—”

“Yeah?” His hand moves to your other foot.

“Well, they make these—”

“Macarons.”

“You remember?”

His smile widens like he remembers vividly. “Kitten, how could I forget? I’m still jealous of that sweet little treat. You’ve never made that face for me, and believe me—” he wiggles one of your toes— “I’ve tried.”

That had been one of the only times you’d truly caught him off-guard, back when your feelings for one another were unnamed and uncharted. The rain had been drumming against the café window, and you’d heaved Sylus’s damp coat from your shoulders— giggled at the raised eyebrow and the sarcastic ‘…thanks’ he’d given in turn. One hot drink later, you were lifting a pastel pink macaron to your lips, taking a delicate bite and failing to stifle a tiny, almost euphoric moan.

You remember realising yourself: blushing profusely and expecting some remark, some ridicule, but none ever came. Sylus’s eyes were wide, dark, fixed upon your still parted mouth.

After a few of the longest seconds of your life, he’d dragged the plate with the rest of the macarons away from you and muttered something about how you had better not do that again.

“They’re still the sweetest things I’ve ever tasted,” you tease now, just as you’d wrestled him for that plate back then, set on eating every last macaron.

He makes a hmph as he idly runs a finger over the part of your foot he knows is ticklish. His expression is distinctly grumpy, but it falters as you laugh and try to writhe away from him.

You’re quickly out of breath. “Sylus?”

“Mmm?”

He glances up at you and you smile sweetly, head tilting. “Please?”

His coat on a rainy day. The entire plate of macarons in the end; he’s never been very good at denying you anything. For the first time since you’d stirred him from his book, however, he appears genuinely regretful. “You’re forgetting something, sweetie,” he murmurs gently. “Why did we stop going to that café, hmm?”

You shrug.

“It closed, kitten,” he sighs. “Months ago.”

“What?”

Not only did you already know that— you actually visited the café on its final day. The owner was telling you stories: he was moving somewhere warmer, closer to family, and he needed all the funds he could get. Sylus had snuck an obscene amount of money into the man’s tip jar whilst you acted as a distraction. You both had fond memories of that place; it was nice to make one more.   

It's all coming back to you and you’re struck by a wave of nostalgia. You want to go back there. You can’t go back there. It doesn’t exist anymore, and you’ll never taste sweetness like that again.

Your mouth has gone dry.

“Sweetie?” Sylus prompts, because he notices you’re far away. “Are you alright?”

“Yeah,” your voice wobbles, “I just really wanted… I mean, I really needed one of those—”

“… Macarons?” he finishes for you.

You burst into tears, and one day, you’ll tally this as another time you took the man by surprise. His face drops instantly— lost, for a moment— before he slides your legs from his lap, allowing him to lean closer. “No, no, no,” he coos, “don’t cry, kitten, please. I didn’t mean to… well, I didn’t realise…”

He doesn’t know what to say, and he always knows what to say. He set you off with a single word and now he’s stuttering like sentences are all possible landmines. He tries his luck again, putting a foot forward: “Listen to me. I’ll go to the store. Would that be alright? Or perhaps there’s another café that could—”

You explode: sobbing even more viscerally. Your whole body shakes with it.

Sylus has frozen. He watches on helplessly as you cry, blabbering about the macarons you can’t have and the café you can’t return to. Across the room, even Mephisto has hunched down on his perch, though he issues a few, spirited squawks, maybe in solidarity with your breakdown, or maybe in protest of it.

It’s like a catalyst. You cry more: burying your face in your hands because what the hell is wrong with you? It’s not a big deal. It’s not a big deal, so why do you feel sick? And then there’s Sylus— your Sylus, devoted and adoring— and here you are, punishing him for something beyond his control.

You look up from your hands, desperate to apologise, but he’s gone. More shards of sunlight paint his empty seat and catch all that’s left of him: a few crow feathers, glistening like onyx. Mephisto is gone too, and the room is quiet, save for you snivelling and feeling sorry for yourself.

“Sylus?” you call out into the empty morning.

It isn’t his fault, not really. You wouldn’t want to be around you, either.

…

Something brushes over your cheek, and your tired eyes open.

The sun has ebbed back behind the curtains and the ceiling light has taken its place, casting artificial highlights over everything in reach: the coffee table, the closed-up flowers at its centre and a mug of tea that’s gone cold. Sylus is in front of you too, backlit and soft like a daydream, and he—

He left you.

“Sy?” you whisper warily, because the context is coming back to you slowly, piece by piece.

“Hey,” he coaxes, voice as honeyed as whatever’s turned the air sweet.

You blink, rubbing sleep from your eyes and relishing the warmth of his hand on your face. Then you slap his shoulder. “Hey, really? That’s all you’ve got— hey?”

He’s kneeling for you— on the floor, beside the couch— so you can meet his eyes. He settles his chin thoughtfully on the edge of the seat, his nose almost touching yours. “What would you prefer, sweetie?” His lips are close to yours too. “Good evening, my beloved? Greetings, my queen?”

“How about sorry?” you snap, because he isn’t cute and he isn’t charming.

He pouts. “Why sorry?”

“Because you left, Sylus!” You sit up straighter, and your phone tumbles out of your lap. Its screen is still lit-up from a few hours ago, showcasing a very one-sided conversation and a rant you never actually sent, because it’s still in the text box.

You vaguely recall writing it, so you try to snatch the phone from Sylus’s hand as he plucks it from the floor. He’s more alert than you. More co-ordinated. He keeps it out of your grasp as he reads the unsent message, an eyebrow raising.

It was a lot of things— colourful, creative— not entirely tasteful. “My, my, your highness,” he tuts, “so this is the treatment your valiant knight receives for undertaking your quest?”

“You’re not valiant,” you rebuke, and you manage to wrestle your phone from him. “You’re—”

“A heartless prick,” he finishes casually, quoting your message with a chuckle. He takes your free hand and kisses the back of it, refusing to let you pull away. “And whose fault is that, I wonder?”

“You can have your heart back.”

“Nope. You’re stuck with it, sweetie. With me, too. Now—” he sits back on his knees— “would you please ask me about my quest?”

The analogy is lost on you. You sit fully up, looking down at him. “What quest, oh valiant knight?”

His lips form a smirk; he just loves when you play along. “Close your eyes.”

You do— whether you’re queen or not. You hear him shifting aside, and then there’s a snap of his fingers. The air changes, warping like thick, liquid smoke, and you know he’s using his Evol. “Open,” he commands.

And there on the coffee table, freshly teleported, is a plate of macarons the colour of cherry blossoms. As if anticipating the comparison, Sylus pulls a handful of pink petals from his pocket and blows them up into the air so they can spiral down on the scene. He watches them. Then you. “Ta-da,” he proclaims, his tone dry but full of humour.

You’re prone to hyperbole nowadays, but this is without a doubt the best thing you have ever seen.

“Sylus,” you gasp in disbelief, “how did you—”

“It doesn’t matter,” he says; the story isn’t for today, and he’s very, very tired. A few weeks from now he’ll tell you about how he tracked down the contact information of the owner of the old café. How he spent an hour on the phone bargaining for a certain macaron recipe, and several more hours in the kitchen, trying to get them perfect. “Now, they might not be exactly the same, sweetie. But I did try to—”

You surge forwards, capturing his lips in a kiss. It’s so impulsive— so reckless— that you almost tumble down from the couch, but he catches you, steadies you, and your hand is gripping the soft of his hair as he kisses you back. Slowly, his mouth not leaving yours, he lifts you back into your seat.

“Easy, sweetie.” His voice is low as he pulls away, and though he turns his face from you, you can make out the blush on his cheeks. He settles back into his kneeling position on the floor. “I have one more surprise for you. Do try to control yourself.”

He retrieves a small, complete flower from his pocket, albeit one a little dreary from its journey. Sylus smiles triumphantly as he holds it out to you, and he was right; you do want to throw yourself at him. Instead, you take the flower and lean forwards, tucking it behind his ear before he can protest. He’d tilted closer to help you, and he sits back with an exasperated tsk when you’re done.

“It suits you,” you grin.

He yawns. “Everything does.”

You don’t want to get into trouble, so you shimmy to the very edge of your seat and carefully— showing tremendous restraint— reach out to take his face in your hands. “You’re amazing, Sy. Thank you for doing all of this for me, but…”

“But…?”

“I missed you. I like macarons, yeah,” you smile, “but I’d much rather have you.”

This time, he can’t hide his face and the way it goes pink, like the blossom behind his ear. His cheeks are warm beneath your palms. “You couldn’t have said that before I spent the whole day—”

His voice is strangled as you keel towards him— slow and deliberate— to thread your arms around him and pull him into a hug. He tenses for a moment, then wraps his arms around you too: holding you tightly, keeping you from falling any further. You can feel his hand stroking your back and he hums as you give him a gentle squeeze.

“Such a lovely moment, kitten,” he muses, your head on his shoulder. “I do hope it’s sincere, and not— say— an excuse for someone to get her paws on the macarons behind me.”

There’s another moment of quiet.

“Don’t be silly, Sy,” you retort, but your mouth is full, your cheeks are stuffed, and not a single word of it is intelligible.

[needlekind]

filterable picrew database!

original post updated march 7 2024

hey pals!! i'm working on a filterable, tagged collection of picrew i like. right now there's over 100 picrew (and other such makers such as those from neka or meiker) in there with tags for things like fashion, hair options, skin colors, specific features like horns or headscarves, and body types. you can search for multiple tags at a time and filter out tags you don't want. the whole thing is organized in a big grid of sample results from the picrew in question, so you can see the style at a glance and click it for more images and the url, but you can change the view and organization system however you like.

the link is here!!! feel free to share this wherever. i'm still going through my folders and adding more makers, so expect lots of updates real soon.

i'm hoping this makes it easier for people to find picrew that suit them and their characters, especially in cases where it's unfortunately harder to find certain features like dark skin options and fat bodies.

really important notes:

i do not take requests for additional tags. sorry!! please understand that every time i want to use a new tag, i have to manually go into every maker in the entire backlog and check to see if they have it. it's a pain! it takes a while! there's only one of me! the only circumstance under which i'm willing to add a new tag is if you're willing to go through the backlog and link me every picrew that needs the tag, and i can use it going forward.

if something is tagged wrong, i need to know which maker it is so i can fix it. you need to tell me! the most useful way to send me a specific picrew is a direct link, or the artist name (which will be the title when you click into the item in the database). sometimes i get vague comments like "there are makers in x tag that don't fit" and no one EVER follows up with which ones they are so i can't FIX IT.

one big thing that you can do to help me with this database is take one of the links on my tba page and tell me what tags apply to it. literally just one! enough folks see and use this resource that just a few people taking one takes a load off my plate.

💖🍵 if this resource has been useful for you, consider sending me a tip on ko-fi!!

have fun!!!! i hope this is helpful for people!!!

[lazyleafeon]

[image description: Text says: commissions for Palestine. there is an image of the artist on their drawing tablet. all commission information shows art examples.

Commission info text says: $1-$7 Lined Chibi. $1 lines, $5 monochrome rendering, $7 full color rendering.

$15 lined fullbody. +$7 for full color. +half price per extra character (up to 3 characters total).

Comics. Sketch comics: $25 full page. $12 half page. Up to 4 pages. Fully lined: $50 for full page. $25 for half. Up to 3 pages.

will draw: furries, mecha, OCs. won't draw: nsfw, real people without permissionwill draw: furries, mecha, OCs. won't draw: nsfw, real people without permission. End ID]

I'm reopening commissions for Palestine. I will draw you something if you donate to any of these (note that gofundmes require you to donate at least 5 of whichever currency the fund is using):

The Gofundme's and other fundraisers on this masterlist

Helpgazachildren's Gofundme

Esims for Gaza (or this crowdfund to donate money for esims)

The Municipality of Gaza's life for Gaza campaign

Any of the fundraisers I've reblogged on this account

I'll also draw you something if you donate to other verified fundraisers for Palestine or funds for people on the ground, or to verified fundraisers for Sudan or Congo.

guidelines/other info:

personal use only

Turnaround of around 1 month for chibis, 2 months for fullbodies, and 4-6 months for comics. I will update you as soon as I have a sketch or if there are any delays.

Please include a visual reference or text description of the character(s) you want drawn. If you don't i'll go off of google or my own design for them

For comics I can work with prose or a script. if i know the characters i can try writing a script myself based on a prompt, though it will take me longer

I reserve the right to refuse a commission and may ask you to choose something else.

To get a commission, DM me on this account or email me at desklamprey @ gmail.com with a receipt of your donation made after this post was made (8/11/24 at 9:30 PST), a link to where you donated if its not from the 4 i listed above, and the details about your request.

[art]

Creator Spotlight: @mimimar

Hi! I’m Michelle (Mimimar), an illustrator born and raised in Venezuela, currently based in Italy. I enjoy making colorful illustrations that reflect the things I love: fairy tales, fantasy, tenderness and queer (especially sapphic) stories. Occasionally, I also make paper dolls, comics and animatics. I have a lot of interest in book illustration and I’m currently developing my own stories that I hope to share as an author-illustrator someday!

Check out our interview with Michelle below!

Did you originally have a background in art? If not, how did you start?

I always enjoyed drawing when I was a kid, but it only became a hobby that I did almost every day when I was around 11. At first I only used traditional mediums, but I decided to make a serious effort to learn how to draw digitally when I was 15, and once I got the hang of it I never stopped!

I didn’t go to art school so all of my learning was done through studying the tutorials and resources that other artists generously share on the internet and lots of practice / trial and error.

How do you want to evolve as a creator?

I want to do many things but what I want to do the most right now is work on books! I want to make art for other authors’ stories and also my own stories as an author-illustrator. I want to grow as a storyteller and create art and stories that will really resonate with people emotionally. I’m always striving to improve my skills as well.

I also really love dolls, so working on doll box art or as a doll designer is something I would love to do someday. I actually have been designing paper dolls on my Patreon for the past few months, it’s been a fun project that is still ongoing right now!

What is one habit you find yourself doing a lot as an artist?

Probably using a lot of purple! It’s my favorite color so I find myself using it a lot. If I can find a way to sneak a little bit of purple into an illustration or a character design then I will.

Congratulations on finishing your Ivy Comic! Did the outcome turn out like how you expected or were there some unexpected bumps along the way?

Thank you! It’s a project that I worked on very slowly in between other art because I wanted to really take my time with every spread and make each of them a fully detailed illustration. I thumbnailed the full comic before starting but I kept changing the sketch for the final spread until the very end! Overall I’m really proud of the end result. I sprinkled a lot of hidden details in every page that I hope some of the readers will notice. For example: the meanings of the flowers in each page represent what the characters are feeling in that moment, and the colors of their wardrobe become gradually lighter as the story progresses to represent their emotions, as well as the changing of seasons.

We’ve noticed that you have created some amazing cover art for TGCF. Is there another series you would like to do something similar with? 

That was another passion project that took some time to complete. Initially, I didn’t intend for them to be specifically covers, it was just a series of illustrations based on the 5 books/main arcs of TGCF. But since they were well-received and I had people telling me they wish they could use them as covers for their books, I decided to rework them into dust jackets for the english translation of TGCF!

I haven’t thought of any other specific series but I love doing cover art so maybe I’ll do something similar again in the future!

What’s your favorite part of your style? Why?

I’ve heard from other people that there’s a delicate quality to my art, this is something that I like a lot! I like pretty things, fairytales and vibrant colors. I think all of these things probably reflect in the art I make as well.

If there is one thing you want your audience to remember about your work, what would it be?

I hope that they remember how it made them feel. Feelings and colors are the two things I give priority to in my work. Most of the time I like depicting tenderness, softness and emotional intimacy. If that could reach the viewer and stay with them it would make me very happy. 

I make a lot of art with queer (mainly sapphic) themes because they’re the kind of stories I personally like and want to see more of, so whenever people tell me that my art has helped them in their journey to discover and accept themselves, or that they see themselves and their partner in my art, it is always extremely meaningful to me. When art that I made to give myself comfort can provide comfort for others, no matter how small, it reminds me once again that despite any hardships art is genuinely worth pursuing.

Who on Tumblr inspires you and why?

So many artists! To name a few:  I love @sakizo’s amazing eye for fashion and detail,  @paneeps’ gorgeous style and striking colors,  the sweetness of @bevsi’s art,  @vickisigh’s pretty colors and concepts,  @idledee’s warm and heartfelt art,  @littlestpersimmon’s dreamy wonderful art,  and @loish has been an inspiration for as long as I can remember.

Thank you so much for stopping by and sharing, Michelle! Be sure to check out their Tumblr blog over at @mimimar.

[dunmeshistash]

How do you feel about Milsiril? Like what do you think of her interactions between the canaries, her goals, her intentions and morality? I keep seeing people with mixed feelings about her, some saying she's just toxic or morally grey or doing bad but with good intentions or that she's just a mentally ill and literally so much more, also with the comic about Otta calling Milsiril love for her children/Kabru as just love for a pet, I always saw people take it at face value and say yes, Milsiril did love them more as pets instead of children, did she take up raising/adopting non-elf children because she felt like none of them could ridicule her like the elves did because they didn't know what an elf was supposed to be like (and also because they were children) or did she inherently view them as less? I mean the canaries and I'm pretty sure almost all of the cast in dungeon meshi have some sort perspective on different races especially because how they were taught about them, i just think it was interesting to finally see someone interpret it as Otta just misinterpreting Milsiril, I'm just really interested in her, i think shes neat, sorry for the rant!

Ooh, well to preface this, I hadn't really realized Milsiril was such a controversial character before my last post, I kinda live under a rock. She's really not a character I had given much thought besides what I wrote there before it, but I can do my best to express what I have thought since, with sources for it. I'm not sure what order to go thru so I'll just go by manga appearances and then extras, this will probably be quite a long post

This is the first time she shows up in the manga (ch55) Kabru is wondering about what future they might have if the elves take them into custody because of the ancient magic, he thinks about Milsiril as a get out of jail card, and mentions "There's a chance they would make us become permanent resident of the elven lands." with the image of Milsiril holding him. I don't think that means she would be the one to not let them leave, since this would probably be an legal issue, and the fact Milsiril lives away from other Elves. It does set up that Milsiril is quite overprotective tho, with Kabru's reaction to her teary hug. (rest is under a cut)

The next time she shows up is in ch61 right after Kabru falls down the dungeon along with Mithrun, he faints and has this flashback

She's being her overbearing self treating Kabru's small injury as if its something you need to be in bed for, hand feeding him like he's a toddler, and when he insists he wants to learn how to fight and be strong like her, she hugs him revealing to us for the first time her arm scars, she's cleary in distress too, so you wonder "what has happened to her?"

It continues in the next pages, as she tells him to stay there, where it's safe and there's cake, and describes the bad things he might encounter. Until he tells her he will go with or without her help

Honestly this is a Kabru we don't see often, this is the version of him that is usually in thought bubbles, he's blowing out in frustation over being smothered and demanding straight up what he wants, instead of trying to manipulate Milsiril, very blunt for him. Milsiril seems to flip a switch into battle mode, when she decides to train him for real.

I really thought this was funny, the visual of these cuddly toys and this Mom that was being so soft just a second ago completely flipping into something menacing is very amusing to me. She says "I'll give you an exhaustive, thorough training in how to use a sword... until you finally decide that you're ready to give up." although it sounds cruel, it seems she really trained him as best she could to make sure he would survive the dungeon. If he couldn't take the training with her there was no way he would be able to take on the dungeon, but he could, so much so that he managed to make her let him go. I can see this being seen as her trying to prevent him from going but to me it seems more like some tough love from a traumatized war veteran in this case.

The last thoughts he has is admitting his Mom was right, "Not only were there plenty of traps, monsters, and malice... but there were times when I felt so hungry and cold that I couldn't stand it."

And he concludes with "I never once thought that I wanted to go back there. That room where I could eat all the cake that I wanted..." While I can understand the interpretation that he means he would rather go thru all this than go back, perhaps cause he hated it there, I think it's rather a statement to how committed he is to defeating the dungeon, the visuals show him in rubble vs him in a soft big bed, the rough reality he fought to be able to face and the comfyness of what his life could be. Plus is mirroring exactly what Milsiril said to him. Admitting she was right about the bad things but that he won't give up for the safe easy life he had.

After that visuals of Milsiril are used while Kabru tries to sus out Mithrun but she shows up again in Mithrun's backstory.

Here she's straight up called Gloomy, which wasn't really the version of her we saw so far, gotta remember this is also how Mithrun saw her and that she was called gloomy as a way of bullying. Kabru mostly cuts off her part in the story until the end, when she's the one to find Mithrun after he was eaten by the demon

She doesn't really care much for Mithrun as we see in some extras, and she was ready to mercy kill him, but she is also the one to spare his life. This could be seen as her thinking he can still be of use, and it's how it sounds with how Kabru tells the story, but I do think this was also a merciful act, Mithrun was in rehabilitation for 20 years after being saved, by the time he was actually useful for anything Milsiril had already left the canaries and adopted Kabru.

Now for extras... About Mithrun/The Canaries, Milsiril was cleary someone that hated the people around her. This is her extra in the Adventurer's Bible

Milsiril seems to be the type that hates "popular kids" so to say, her description says she was bullied by other elves for being so introverted so I believe she holds a grudge against people like Mithrun that seem to have succeeded where she failed. But realizing he was a twisted person like her seemed to make her feel more sympathetic towards him, that's why I think she really did act with mercy when she saves Mithrun, he's now someone she sees as similar to her, she sees he also suffered like her

Her decription also mentions she left the canaries specifically because she was disgusted with how the Utaya situation was dealt with. Yet it seems like she came back to help Mithrun with his rehabilitation once she quits.

There's an interpretation to be made that she did this only to get "revenge" on the demon since she just saw the destruction of Utaya, and that she's using him. On the other hand maybe she wants to help him find a motivation to live, she's no longer a canary and she has time to actually help him now. I don't know which one is the truth but it's not obviously something self-serving if you ask me. Especially in the context that right before this scene Milsiril admits she wishes they could have talked before.

My interpretation of her relationship with the canaries and other elves is that she's someone depressed that was mistreat for her 'quirky' side, the dolls are clearly one of the ways she used to cope with anxiety/depression but it only caused her to be bullied by her own kin, she's the daughter of an important family and it's shown in other extras, including one about Mithrun, that nobles often send out the kids they don't want around to become canaries. It's an easy way to get rid of someone undesirable and I think it was the case for Milsiril. (Pattadol even assumes her parents love her less than her sisters for sending her to join the canaries).

No wonder than that now that she's finally free from the canaries she chose to seek her own happiness away from the society she felt she could never fit into, she clearly likes to take care of children too, I think it's mean to assume she only likes them because she feels superior to them when there's no indication that this is the case.

And I don't think it's a coincidence she's so overprotective of Kabru after Utaya, it's literally the tragedy that was the breaking point for her, and he's a surviving small child from that tragedy, Milsiril cares about Kabru and wanted him to have a comfortable safe life after everything he went thru...

This ended up getting way too long so I'll make second part tomorrow about the rest of the extras and Kabru, and some other things I've seen said about Milsiril, but to answer the questions...

I don't think she treats her children as pets, Otta is just salty she was called out for dating like Leo Dicaprio.

Every single dungeon meshi character can be called morally grey because they all have flaws that in our world can be considered unforgivable, but they don't live in our world. To me Milsiril is doing her best in the context she lives in.

Who even is neurotypical in dungeon meshi, Milsiril is yet another flavour of a neurodivergent traumatized character among so many.

I believe she thought of the other canaries, especially Mithrun, as the same type of people that were cruel to her, probably because some of them really were, but that she generalized it to the point she thinks of all of them as bad by default. You can only get hurt so many times before you assume everyone will hurt you.

Part 2