#summarize each arc

[boygirlctommy]

i finished the sketch :3 i have to time it all out and. redraw it nice. but also i have work today so who knows when ill finish it lol <3

[thewriteadviceforwriters]

The Telling Truth: When 'Show, Don't Tell' Doesn't Apply (You Don't Always Have To Show, Don't Tell.)

Hey there, fellow writers and beloved members of the writeblr community! 📝✨

Today, I want to talk about something that's been on my mind lately, and I have a feeling it might resonate with many of you too. It's about that age-old writing advice we've all heard a million times: "Show, don't tell." Now, don't get me wrong – it's great advice, and it has its place in our writing toolbox. But here's the thing: it's not the be-all and end-all of good writing. In fact, I'd argue that sometimes, it's perfectly okay – even necessary – to tell rather than show.

First things first, let's address the elephant in the room. The "show, don't tell" rule has been drilled into our heads since we first picked up a pen (or opened a Word document) with the intention of writing creatively. It's been repeated in writing workshops, creative writing classes, and countless craft books. And for good reason! Showing can create vivid, immersive experiences for readers, allowing them to feel like they're right there in the story.

But here's where things get a bit tricky: like any rule in writing (or in life, for that matter), it's not absolute. There are times when telling is not just acceptable, but actually preferable. And that's what you all will explore today in this hopefully understandable blog post.

Let's start by breaking down why "show, don't tell" is so popular. When we show instead of tell, we're engaging the reader's senses and emotions. We're painting a picture with words, allowing the reader to draw their own conclusions based on the details we provide. It's a powerful technique that can make our writing more engaging and memorable.

For example, instead of saying "Sarah was angry," we might write, "Sarah's fists clenched at her sides, her jaw tight as she glared at the broken vase." This gives the reader a clearer image and allows them to infer Sarah's emotional state.

But here's the thing: sometimes, we don't need or want that level of detail. Sometimes, efficiency in storytelling is more important than painting an elaborate picture. And that's where telling comes in handy.

Imagine if every single emotion, action, or piece of information in your story was shown rather than told. Your novel would probably be thousands of pages long, and your readers might get lost in the sea of details, losing sight of the main plot or character arcs.

So, when might telling be more appropriate? Let's explore some scenarios:

Summarizing less important events: If you're writing a story that spans a long period, you don't need to show every single day or event. Telling can help you summarize periods of time or less crucial events quickly, allowing you to focus on the more important parts of your story.

For instance: "The next few weeks passed in a blur of exams and late-night study sessions." This sentence tells us what happened without going into unnecessary detail about each day.

Providing necessary background information: Sometimes, you need to give your readers some context or backstory. While you can certainly weave this information into scenes, there are times when a straightforward telling of facts is more efficient.

Example: "The war had been raging for three years before Sarah's village was attacked." This quickly gives us important context without needing to show the entire history of the war.

Establishing pace and rhythm: Alternating between showing and telling can help you control the pace of your story. Showing tends to slow things down, allowing readers to immerse themselves in a moment. Telling can speed things up, moving the story along more quickly when needed.

Clarifying complex ideas or emotions: Some concepts or feelings are abstract or complex enough that showing alone might not suffice. In these cases, a bit of telling can help ensure your readers understand what's happening.

For example: "The quantum entanglement theory had always fascinated John, but explaining it to others often left him feeling frustrated and misunderstood." Here, we're telling the reader about John's relationship with this complex scientific concept, which might be difficult to show effectively.

Maintaining your narrative voice: Sometimes, telling is simply more in line with your narrative voice or the tone of your story. This is especially true if you're writing in a more direct or conversational style.

Now, I can almost hear some of you saying, "But wait! I've always been told that showing is always better!" And I completely get it. I'm a writer myself and prioritize "Show, Don't tell." in my writing all the time. We've been conditioned to believe that showing is superior in all cases. But we can take a moment to challenge that notion.

Think about some of your favorite books. Chances are, they use a mix of showing and telling. Even the most critically acclaimed authors don't adhere strictly to "show, don't tell" all the time. They understand that good writing is about balance and knowing when to use each technique effectively.

Take, for instance, the opening line of George Orwell's "1984": "It was a bright cold day in April, and the clocks were striking thirteen." This is a perfect blend of showing and telling. Orwell shows us it's a bright, cold day (we can imagine the crisp air and clear sky), but he tells us about the clocks striking thirteen. This immediate telling gives us crucial information about the world we're entering – it's not quite like our own.

Or consider this passage from Jane Austen's "Pride and Prejudice": "Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice, that the experience of three-and-twenty years had been insufficient to make his wife understand his character." Here, Austen is clearly telling us about Mr. Bennet's character rather than showing it through his actions. And yet, it works beautifully, giving us a quick, clear insight into both Mr. Bennet and his wife.

The key is to use both techniques strategically. So, how can you decide when to show and when to tell? Here are some tips:

Consider the importance of the information: Is this a crucial moment in your story, a pivotal emotion, or a key piece of character development? If so, it might be worth showing. If it's more of a transitional moment or background information, telling might be more appropriate.

Think about pacing: If you want to slow down and really immerse your reader in a moment, show it. If you need to move things along more quickly, tell it.

Evaluate the complexity: If you're dealing with a complex emotion or concept, consider whether showing alone will be enough to convey it clearly. Sometimes, a combination of showing and telling works best for complex ideas.

Consider your word count: If you're working with strict word count limitations (like in short stories or flash fiction), telling can help you convey necessary information more concisely.

Trust your instincts (Important): As you write more, you'll develop a feel for when showing or telling works better. Trust your gut, and don't be afraid to experiment.

Now, let's talk about how to tell effectively when you do choose to use it. Because here's the thing: telling doesn't have to be boring or flat. It can be just as engaging and stylish as showing when done well. Here are some tips for effective telling:

Use strong, specific language: Instead of using vague or generic words, opt for more specific, evocative language. For example, instead of "She was sad," you might write, "A profound melancholy settled over her."

Incorporate sensory details: Even when telling, you can include sensory information to make it more vivid. "The room was cold" becomes more engaging as "A bone-chilling cold permeated the room."

Use metaphors and similes: These can help make your telling more colorful and memorable. "His anger was like a volcano ready to erupt" paints a vivid picture without showing the anger in action.

Keep it concise: One of the advantages of telling is its efficiency. Don't negate that by being overly wordy. Get to the point, but do it with style.

Vary your sentence structure: Mix short, punchy sentences with longer, more flowing ones to create rhythm and maintain interest.

Remember, the goal is to create a seamless narrative that engages your reader. Sometimes that means showing, sometimes it means telling, and often it means a artful blend of both.

It's also worth noting that different genres and styles of writing may lean more heavily on one technique or the other. Literary fiction often employs more showing, delving deep into characters' psyches and painting elaborate scenes. Genre fiction, on the other hand, might use more telling to keep the plot moving at a brisker pace. Neither approach is inherently better – it all depends on what works best for your story and your style.

Now, I want to address something that I think many of us struggle with: the guilt or anxiety we might feel when we catch ourselves telling instead of showing. It's easy to fall into the trap of second-guessing every sentence, wondering if we should be showing more. But here's the truth: that kind of constant self-doubt can be paralyzing and ultimately detrimental to your writing process.

So, I want you to understand and think: It's okay to tell sometimes. You're not a bad writer for using telling in your work. In fact, knowing when and how to use telling effectively is a sign of a skilled writer.

Here's some practical ways to incorporate this mindset into your writing process:

First Draft Freedom: When you're writing your first draft, give yourself permission to write however it comes out. If that means more telling than showing, that's absolutely fine. The important thing is to get the story down. You can always revise and add more "showing" elements later if needed.

Revision with Purpose: When you're revising, don't automatically change every instance of telling to showing. Instead, ask yourself: Does this serve the story better as telling or showing? Consider the pacing, the importance of the information, and how it fits into the overall narrative.

Beta Readers and Feedback: When you're getting feedback on your work, pay attention to how readers respond to different sections. If they're engaged and understanding the story, then your balance of showing and telling is probably working well, regardless of which technique you're using more.

Study Your Favorite Authors: Take some time to analyze how your favorite writers use showing and telling. You might be surprised to find more instances of effective telling than you expected.

Practice Both Techniques (Important): Set aside some time to practice both showing and telling. Write the same scene twice, once focusing on showing and once on telling. This can help you develop a feel for when each technique is most effective.

Now, let's address another important point: the evolution of writing styles and reader preferences. The "show, don't tell" rule gained popularity in the early 20th century with the rise of modernist literature. But writing styles and reader tastes have continued to evolve since then.

In our current fast-paced world, where people are often reading on devices and in shorter bursts, there's sometimes a preference for more direct, efficient storytelling. This doesn't mean that showing is out of style, but it does mean that there's often room for more telling than strict adherence to "show, don't tell" would allow.

Moreover, diverse voices in literature are challenging traditional Western writing norms, including the emphasis on showing over telling. Some cultures have strong storytelling traditions that lean more heavily on telling, and as the literary world becomes more inclusive, we're seeing a beautiful variety of styles that blend showing and telling in new and exciting ways.

This brings me to an important point: your voice matters. Your unique way of telling stories is valuable. Don't let rigid adherence to any writing rule, including "show, don't tell," stifle your natural voice or the story you want to tell.

Remember, rules in writing are more like guidelines. They're tools to help us improve our craft, not unbreakable laws. The most important rule is to engage your reader and tell your story effectively. If that means more telling than the conventional wisdom suggests, then so be it.

As I wrap up this discussion, I want to leave you with a challenge: In your next writing session, consciously use both showing and telling. Pay attention to how each technique feels, how it serves your story, and how it affects the rhythm of your writing. You might discover new ways to blend these techniques that work perfectly for your unique style.

Writing is an art, not a science. There's no perfect formula, no one-size-fits-all approach. It's about finding what works for you, your story, and your readers. So embrace both showing and telling. Use them as the powerful tools they are, and don't be afraid to break the "rules" when your instincts tell you to.

Remember, every great writer started where you are now, learning the rules and then figuring out when and how to break them effectively. You're part of a long, proud tradition of storytellers, each finding their own path through the winding forest of words.

Keep writing, keep growing, and keep believing in yourself. You've got this!

Happy writing! 💖✍️ - Rin T.

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

[demonio-fleurs]

I do love that Zoro’s new battle outfit is shirtless 🥰🥰🥰

[kyri45]

About the next Shadowpeach Bio Parents AU comic

So it’s scheduled to be posted on Tuesday, same time like always, don't worry.

But since it seems the entirety of the LMK community on this platform will see it. I just wanted to give a head up. It was hard to write. Meaning that it took like-1 and half hour just to add the text (I came up with the dialouge for my comics literally as I draw them for reference)

My own take on the situation (which is complex. Like, Wukong is a fucking complex character with a lot of fuck ups) might not be satisfying for both Wukong and Macaque apologists (if that's even a thing in this fandom honestly I don't know I just draw here.)

Also just a reminder, this aint a fic so I'm pretty limited on the amount of dialouge I can fit in a comic. I would probably stay the entire week talking about their fight. But I had to try to find a structure that would "summarize" what the general feelings about the 3 of them are at the moment + how they view what happened from each perspective after their "Un-Divorced Arc".

All of this to say be ready for tissues (pos? neg? that's for me to know and for you to find out!) and be gentle with me if it's not of your liking.

[linkspooky]

ONCE MORE, I THINK I'LL LIVE FOR OTHERS

So of all the characters in Jujutsu Kaisen Megumi has turned out to be one of the most controversial and hotly debated characters. There's nothing the internet hates more than a boy with trauma, I guess. Jujutsu Kaisen is a controversial work in general so it's not surprising that the ending wasn't super well received by the fans, especially in the way it decided to conclude Megumi's character arc.

There are many people accusing Gege of giving Megumi no character development. Of Megumi just choosing to replace Tsumiki with Yuji. Lots of complaints about Megumi never finishing his domain expansion among other things. Of Megumi being nothing more than a damsel for Yuji to rescue in the end. I'm here to say I think Megumi does have a complete character arc even if it didn't end the way I would have liked, and under the cut I'll be giving my thoughts for Megumi's ending and JJK's ending in general.

I CAN ONLY SAVE THOSE WHO ARE PREPARED TO BE SAVED

If you were to ask me what the most important arc in Jujutsu Kaisen is, it would be Hidden Inventory. Hidden Inventroy covers the inciting incident which leads to all the conflicts in the main story, Riko's death, Geto's defection, Tengen's merger failing, and Gojo's decision to adopt Megumi.

However, it also shows us what motivates Gojo in the main series, mainly his desire to raise this generation of students into strong and intelligent allies because of his inability to save his closest friend when it most counted.

If the quote that summarizes the central theme of Jujutsu Kaisen Zero is "Love is the most twisted curse of them all."

Then I put forward that the quote that summarizes the theme of the main series is what Gojo said to Yaga post Geto's defection, "Being strong isn't enough, I can only save those who are prepared to be saved."

Just like Hidden Inventory is centered around Geto and Gojo's relationship in their youth, the main manga itself centers around Megumi and Itadori's relationship. The manga itself starts with their first meeting. Yuji devours the finger in order to try to help Megumi. Megumi requests Gojo help save Yuji from execution because he didn't want to see another good person die.

Megumi and Itadori are also a deliberate parallel to Geto and Gojo's friendship in the past. To begin with Gojo tried to nurture these relatoinships in his students so they COULD get along and enjoy their youths the way he remembers doing so with Geto in his three springtime of youth.

He not only encourages Megumi to selfishly try to save Yuji even though it is against the rules of sorcery and poses a risk to other people, he also encourages them to socialize at every opportunity.

The strong and intense friendship that Megumi and Yuji enjoy is not only a clear parallel to Geto and Gojo's special connection with one another, but also the fact that a strong reocurring motif in Megumi and Yuji's friendship is their strong desire to save each other. Which is a clear parallel to Gojo's inability to save Geto in the past.

As I said for a long time Yuji and Megumi were being set up as this generation's version of the "strongest duo" except they were going to be able to break the cycle. Whether it be by Megumi saving Yuji, or Yuji saving Megumi, they wouldn't be driven apart by the corruption in the Jujutsu World the way that Geto and Gojo were.

As I said the central question of Jujutsu Kaisen especially in regards to Megumi and Yuji's friendship is if it's possible to save someone who doesn't want to be saved. Which is why Megumi and Yuji both wanting to save each other is something that happens again and again at different parts of the manga. Whether it be the ending of Origin of Obedience where Megumi and Yuji are both unable to talk to each other because they want to try to protect the other from information that might harm them. Megumi hiding the fact that he knows resonance between the Sukuna fingers awakened the curses. Yuji hiding the fact that Megumi's decision to save Yuji has caused strong curses to awaken and kill other people.

Just as often as these two try to save each other, they fail. Megumi watches Yuji die early on when Yuji takes back control from Sukuna and decides to die without a heart.

Megumi spends the entirety of the culling games clinging to Yuji's side no matter how Yuji tries to push him away because he knows Sukuna has plans for him. However, Megumi is afraid to leave Yuji alone because he knows Yuji is in a dark place after the Shibuya massacre and that if he's left alone Yuji might just find some way to off himself in a heroic sacrifice to try to atone for the people lost at Shibuya.

Only for Megumi's insistence on clinging to Yuji to backfire because Sukuna ends up taking his body from him in a critical moment. When Sukuna takes his body their circumstances swap and Megumi is the one who's body is being used to kill people by Sukuna. When Megumi has to live with the guilt of Sukuna using his body to kill both his sister and his teacher, he's not able to live with it anymore.

Then their positions swap completely and it's Megumi who wants to die to atone for the guilt, and it's Yuji who doesn't want to let go of Megumi and will do anything to save Megumi from both Sukuna and the other sorcerers even if the right thing to do is just kill both him and Sukuna and letting him live means putting the whole rest of the world at risk.

As you can see not only is saving each other a common theme of Megumi and Yuji's relationship, but at different points of the story both of them are trying to save the other even when the other doesn't value their own life.

Gojo's relationship with Geto is defined by his inability to reach his friend in time, and how he was "left behind" in the end.

Gojo explicitly waited a year after learning about Megumi being sold to the Zen'in clan to do anything, and only decided to intervene after Geto's defection. Gojo's decision to mentor Megumi was inspired by Geto leaving. He even said "Don't get left behind."

His hope in taking in students like Megumi, Yuta and Yuji was twofold first that he'd be able to handpick and raise several strong students who would eventually replace the elders and reform the Jujutsu World. The second and more personal motivation is that he wanted these students to be able to support each other and be strong allies to one another so they wouldn't end up alone like Gojo did in his youth.

Gojo's intentions were good however, Gojo has a very flawed understanding of how people and relationships work. In Gojo's books "strong=good" and almost everything can be solved by strength. Notice just one chapter ago Gojo said that being strong wasn't enough, he can only save those who are prepared to be saved and yet one chapter later he tells Megumi that he needs to get strong otherwise he'll be left behind.

So, even when Gojo knows that being strong isn't enough and didn't make a difference with Geto, that's still the only real advice he can offer Megumi.

A big theme of Jujutsu Kaisen is the failures of the past generation affecting the present. A lot of people in trying to put Gojo on a pedestal fail to realize one of the central themes of this manga is GOJO WAS WRONG. The way Gojo went about doing several things wasn't the right way. Gojo wants the next generation to succeed him and do better than him, because Gojo himself knows that he was wrong and he's a part of the past generation.

I think a big part of the reason the conclusion to Megumi's character arc is poorly received is that Megumi didn't end his arc the way that Gojo set out for him.

Scenes like this led the audience to believe that Megumi's character arc was going to be completed by him learning to be more selfish and living up to the potential that Gojo saw in him. That we were going to get a completed domain expansion. That Megumi was going to become stronger than Gojo because the ten shadows was the only technique to ever beat a wielder of the limitless and the six eyes.

I understand wanting to see Megumi living for himself, and how cool it might be to see Megumi's complete domain expansion after Gege teased us with this twice but I have to ask this.

If Gojo was the strongest sorcerer in the world, and that still wasn't good enough to save Geto. Then how would Megumi reaching his full potential as a sorcerer in any way help Megumi avoid making the same mistakes that Gojo did?

HAVEN'T WE HAD ENOUGH OF GOJO SATORU

I think a lot of dissatisfaction in Megumi's character development comes from he didn't really follow the path that Gojo set out for him. He didn't unlock his full domain expansion, he didn't learn to live more selfishly. They say that Megumi simply choosing to live for Yuji isn't him learning to stand on his own two feet because he's just hinging his self worth on someone else the same way he did with Tsumiki.

However, I have to ask.

How exactly would Megumi becoming more like Gojo or more like Sukuna be any better?

A big recurring theme in Megumi's arc is his lack of agency, and how many different adult figures have tried to mould him to their own selfish ends.

In the same chapter where Megumi has the flashback where Gojo encourages him to become more selfish, Sukuna has his hands wrapped around Megumi's neck in the colored page. Sukuna was never actually trying to mentor Megumi.

He only had an interest in Megumi because his ten shadows techniques was a way to bypass Gojo's infinity. Henever actually cared about Megumi reaching his full potential. He was grooming Megumi in the long term so he could snatch his body and turn him into a weapon against Gojo Satoru. The same way that Gojo only decided to take Megumi in and mentor him in the first place because his technique meant he had great potential as a sorcerer and a future ally in Gojo's crusade against the elders.

Megumi's life is defined by every adult in his life trying to mould him or use him selfishly for his own gains. His father sold him to the Zen'in clan for gambling money and abandoned him. Gojo only was interested in a strong ally against the elders. Sukuna is just one in a long line of people who are trying to shape Megumi into something he's not for their own selfish desires.

Ngl, the fushiguro girlies are kinda onto something with their characterization of Sukuna’s possession as the physical embodiment of his lifelong struggle for self determination and autonomy and how others have always pupeteered his fate for their own devices and he’s thusly never put himself first ─ his selfishness functioning ultimately as platitudes which still center others and his consideration for them. [SOURCE]

So if all of Megumi's various abusers have tried to make Megumi into something he's not and robbed him of his agency in the process, then is the best ending for Megumi really to become more selfish like Gojo or Sukuna?

If Megumi ended his character arc by using a complete domain expansion, and reaching Gojo's level of power wouldn't that be validating the way Gojo stole Megumi's entire childhood from him in order to make him a strong sorcerer. Wouldn't it look like the narrative was going, yeah, it was wrong for Gojo to groom Megumi like that, but look how strong it made him!

We already have a version of Megumi who learned to live only for himself, someone who broke the chains of fate and became entirely free.

Toji shows us a version of Megumi who lived up to his full potential as a sorcerer, became someone strong enough to threaten Satoru Gojo, and who put himself above everyone else and... Toji's fucking miserable.

Toji is the bad ending of Megumi. He's strong but that's all he is. The narration refers to him as a puppet of carnage, only living to fight the strongest around. In fact, Toji dies BECAUSE he wanted to feel validated as the strongest. The decision to say and fight against Gojo when Gojo unlocks reverse cursed technique leads to his death. Being the strongest and his desire to be validated as someone strong is nothing more than a curse for Toji and what allows him to escape the cycle is not strength, but rather seeing that his son has succesfully escaped the abuse of the Zen'in clan.

So having Megumi live up to his full potential as a sorcerer, or living selfishly the way that Gojo or Sukuna wanted him to wouldn't really be breaking the cycle, because it'd be Megumi acting the way his abusers wanted him to act. If anything it' be Gojo's long term grooming of Megumi finally succeeding.

I understand that Megumi fighting back on Sukuna from within with one use of ten shadows to create a puddle underneath Sukuna's feet isn't the most dramatic way to signal his journey of self-realization, but sometimes the flashy, dramatic, and satisfying thing isn't always the right thing.

if the central relationship of the series is Megumi and Yuji, and the central question of that relationship was "is it possible to save someone who doesn't want to be saved-" then resolving both Megumi and Yuji's character arcs requires answering that question. That's the most important part. How are we going to break the cycle and have Megumi and Yuji save each other in a way that Geto and Gojo weren't be able to.

Yes, I understand wanting Megumi to be his own person and stand on his own two feet, but before he's a person Megumi is a fictional character. Megumi and Yuji are characters intentionally designed to be each other's other half. The same way that Geto is designed to be the other half of Gojo. They both represent a yin / yang pair. They both represent the shadow and the light, the sun and the moon.

People also talk about wanting Gojo to learn to be his own person outside of Geto, but that's also missing the point. Gojo isn't a person to begin with he's a character designed to be the other half of Geto. All of those parallels that exist between them, both of them getting their bodies stolen from them, both of them becoming monsters (geto slaughtering the village, Gojo slaughtering the elders), both of them dying on the same day. Those are intentional, because they're fictional characters meant to represent the concept of yin and yang and balance. Gojo cannot exist without Geto, Geto's body causes Gojo to get boxed, Gojo dies within a year of killing Geto, because they're meant to represent the taoist concept of BALANCE in a manga that's about BALANCE. Gojo cannot achieve balance with the character that symbolizes his yin. Whereas, Megumi's way of achieving balance is to find a way to make things work with his other half Yuji in a way that Geto and Gojo failed to.

As someone who used to be the biggest Megumi Corruption Arc truther, I've come around in my thinking and I can at least understand why Gege didn't go that direction. Megumi learning to be selfish like Gojo would be changing too much of Megumi's inner nature, because as much as Megumi pretends to be selfish as an excuse he still is someone who wants to help people.

There's nothing wrong with Megumi wanting to help people, or wanting to be a team player. It was Megumi deciding to hinge his entire self worth on just his ability to help one person. It's why he couldn't go on when Tsumiki died, not just because he was grieving his sister, but because he decided to make protecting his sister his entire reason to live and genuinely saw no other reason to keep on living.

A lot of people say that Megumi is just deciding to make Yuji into an emotional crutch the same way he once did with Tsumiki, however, I don't think these lines of dialogue really indicate that.

"The world is full of people besides myself. Once more I think I'll live for others."

To begin with, Megumi says that the world is filled with lots of people. Megumi didn't want to go on because he didn't think he'd ever love someone as much as he loved his sister. That there was nothing in the world worth living for if his sister was gone.

However, now Megumi is acknowledging that there are more people in the world than just Tsumiki. That he might come to love them the same way that he loved her. That he shouldn't give up on life just because he lost one person, no matter how important that person was.

Megumi's words run contrary to the idea that he's just going to use Yuji as his next living emotional crutch, because he says the world is full of people. There's more people than just him, there's more people than just Yuji, as long as Megumi makes the choice to continue living then he can go out into the world and meet them.

Jujutsu Kaisen is a very individualist manga, and I understand we also exist in an individualist society so we want to see Megumi stand on his own two feet and live for himself, but I don't think Megumi deciding he'll live for others is a bad thing. This is just a few chapters after Yuji said that what makes life meaningful is the memories you leave behind with other people. Which is the exact same sentiment.

Yuji is able to break free from the cog mindset when he realizes that all the people he connected to in his life gave his life meaning, even if they died tragically, even if he only knew them for a short time. Choso's final words are "Thank you for being my little brother" and that connection was incredibly important even though they only knew each other for about a month. Yuji's life became meaningful because he went out into the world and made all these important connections.

Now Megumi is doing the same thing. He's resolved that even though his sister is dead the world is full of people he can connect with. That he can come to love other people the same way that he did. That his life is still worth living because he can find new people to love. Is Megumi deciding he can try to live for the other people in his life and his connection to those people even after the loss of his sister made him feel like his life is worthless and he'll never love anybody that way again, really that different from Yuji deciding that the people he made connections too gave his life value?

Jujutsu Kaisen lifts from other manga, this is pretty common knowledge. Killua and Shinji Ikari are probably the two biggest inspirations for Megumi and both are two very passive characters who are entirely reactive. They don't decide, they don't act, they react to the decisions of people around him.

Killua's ultimate moment of character development isn't beating his abusive big brother, or his abusive parents in a physical fight after getting a power up. Killua's greatest moment of character development is accepting Nanika as a part of Alluka. Something he was too afraid to do because it would mean that his family would continue to try to exploit Alluka for her wish granting abilities.

Killua finishes his arc with the resolution to protect both Alluka and Nanika from the rest of his family. Considering that Killua has been centering his entire self worth around his usefulness to Gon by this point you could call it Killua is just replacing Alluka with Gon as a crutch if you were cynical. Or you could just say that Killua, like Megumi is someone who lives for their loved ones and finds value in the bonds he makes with other people.

Shinji Ikari spends the entire 26 episode run of Neon Genesis Evangelion not making a single decision, and his final moment of character development isn't really that much character development. He simply makes the decision to reject instrumentality and try again. To go back to the real world and try to be a person in the world again, because as long as you're alive there's still a chance to be happy.

Megumi like Killua, never really changes. It's in Megumi and Killua's nature to be a protector / a nurturer. They want to take care of the loved ones in their lives. Megumi and Shinji both have an arc where it takes the entire anime / manga to take the very first step. Their arc is there to depict how hard it can be to take that first step on the journey to change when you're as traumatized as someone like Shinji or Megumi.

Megumi's arc especially is about him making his very first decision in the whole manga. As I said the central question of Megumi and Yuji's relationship is can you save someone who doesn't want to be saved and Yuji eventually finds you that you can't.

Yuji's greatest moment of character development and empathy for Fushiguro is realizing he can't force savlation on Fushiguro if Megumi doesn't want it. He can't force Megumi to live. He can't just tell Megumi to be stronger.

In doing so Yuji does something that no one has ever done to Megumi in his life, and offered him a choice. Gojo expected Megumi to be as strong as him and saw him as a mini-gojo never once taking his opinion into the matter. As I said above Gojo sees being strong as the soliution to all of life's problems. His adivce to Megumi was don't be weak, otherwise you'll be left behind.

Yuji allows Megumi to be weak. He says that Megumi doesn't have to be strong and suck it all up. The metaphor of Yuji and his grandfather works well to show how Yuji truly understood Megumi in a way Gojo never did. Gojo expected Megumi to be as strong as him. Gojo encouraged Megumi to grow up into another Gojo. Gojo failed to understand Megumi in many ways because he wasn't Gojo, and enjoy Jujutsu and being a sorcerer the way that Gojo did.

Yuji relates the story of his grandfather rejecting chemo treatment. At the time he didn't understand why his father would refuse the treatment just because it was painful, because Yuji being young would have been very easily able to handle the pain. However, after Yuji went through trauma and started dealing with suicidal ideation in the aftermath of Shibuya he understood why some people wouldn't want to keep fighting.

Yuji knows what it's like to be weak and want to give up so he doesn't want to force Megumi to be strong. Gojo projected himself onto Megumi and expected Megumi to always be strong and to love Jujutsu like he did, and didn't understand the ways Megumi was different than him. Yuji on the other hand accepted Megumi for who he was with those words, even though Megumi was weak and didn't want to continue living Yuji didn't crticize him he accepted that Megumi was different from him. He accepted the fact he didn't really understand Megumi's pain. He validated Megumi's pain and didn't try to dismiss it.

This parallel to Gojo and Megumi's first meeting is so important, because Gojo showed up in that child's life only to exploit him. While Yuji gave Megumi a choice. Even if it meant that Yuji would be lonely and heartbroken, he still gave Megumi a choice on whether or not he wanted to live.

In the end Yuji gave Megumi a choice, and Megumi made that choice to keep living. Just like Shinji, Megumi's entire character arc was just leading him up to taking the first step on his journey. Just like Shinji, Megumi's entire arc is defined by his choices being taken away from him but the very first choice he makes is his most important one: the choice to live.

So yes, a Megumi corruption arc would have been really cool but I think the answer of "You can't save someone who doesn't want to be saved, but you can still love them" is a beautiful one.

[amerricanartwork]

RW Headcanon: How Arti Gives Back

In the RW community on this site, I’ve heard quite a few Artimand thoughts about how Gourmand would help Artificer heal from her trauma and grief. And while that’s all good, something that’s continuously puzzled me when shipping Artimand romantically is, “but how would Artificer help Gourmand?”

Let me tell you, one of my all-time favorite qualities in a ship is the characters helping each other improve themselves, especially in ways no other character pairing can. And while it’s easy to see Gourmand helping Artificer improve, given the vast amount of grief and lust for vengeance she has to overcome, and since Gourmand probably has a natural inclination to help others in need, what would she give to him in return? And to add to that, why would Gourmand fall in love with her and choose her as a mate, as opposed to just casually looking out for her and straight pitying her at worst, especially when she’d most-likely appear very un-qualified for romance initially?

Well, I’ve developed some thoughts and headcanons for that, and I’ll put them below the cut! Please let me know if anything could be improved, or if you can add to it! I’d love more reasons to think of these two sweethearts!

Option 1: Combat

Arti would help Gourmand improve his combat skills. The way I see it, Gourmand is a very strong warrior, but doesn’t often engage in combat simply because he doesn’t see a need for it outside of defense. Even then, due to his kind nature, he typically only fights back enough to deter predators, not kill them. However, with Arti being a carnivore, and having LOTS of experience with more complex combat situations than just defense (mostly from scav encounters), I like to think that Arti would give Gourm more combat tips and they may even end up bonding on occasional hunting trips together. And it would circle back to Arti because Gourm, with his cooking skills, would make the resulting meals from their hunts taste SO much better than what Arti is used to, allowing her to slow down and really enjoy food in a way she hasn’t been able to with her warrior lifestyle!

Option 2: Motherhood

This one’s pretty self-explanatory. Given Arti was a mother once, and Gourmand’s story ends with him getting 2 pups, I could easily see him wanting Arti to stay around to act as a mother for them. Not only would that give her the chance to embrace motherhood again, but it would take some pressure from Gourmand because he has a partner (and an experienced one at that) to help him with parenting! I mean, don’t get me wrong, Gourmand is undoubtedly great with pups, but even so it’s good to have some help! Even more so since (depending on what general age you headcanon the pups as) he’d likely have to leave his pups alone while getting food; it’d be nice to have someone with her own experience caring for pups who can look after them during those times and, to add onto the first option, even help teach them how to hunt and survive on their own!

And heck, I personally actually like to imagine that, a little later, after she gets comfortable enough and fully overcomes her grief, Artificer would actually have a second litter with Gourmand (naratively-speaking, this would signify the completion of her character arc)! Of course it’d be a big deal for Arti, but just imagine how much fun Gourm would have exploring the new experience of getting to raise biological pups this time! And I can just see him being so, so thankful that Arti somehow managed to give him even more family to love!

Option 3: Passion

So this one’s the most personal-headcanon-based, and built off my personal depiction of Gourmand as a character. In my headcanon, Gourmand starts out as a rather reluctant leader of his colony. I have this whole idea of what specific event led to him becoming the leader, but to summarize, it seemed like a very sudden chance event at the time, yet from it he was more-or-less unanimously chosen to lead by the other Outer Expanse slugcats due to him having shown great creativity, survival skills, and protectiveness. Gourmand himself, however, doesn’t really feel he’s fit to be a leader; he’s used to an easygoing life just peacefully surviving and doing his own thing, not managing and defending an entire colony! He’s so used to seeing the simple parts of the world that he often underestimates himself, so something as “grand” as leadership often appears too great for him.

That’s where Arti comes in. I like to imagine that Artificer is extremely passionate, but that for a long time after her pups’ deaths, that passion was manifested almost exclusively as immense rage, grief, and desire for revenge against their killers. But imagine if, once she gets comfortable with Gourmand’s colony, she begins to show that passion in positive emotions! Not only would she, after seeing what he’s capable of in hunts, help him see that he IS the perfect leader for his colony, but just IMAGINE: Arti hyping Gourm up as the biggest, strongest warrior in the Expanse, just before the two prepare to take down a king vulture; or Arti patching him up after a really tough battle and assuring him he’ll be even better next time; or Arti teasing Gourm and them chasing each other around as they spar together in the OE fields; or Arti getting all dramatic as she recites tales of her epic scavenger battles to his eager pups; or Arti showering Gourm with kisses after he makes a REALLY good meal with her favorite meats!  There are SO many possibilities for hypeman Arti, and I figure that, once Gourm sees her fiery spirit used in a positive way, especially to help him and his family, he can’t help but fall for her! And this idea is part of why I like the Spicybun ship name so much - while Gourmand helps Arti mellow out, Arti literally spices up his life! They just compliment each other so perfectly!!

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

MAN do I love these two so much! This is about all I have right now on this subject, but again, I’d LOVE to hear any other ideas for how Artificer would help Gourmand, or additions to these ideas! I just adore the “opposites attract” ship trope (although I personally prefer to call it “inverses attract”), and I think Artimand is easily one of the best examples of that in Rain World! 

Thank you to anyone who made it to the end of this wall of text! And let me know if I should share any more Rain World headcanons, because I’ve definitely got more!

Oh, and if you've found this, @melissa-titanium, hope you like it again! Let me know if you ever want me to stop @-ing you with these Artimand headcanons, by the way!

[2soulscollide]

Write your book STEP BY STEP

hello hello, it's me again!

today i'm bringing you a step-by-step / checklist to finally get your book done. i know it can be a bit complicated to put everything together to make your idea come to life (you're definitely not alone!)

that's why i compiled some tips and made this post, in hopes to help some author out there :D

let's get started.

PREMISE

assuming you already have a good idea in mind, you should start by writing a premise. to help you with that, try to answer these questions:

who is the main character?

what are their goals?

which troubles will they face / what's stopping them from achieving their goals?

do they have an opponent? if so, who?

now that you know the answers to these questions, it's time to write the premise. the premise consists in a sentence that summarizes your whole idea.

PLOT OUTLINE

there are infinite ways to plot your story. you can do it by writing down ideas and linking them together, following a scheme, or any other method.

the most common plot outlines are these:

synopsis outline: one to two pages, where you hit all the major beats of the story

in-depth outline: outline each chapter/scene

snowflake method: develop the premise into a bigger paragraph, and that paragraph into a page (etc.) until you have the whole outline of your story

booken method: plot the start and end of the story, and the main characters

the novel factory created plot sheets for free, and you can choose from eight different templates. you might want to check it out!

KNOW YOUR CHARACTERS

having your outline defined, you should start developing your characters now. the main character's profile might be more detailed than the others, however, it's up to you. there are many character sheets out there on the internet that will help you create flawless characters.

i have a post with resources that might be helpful when creating a character, check it out!

and here you have some prompts and sheets to create a character:

Quick Character Creator - EA Deverell

Extremely detailed character sheet template - @hawkasss

The Best Character Template Ever - Dabble

Character Twenty Questions Worksheet - The Writers Circle

at this point, you should also define the narrator's voice, tone, etc, as well as the pace of your novel.

LOCATIONS

define the principal locations of your story, the settings, and where the story is taking place. it's important to know how the environment looks, and how your characters feel about it.

for this part, you might find it useful to do some research about some locations, if you're not familiar with them. find inspiration on Pinterest, Tumblr, or even on books, paintings, and art. everything is valid.

if your story takes place in a fantasy environment, you might need to fill out a template to create it or write down the way you imagine it to be. try to get as many details as possible, so there are no holes when developing the novel.

SUBPLOTS

you might want to give more depth to your novel by developing a subplot (or more than one). make sure it doesn't get too confusing or that doesn't take the focus away from the main action.

the subplot can be a romance, another character's relationship, a character's arc, a backstory, etc. this will make your story more real and 3D, more realistic.

develop it as a side story and mix it with the principal plot but don't make it as important as the main story, otherwise, none of the plots will make an impact.

SYNOPSIS

write a synopsis as long as you wish, covering every important part of the story. this will help you to really know your idea, and have a solid structure for it. it can range from 500 to 2,500 words, but you don't have to restrict yourself to a number.

things the synopsis should cover:

the status quo

the complication

initial challenges

midpoint

further challenges

the low point

the climax

the resolution

DRAFT

and we get to the best part which is writing! now that you know everything about your story, characters, locations, and scenes, all you have to do is to put all that together in words. don't feel pressured to make everything look perfect already, just write what comes to your mind. if you have a new idea for the plot, good, write it down! if this character doesn't make sense anymore, okay, get rid of them. just go with the flow, following the structure you've planned, and everything starts to come to life.

i know it's so tempting to go back, read what you wrote, and start editing and polishing, but trust me, don't do that! it's a waste of time, and you will take so much more time to finish your first draft. in fact, i've given up on so many stories because of that...

just when you finish the first draft, you will re-read everything and start editing, fixing plot holes, changing what doesn't fit well, etc. but for now, just write, get the first draft done. enjoy the process, don't rush.

thanks for reading!

i hope this post was helpful!

also, you might be interested in this free workbook with over 90 pages and many exercises! check it out here: THE WRITER'S WORKBOOK

resources for this post:

How to Choose a Plot Outline Method: 4 Techniques for Outlining Novels

How to Write a Novel: A Step-by-Step Guide

[thecheshirerat]

On TAZ-

Wow that sounds like I’m about to summarize some sort of discourse but I promise I’m not. I guess I’ll say that I really like this show and I will keep listening even if my worst fears come to pass, so keep that in mind!

For reference, I started listening near the end of Amnesty.

I’ve noticed, with the past few arcs- really since Ethersea- the narratives have just… not been fulfilling their promises, so to speak. They’ve been placing a lot of guns that don’t go off. What I mean by that is, the characters are great. Excellent, really. Lady Godwin? HELL YES. Emerich Dreadway? Fuck yeah! And so on! And the settings and premises have been epic- the goofiness and also horrifying nature of Engrave, the mad and thrilling world of Steeplechase- these things are COOL AS FUCK.

and then the actual narratives keep flopping?

And honestly, I notice it most in the endings, because you can really tell when an ending doesn’t land. You feel the sense of disappointment. But with vs. Dracula, for example, I could kinda see leading up to it that the ending couldn’t really BE anything special, because they lowkey didn’t set themselves up for it.

They spent the campaign fucking around in Engrave, finding clues and solving problems and not really experiencing any particularly meaningful character arcs or growth or, idk, forming relationships? So there wasn’t much to pay off, I’m not gonna lie!

Of course it doesn’t feel quite as dissatisfying when you’re in the thick of it, because they’re funny and the stuff is cool and- oh hey! Lady Godwin’s been turned into a werehorse against her will?? that’s got some real potential for a LOT of allegories and exploration of some fun character development! And then it’s kinda played as a joke. And then they do that again and again.

And they actually said that that was a move they made intentionally, in the TTAZZ. I’m not quoting them perfectly here, this is from memory, but I do remember them mentioning that they wanted lighthearted comedy without the burden of real life story stuff. And I get that, honestly, but… it’s not the choice I would’ve made. I do think you can keep a lighthearted tone while also, idk, forming relationships and wholesomely engaging with some amount of emotion. And sometimes going way too deep is funny as a tone shift!

But I digress. One thing that’s also popped out to me is the almost complete lack of any kind of romantic storyline or even references. This becomes obvious if you’re in a fandom because everyone is always dying to ship SOMEONE, and you can tell when people are really getting desperate. I don’t blame them for not wanting to roleplay romance with their family, and I do think stories lacking romance are COOL and SHOULD BE ENCOURAGED!

However if you can’t find ANYBODY to ship together… that may mean you just don’t have character bonds. The growing popularity of the PC polycule is interesting to me; I wonder if it’s partially because

a) none of the pcs have significant relationships outside of their party and

b) even within the party, there doesn’t seem to be much chemistry between any given pair of characters…? I hope I’m making my point well here- the PCs all seem equally close and have more or less the same relationship to all of their compatriots with little distinction, meaning, essentially, no shipping fodder that doesn’t involve just all of ‘em.

Either way, it makes me wonder if I can blame the “Graduation has too many NPCs!” critique. They really stopped giving the parties tag-along main NPCs after graduation, with the exception of maybe.. Urchin? Kodira? Shlabethany? Poppy? and even they get relatively little “screen” time. Steeplechase has great NPCs, I love them to death, but none of the PCs seem to ever have one on one conversations with NPCs or each other that do not explicitly focus on the plot. And I think that’s part of why the characters feel so underdeveloped despite having spent a lot of time with them- because in this character-driven genre, we get very little insight into their feelings or motivations or even their rudimentary backstories.

I started watching Fantasy High recently and it made me realize a couple things about TAZ.

1) Recently, TAZ has sooo few core NPCs, and it’s weird that the characters aren’t doing more one-on-one purely character based scenes. And that makes it really tough to develop them.

2) TAZ is- and I should have realized this before- one of many good dnd podcasts. They’re probably looking for a niche they can master.

And it sounds like they’re trying to get back to that old “Here there be Gerblins!” energy. They’ve referenced it so many times in recent TTAZZes- they wanted to be job-focused, allowing story stuff to happen organically, so they tried a more open world vibe with Ethersea. They wanted to be less afraid to kill stuff, so they tried playing criminals (and were still afraid to kill stuff). They wanted to be silly and light on character, as they tackled with taz vs dracula. Now they’re trying to bring in the silly cartoon vibe with Abnimals. I think they’re trying to make that family-friendly, funny and goofy show their niche. Something other actual plays can’t be better at them at.

And honestly it kinda makes me sad, that they keep trying to go back to Balance while ignoring everything they learned during it. Because I loved Dust. Because I loved Amnesty. Because I loved Ethersea. I loved these past arcs! But they keep doing their brilliant characters dirty for some reason!!! And i don’t know why!!!!

You know that meme about people who ask questions in movies and then the person responds “Have you ever been to a movie before? You watch them and the information is revealed.” There have been so many times in TAZ recently where information has Not been revealed and if they keep doing it the audience will stop bothering to suspend their disbelief, because the trust just isn’t there.

What is Montrose’s deal? What on earth was Carmine Denton’s whole thing? Tell me more about Zoox’s feelings, about Devo’s past, about Amber’s future. Show me how Lady Godwin feels about the body horror that is her life- like, seriously! WHY DID WE HAVE TO COMPLETELY DISMISS THE OPPORTUNITY TO DISCUSS GENERATIONAL TRAUMA IN MUTT’S LIFE FOR A JOKE??

Do you remember in Steeplechase where the boys were getting medical attention or something- i don’t remember, but they were all in one room and only talking about The Plot. And Poppy literally banged on the door (speaking for both Justin and me, tbh) and was like “does anyone want to share any feeeeelings??” and they were like NOPE! and they moved on!!

like. cmon. you can’t just put a character like montrose out there and then leave them severely underdeveloped to the point that what would be interesting in proper context, with audience insight, becomes confusing and chaotic.

I just wish they would take their stories as seriously as we do.

It feels to me like they don’t believe in themselves, and it makes me sad. Maybe they didn’t get the response they wanted from Ethersea and so they’ve been trying to pivot, hoping to recapture whatever it was that earned them a loyal audience.

Again, I love them. They’re so funny and I’ll keep listening until the day they stop making this show, and when it happens I’ll cry.

But i KNOW they have more in them. Remember the “we’ll grow gills” monologue from Justin in the Prologues? Remember Travis’s SOLID acting with Devo? Or his awesome choice to give Lyndon/Beef a clearly delineated work/irl identity? His excellent narration and prose? Remember when Montrose described being lonely?! Remember all those moments where Shit Got Real and you cared??? The nanofather said some dope shit! dracula and victor and sweater dracula had such a wild dynamic! Clint’s acting in Dust 2- I can’t remember the characters name right now- was ASTOUNDING, I genuinely didn’t know he had that in him and it blew me away!

I’m not referencing Balance on purpose, both because the fandom is way to hung up on it and because I want to prove that you don’t even have to look at Balance, or even Post-Balance arcs, to see this kind of good cool stuff!

GAAAAAAAGHHHH!!! I want them to have fun. But also. We’re starving out here.

[asgardian--angels]

Izzy Discourse Masterpost

Hey all, given the amount of awful splintering and wank happening in ofmd fandom rn regarding Izzy's death, including the flat-out immature and unacceptable harassment of David Jenkins and Co, I wanted to just make this one all-encompassing post to address the various grievances and complaints I've seen (almost entirely on Twitter). If I've missed anything, please feel free to add on. I'm putting most of this under a read-more for length.

Please be aware, I say all of this as an Izzy fan. I've loved his character since season 1, and while I was sad to see him go, I completely understand and support David & Co's reasons for concluding his arc, and I think it was done respectfully in a way fitting to his character. So let's break down some of the takes I've seen. I am not referencing specific posts or people here, I just want to address the general themes that I keep seeing about why some people are upset.

Izzy's death served no narrative purpose.

Look, this is one that I'm sure fans will debate for the rest of the hiatus. It's completely within your right to disagree with this writing choice, but Izzy's death did serve a narrative purpose in the story that David Jenkins is telling - and he has spoken to this end in several interviews already. I can only summarize here, and fans may find other perspectives in time as well. What we need to remember is that Our Flag Means Death is, at the end of the day, Ed and Stede's love story. That has been made abundantly, explicitly clear. The show has been fantastic at fleshing out the other supporting characters, but that's what they are - supporting characters. They often have their own subplots but ultimately the narrative seeks to move Ed and Stede's story forward and they are tools to spur Ed and Stede's growth or mirror their struggles. Izzy has been a wonderfully complex, multifaceted character but we must remember that all characters are vessels through which stories are told, lessons are imparted, and metaphors are established. He's not a real person who 'deserves' any particular fate. David said he's always intended for Izzy to die at the end of his arc.

Firstly, Izzy (now canonically, through his own dying words) represents part of Blackbeard. He enabled and encouraged Ed's darker side, they were mutually toxic forces to each other. Ed is attempting to cope with and move on from this phase of his life, and like Stede in season 1, set out a free man, unshackled by expectations and loose ends of those he's hurt and been hurt by (though we realize this is an ongoing process that takes time). This lovely gifset sums it up nicely, with Izzy being the Mary parallel, and making s2 mirror s1. Blackbeard is both Ed and Izzy; Ed cannot be free of Blackbeard while Izzy is in his life, and when Izzy is gone he will never truly be Blackbeard again. They are each other's rotting leg!! Yet, they love each other - and David has said that for Ed, this has developed into a mentor and father relationship, and where Ed has previously despised his father figures (his actual father, Hornigold) he does not want to lose Izzy. This time, Izzy brings out Ed, not Blackbeard - and that's where we get the callback to 'there he is', bringing their impact on each other full circle, freeing Ed, getting approval of sorts that he never had, to be soft, to be loved (and there are parallels to Zheng and Auntie here as well that others have made) from that force that drove him to stay in line all this time. David has said in multiple interviews now that he was going for the idea of the mentor/father figure dying and the hero living on and trying to do justice to them.

From Izzy's side, Izzy cannot be free while Edward remains either (Mary cannot find peace while Stede remains). The scar never truly healed, the leg will always be a reminder. At this point the argument becomes 'yes, but why did he have to die? Why not just sail off with the crew of the Revenge?' David has stated that he feels they've done everything they can with, and for, Izzy; he's come leagues from season 1, he's found community, he's found hope, he's found new parts of himself, and he's made good memories. He's found worth outside of what he can be to others. That's more than most pirates could hope for. Where would his character go from there, when the Golden Age of Piracy he belongs to has burned to the ground? Would he stay around and whittle on the Revenge? If he were a real person, yes, that would be lovely, and he'd deserve all the quiet peaceful happiness in the world. But as I explain several points below, he's not interested in being a captain. He's not up for the hard physical labor of regular crew, and he's extremely overqualified for that besides. He has served his narrative purpose, and symbolically, to enter a new age, everything must go. He's connected to the old age of piracy, to the Republic of Pirates, that is now demolished. To him, fighting for what he believes in, for the family he's found, bringing down an army of British twats in the process, is how he should go. It's a pirate's death, and as Izzy's said, he's a pirate - unlike Blackbeard who's succeeding in breaking away from piracy, Izzy never wanted to stop being a pirate, throughout his arc. To me, that's why Izzy remains trapped in the narrative, trapped in history, whereas Ed and Stede will escape history. They leave piracy, and canon, behind, while Izzy was content to remain a pirate and face a pirate's fate.

Burying him on land, right next to Ed and Stede's beach house, shows that his sacrifice was not in vain - they start this new life together, thanks to Izzy's mentorship, his role in their lives that sometimes for worse, sometimes for better, made their love what it was and made their breakaway possible. The new age is built on the foundations of the old age, and is stronger for it.

As we're well aware by now, David tweeted that there's no version of ofmd without Izzy. Whether that's literal or not, symbolically it's true. Izzy's arc of growth affected everyone on the Revenge. Jim fondly remembered fighting for a time when life meant something on that ship; the crew helped give Izzy new meaning in life, and he helped them in return. When he dies, they mourn and have a funeral; that wouldn't have happened under Blackbeard's watch in episode 2. His life meant something to them. He influenced Ed and Stede immensely, and they will take that with them. As David's said, they're all a family, and Izzy was a part of that family, and his loss unites them and brings them closer to continue to fight for that family they've built. It's a tragic, sudden death of someone they've all grown to care for, and that steels their reserve to keep the torch lit. They literally sail off into the sunset to hunt down Ricky to avenge Izzy; he will always be a part of this show. And, of course, with the brief appearance of seagull Buttons, the door is left open for anything.

If this was The Izzy Show, then sure, we'd be content to see him simply engaged in shenanigans every episode. But the plot, and therefore the characters, need to keep moving forward, and Izzy got his growth and development. He got what he needed for his character to have closure, and he served his symbolic narrative purpose in Ed's (and Stede's) story. You may have your own ideas and perspectives, and that's great - that's what fandom is for. But we cannot say his death was pointless when David Jenkins and the writers clearly had a well-defined motive for pushing the narrative in this direction. I actually think the narrative around Ed and Izzy is the most well-developed in the entire show. I for one am so happy we got such an interesting and complex character, and had the brilliant Con O'Neill to portray him.

Izzy's growth & healing arc was rendered pointless by his death.

As this post so eloquently puts it, it's pretty bleak to have the outlook that taking steps to heal and find meaning in life is worthless if it's later lost. Seeking happiness and self-actualization is worthwhile for its own sake; no one knows what's down the road, and we all die eventually. Find meaning in life now. Would you rather have had Izzy not miss with his bullet in ep2? He was given the chance to experience joy, freedom, and hope for the first time in potentially a long time, and when he died he did so with those happy memories. As mentioned, Izzy's death was decided long beforehand given the narrative, and the point of storytelling is to make you feel emotions. We were given impetus to connect and relate to Izzy's character through his process of healing, so when he did die, we felt it keenly. That's how stories work actually! We felt what Ed felt. It moved us. It's not a bad thing that Izzy's arc made him more likeable to fans before his death. It's not a bad thing to lose a beloved character - guess what, it happens constantly in stories - and it's not bad to grieve over it either, but to say that it made his journey pointless is just not true. People saying that Con must be upset that they snatched his character away from him after getting to develop him so much - again I say, would you rather him have died in ep 2 before he had the chance to grow? Or how about in s1, when the crew tried to mutiny? How'd you feel when Stede killed him in his dream, in the very first scene of the season? I think Con's probably glad for the opportunity to have explored this character so much in season 2. Ask him if he thinks it was pointless.

Killing off Izzy was bad for queer rep/burying your gays/"Izzy was the queer heart of the show"

I'm putting 'bury your gays' on the top shelf so people can't use it when it doesn't actually apply. Most of the main cast of characters in this show are queer, and it's a show about pirates with a good amount of violence. Ergo, chances are a queer character will die in the course of Things Happening In Stories. Izzy didn't die because he was queer, and he wasn't the token queer rep. Please turn your attention to the boatloads (literally) of queer characters that are happy and thriving (how about the LuPete wedding immediately afterwards??). As for Izzy being the "queer heart of the show," this is literally the Ed and Stede show. You know, the two queer leads whose queer love the show revolves around, per David Jenkins himself. I'm glad folks connected with and derived joy from Izzy's growth and especially his performance in Calypso's birthday, but he is not the main character of the show. The queer heart of the show is in fact, the entire show, all of their characters and the community & found family they create aboard the Revenge. Not to mention the fan community as well. Izzy was never carrying the show's representation on his back, and frankly that's an absurdly wild take to have (esp when he spent most of s1 actively working against the main queer relationships in the show, attempting to maintain the oppressive status quo of pirate society).

It was bad and irresponsible to have a suicidal character die

Are we forgetting the entire first half of the season where Ed, who was suicidal, kept trying to passively kill himself because he felt he was an unlovable monster, only to be shown that he is in fact loved unconditionally and it gives him the strength to fight for life and triumph against his own self-doubt? The show has spent quite a lot of effort telling viewers that despite feeling damaged or broken you are worthy of love and that you are loved even if it may be hard to see it when you're in a bad place. That you don't need to be fully healed to deserve love and care, and that love and support will help you along your journey. It's incredibly wild to disregard this major plot point and fundamental message of s2 to try and spin this the opposite way for Izzy's character.

Secondly, where are people getting 'Izzy is suicidal' from? Are we going back all the way to episode 2, when he's at his lowest point and fails at his suicide attempt, only to be figuratively reborn after removing the metaphorical rotten leg? By the time of the finale he's shown to be in a good place, thanks to the arc of healing and growth he's gotten, through the support of the Revenge crew and his 'breakup' with Blackbeard allowing him to find his own way in life, realizing he doesn't need a purpose to have value and enjoying his time on the Revenge and the bonds he's made with Stede and the crew. He is, in the words of Ivan, "the most open and available I've ever seen him" by the finale. To take episode 2 as evidence he's suicidal is to erase his whole season of growth, which is an ironic thing to do in the context of these arguments. There's no canon evidence Izzy Hands was suicidal post-'Fun and Games'.

As for 'irresponsible,' once again I say, David Jenkins is not your therapist, he's not 'Dad,' and has no responsibility to tell his story any other way than he intended to tell it. Please find media that gives you what you want or need, and if the death of a fictional character causes you this much distress please seek help. I mean this kindly but seriously.

Killing off Izzy was ableist/bad for disability rep.

I point once again to the rest of the characters, several of which are disabled in varied ways. There are literally multiple other amputee characters specifically. It's not good storytelling to wholly avoid killing off any character that is disabled/queer/poc/female or [insert marginalized group here], especially when a) it makes sense narratively, and b) there's plenty of representation of these groups in the media in question. The answer isn't making such characters invincible and immortal, it's increasing the number of these characters in shows so it's not devastating when some do die in the course of natural storytelling.

OFMD was my comfort show/safe space show, now it's ruined for me

I am not trying to be insensitive here when I say that's a problem that is yours and nobody else's. David Jenkins created this show with a three-season vision and a story in mind, and he is telling that story to the best of his ability the way he wants to. It's already been said that he and the crew did not anticipate the fandom becoming as large and passionate as it has. The plot of the show was never intended to be 'fan service,' and it's ironic that there were people complaining this season that there's been too many fanservice tropes, up until David and the rest of the writers room made a narrative decision they did not like, then the complaints changed to not coddling the fans enough.

We as viewers can derive joy from this show, it can be a comfort to us, it can be important to us. But it was not designed specifically for that purpose, therefore it cannot fail in that respect. We do not have the right to harass writers for not steering the ship in the direction we want - it's their work of art, and we can choose to either come along for the ride or not. It's rare to see creators actually given the chance to tell their story the way they intend (budget cuts aside), so let him do that. He should not cater to fans, or cave and change the story to appease us. Respect his right to create his art, and remember you have the right to create your own. That's what fanfiction is for - write fix-its to your heart's content, but keep these realms separate. David Jenkins and Co hold zero, and I mean zero, responsibility to you. He could not please everyone no matter what he did, it would be fruitless to try, and it would certainly compromise the quality of the story he set out to tell.

You are absolutely allowed to dislike choices made in any show. Curate your media experience. If this show no longer brings you joy, stop watching. But it was never David's purpose nor responsibility to juggle the mental health of millions of fans. Trying to put that on him will only make him less enthusiastic about interacting with fans or continuing to make this show. This isn't rocket science. You're responsible for yourself, not this guy you call 'Dad' that you've developed a parasocial-therapist relationship with.

Izzy should have become captain of the Revenge.

Really?? Firstly, we did actually get that already in s1. He was tyrannical and the crew mutinied. But even if you think 'well after his character arc he'd be better suited to it,' it goes against the point of this arc. He's found value in not having a distinct role or purpose on the ship, decoupling his worth from the job he's expected to perform. He's found his place amongst the crew, not commanding it. There's no narrative reason to put him in charge when he's expressed no further interest in slotting himself back into a role full of pressure and expectations.

Con O'Neill was only told halfway through filming, it's cruel to just kill off the character he loves so much.

Guys, he's an actor. More than that, an actor with a theater background. I think he's used to characters dying. You don't need to look out for him. Con and David spoke one on one about it at length so they were on the same page, and David even said that Con took it well. I'm sure Con had input, just as other members of the cast have influenced their characters' stories, costumes, backstories, etc. Do you really think David Jenkins hurt Con's feelings or something? The writers (remember, it's not just David, it's a whole team of hard-working people coming up with these ideas) gave Con such a chance to shine this season, really developing Izzy beyond what he was given in s1 and letting Con show off his full acting range. Why are you only focusing on the destination rather than the journey? Sure, Con's probably sad to see Izzy go, but please do not project your distress onto him or try and accuse David & Co of being 'cruel' to their cast. That's really ridiculous. It's constantly evident how close they all are.

More importantly, do you actually, seriously think that Con O'Neill would want fans to harass each other or the writers over his character? The man who preaches being kind above all? There is no better way to make an actor uncomfortable about a show and its fanbase than to start treating fictional characters like they're more important than real people. He would not want you to bully people over Izzy Hands, and it's mind-boggling that some of you have convinced yourself otherwise.

Lastly, I just want to talk about the fact that some people are holding OFMD to absurdly high expectations.

Our Flag Means Death has been a pioneer series for its diverse representation, earnest storytelling, and themes of hope, community, and love. It's fine to discuss aspects of the show with a critical eye, but so much of the discourse has truly felt like folks are trying to find fault in a show that is leagues ahead of the average tv series that we still enjoy. How many fan favorites are killed off all the time? How many plotlines are scrapped, or drawn out without closure, or contradicted the very next season? How many shows are indifferent or actively hostile towards their fanbase? How many have any queer characters, or actually do bury them? The bar's so low, and OFMD has risen above to give us so much. Some are holding the show to astronomical expectations, waiting for it to fall from the pedestal it's been placed on. If something you don't like happens in the show, it's not suddenly ruined or demoted to being ~just as bad as those other shows~. Give them some breathing room, have some perspective on how progressive the show is, and that perfection is impossible, especially meeting every single viewer's idea of it. This is basically a repeat of the recent Good Omens drama, with an absurd number of people harassing Neil Gaiman for breaking up Aziraphale and Crowley and leaving the second of three acts on a very predictable cliffhanger. Let stories be told, let them unfold as they may, and you are free to leave anytime. It's so wonderful that more queer love stories are becoming popular and even mainstream, but let's not shoot ourselves in the foot by tearing them down when they don't go exactly the way you want it, which often seems to mean no drama, no character deaths, and therefore no conflict or even plot!

Just, please be civil human beings, and while this seems to be a difficult thing for so many fandoms to do, just keep your fan opinions in the fan space. Never bring your grievances to the writers, never bully them and persecute them for telling a story that you opted into viewing. That's something that goes entirely against everything this show, and this cast and crew, have imparted onto us - the importance of kindness, support, community, and love. I'll say it again because it bears repeating: the fate of a fictional character is never more important than how you treat real people. Just be kind in real life, which includes the internet. Thanks.

Now please, let's work together to ensure we get a season 3. There's so much more story to be told, and if you want to see Izzy back, whether that's as flashbacks, as a ghost haunting the inn, or in the gravy basket, we'll need more episodes! #RenewAsACrew

[mattiebluebird]

Yk that post that's like ‘signal is the spiritual successor to nightwing’ bc I DO & IVE BEEN THINKING ABOUT IT NON-STOP.

And the comics pretty much confirm it (To Me) in Grayson #15.

So in this issue each of the Robins, minus Steph (RIP Steph) get paired off with one of the We Are Robin gang and give them their own advice on what it means to be Robin.

Tim—whose main problem with this whole thing is that they don't know these kids, how can they trust them?—gets paired with Andre Cipriani, a mob kid whose dad was murdered by a rival gang when he was eight years old. Tim trains Dre by having him fight blindfolded. He tells Dre that being a Robin is about truth and investigation, which makes sense, right? Tim became a Robin by figuring out Batman and Robin’s secret identity (keep this in mind, all the Robins’ advice links to their origin).

To be a Robin, you have to understand what you don't know. And then you must seek to know it. You must always ask: how can I see into the dark? Batman once told me, being a Robin can be summarized into one word: investigation.

These two were an interesting choice to pair up. I would've thought they'd put Dre with Jason, given their violent tendencies—Dre is smart, but at this point in the comics doesn't strike me as particularly investigative. Then again, right after this arc he goes undercover in a gang, so maybe he learned something?

Speaking of learning something: at first I thought they should've paired Dre with Steph (#teamcriminaldads lmao), and while that would be an interesting team, Dre did learn from Tim. If Riko were present in this issue, she would've been a good fit for Steph, as she idolizes the Batgirls and Steph was both a Batgirl and a Robin. Plus, Steph and Riko are both brave & have mean streaks, something that Riko has trouble showing because of her shyness. Steph’s advice probably would've been along the lines of “being a Robin is about defiance”.

Besides, if Tim and Dre weren't paired up, we never would've gotten this interaction.

— You like Liszt.

— What?

— Franz Liszt. The composer. You play the piano. I looked you up. People who play the piano like Liszt.

Points to Tim for the most autistic small talk ever. ‘You like this, which I know because I researched you in a totally non-creepy way.’ Amazing. 10/10.

Dax gets paired with Jason. They're interesting parallels. Dax is the inventor/mechanic of the team, but also sort of the wild card with very strong morals, like Robin!Jason in a way. Like Jason, Dax’s father is (implied to be) a crook, though they took different moral directions because of that—Dax is completely opposed to gun violence.

Anyways, Jason's main reservation is that you can't have Robin without Batman. And I guess he decided to solve this issue by just becoming Batman & making the WAR crew relive his origin story by stealing tires from the mob.

Y'know, kid, Batman once told me, being a Robin comes down to one word: confidence.

Jason Todd, the Crime Alley street kid who had the balls (and the skills) to steal Batman's tires and get away with it. Sort of. Confidence, indeed.

Damian's problem with the Robins is, of course, that they're weak, and strength (according to him) can't be trained; you either got it or you don't. He gets paired with Izzy, who probably has the toughest home life of the WAR crew. Her brother's in a gang (that he regularly beats her up for not joining), and she's failing all her classes because she's too busy working night shifts at her mom's restaurant to sleep or do homework.

So Damian's advice to her is pretty apt:

Batman told me that there is one word that captures the essence of being Robin. Suffering.

Damian and Izzy are both outwardly surly, stubborn characters who have had to fight to survive. Notably, Izzy is the first of the crew to almost resort to killing/guns (in WAR #6). She's also probably the best fighter in the WAR crew after Dre and Riko. She does dancing, gymnastics, judo, and kick-boxing.

And, finally, we reach the point of this whole post: Dick & Duke.

Duke deduces Dick's secret identity in like .5 seconds.

— I've solved a lot of hard in my time. This ain't hard.

— No. No, it wasn't hard. Not for you. Again, Duke Thomas?

Dick: You discovered my secret identity!

Duke: What? Like its hard?

After scoping out their strengths and weaknesses, Dick sends the Robins on individual assignments: Dre and Tim to investigate, Dax and Jason to cause a distraction, Izzy and Damian to apprehend Robo-Batman/Gordon.

Dick brings Duke on to a roof for a stake-out, where they have this exchange.

— You think only the originals understand how to be Robin?

— Nope.

— Yeah. Me neither.

Then it turns out that Dick actually turned them all in to the cops because he wanted them out of harm's way. He's been watching Duke for a while and he knows he's scared of heights, so he led him onto a roof he knew he couldn't get off of. Just before they part ways, Dick imparts his Crucial Robin Advice:

Batman once wais to me that being a Robin is about one thing. Family.

(I find this whole thing super ironic considering Dick's whole aside concerning the Robins was the fact that it doesn't matter if people know you're manipulating them as long as it works.)

The point of Robin? Family. Dick and Duke are alike in this way. Dick only became Robin to get justice for his parents’ murder. Duke only joined WAR to find his parents.

Their origins and motivations are similar, and so are the characters themselves. Dick is often called the world's second-greatest detective next to Batman himself. Duke is a child prodigy—one of our first introductions to his character is when he tried to solve the Riddler's riddles in Zero Year. He loves puzzles. He's an amazing detective.

And, of course, one of the things we know and love about Nightwing is his inherent kindness, something that's present throughout Duke’s entire character arc. Even their hero names, Signal and Nightwing, are parallels of each other (light and dark). Batman’s first sidekick and his last. And, like Nightwing, Signal formed his own team (WAR) with no help from the others (except Alfred ig).

Of course, the entire point of Signal’s character is that he's not just a Robin. He's something different. It reminds me of that post that's like—’poor dick grayson, originator of a legacy he never meant to be a legacy, crushed with guilt and jealousy when he looks at all those who came after’. To me at least, it makes sense that Nightwing’s successor would've never been a Robin at all.

[rebo-chan]

I've been thinking about KHR's bonds. (When am I not?) And I've thought about the way that Amano likes to write bonds. You'd be pressed in this fandom to find people who don't care about at least one area of it whether that's the Vongola kids, Varia, the Arcobaleno, Kokuyo, etc. After a conversation with my best friend, I realized it's kinda interesting how Amano has somehow successfully created so many realistic bonds for such a diverse cast. Like we see so little of them, but you'd be pressed to convince the KHR fans that the funeral wreaths don't adore Byakuran.

So there's the thing right? Katekyo hitman reborn is the shonen that is 100% about the power of friendship. Like yes other shounens use it and its a meme for a reason, but they also have other stuff going on. Other motivations. Other theming. Meanwhile Tsuna growing up and becoming a better person for his friends /is/ the theme of Reborn. That is the entire motivation for the series. There's no grandiose scheme where Tsuna will save the Mafia world and be the chosen one, though the series tries to put Tsuna in this position to his chagrin.

As evidenced by the scene in Future arc, where Tsuna is unable to light his ring because he is so stressed about sending everyone back to the future and fighting this unknown powerful enemy. And so Reborn walks up and tells him "You're not a hero. Stop trying to be. It's not like you. What were you thinking about when you first lit your flame?" And he responded with "I just..wanted to protect Kyoko." Reborn satisfied with that answer then asks, "And who do you want to protect now?" And Tsuna answers with "Everyone." And then his ring lit up. That's the core to the series!! Right there!! All it ever was 403 chapters worth of these characters just wanting to protect each other.

So, in talking to my best friend, he pointed out that outside of daily life arc, these characters don't really have moments of vulnerability towards each other. Frankly, it seems the cast of KHR is allergic to being vulnerable. There aren't that many scenes of "you guys are important to me. I love you guys." Y'know stuff that tells the audience yeah these guys are close. And when Tsuna TRIES to have these moments, like with Reborn, Reborn pretends like he's asleep and doesn't hear Tsuna say that he's going to save him. Yet somehow, we all understand that these characters love each other so deeply.

And that made me realize it's all in the dialogue and actions, rather than inherent bonding moments. It's Reborn clenching his fist when Tsuna is getting gravely injured by Daemon. It's Yamamoto and Gokudera having a fight about Gokudera not being worthy of being Tsunas right hand man as Gokudera doesn't care for the other members of their family. And Gokudera never addressing this again, there's no verbal indication that Gokudera even heard Yamamotos criticism. Yet later during Merone invasion, Gokudera reaches a hand out to catch Yamamoto when they're getting separated. And later, he protects Ryoheis unconscious body as he is fighting Gamma to the death. It's Byakuran saving the funeral wreaths from their miserable lives and them protecting him even when he begins to strike them down. It's the way Mukuro runs to assist Chrome when she is in danger, or swears up and down that he is not allied with Tsuna but also feeds the Vongola information about Byakuran. It's the way Squalo refuses to cut his hair for his vow to Xanxus, or Mammon's gratitude towards Xanxus's willingness to fight for them. It's Ken ensuring that Chrome is always fed by giving her the snacks and candy they bought. These characters don't need bonding moments, their love for each other shines through their every breath and finger twitch.

And I think that's a fascinating way to write a connection on Amanos behalf. And it was done so well we can't even argue that these characters all love each other.

The way I summarized it is most characters love each other because they spend time together and improve together. KHR characters spend time together and get better together because they love each other

Anyway that's it for this one. Please let me know any dialogue/actions that drive you guys mad about these characters 👀 I know this series is full of them.

[tizeline]

The Sep AU is super interesting, like it grabbed my brain and does not want to let go-

I find it interesting how from the Drax Trios innitial perspective everything Donnie is just justifies their opinion more-

Donnies dark aesthetic, murderous humor, dangerous machines, deadpan attitude and lack of liking of magic combined with his alleged backstory and being friends with a human? U could really argue he got indoctrinated into being a villainous mad scientist or smth. They don't know that that's just him, Donnie TM. I can absolutely see them being worried that "Long lost brother" got brainwashed so badly and how annoying that could be for Donnie himself lol

I'm also curious on Donnies relationship with Splinter. Is it better than in canon or similar to Canon or worse? Since in Canon Donnie is craving parental approval, does he still here?

Thank u for (potentially) answering :)

First of all, "Drax Trio", thank you, I needed an easier way to refer to specifically Raph, Leo and Mikey in this AU so I'm gonna steal that

Second, yeah, Donnie acting like a cartoon villain is really just cementing the Drax Trio's idea that he's been corrupted by humans. You know Draxum's villain song in the show? I can totally see Donnie putting on a perfomance like that XD Speaking of Draxum, to be fair he's very alike Donnie in the way that he's fully embracing the whole Evil Scientist aesthetic, but in that case his sons would just excuse it with "oh haha dad's just a bit silly goofy don't worry about it it's not like he's actually evil!"

Anyway, you know how Mikey basically forced Draxum into having a redemtion arc in the show? He'd try to do the same with Donnie in this AU. I've been thinking about this for a while so I'm defintiely gonna draw it, but he's constantly going full Dr. Feelings mode trying to teach Donnie how to be a "good person" and such and Donnie finds it INCREDIBLY annoying!

And Splinter! Being a single parent taking care of a child who was created to be a super soldier while living in the sewers is HARD, but not nearly as hard as taking care four of them at the same time under the same conditions. So while Splinter is still dealing with depression and burn out in this AU, he's doing better than what he is in canon. For years Splinter and Donnie would literally only have each other, so they'd end up growing closer as a result. That being said, because Donnie didn't have any siblings to spend time with, he'd end up demanding a lot more attention from Splinter. Which he didn't always recieve, because his dad is still very much dealing with a lot of emotional baggage. To summarize, Splinter is still a flawed parent, but he's not terrible by any means, he and Donnie are close, but Donnie is also a lot more lonely (especially before meeting April).

[iamnmbr3]

As a massive Drarry fan myself I just want to know your reasons for loving them? <3

To some extent I think it's the "I just think they're neat" meme. On a certain level, it's hard to define why I like anything. I just do, ya know? But yeah I love their characters and the complexity of their relationship and how it deepens both their arcs.

I love how they have been part of each other's lives since day 1, each one's story divergent from the other's and yet inextricably linked. Draco is present for/involved with so many pivotal moments for Harry - becoming a seeker, successfully conjuring a Patronus for the first time, learning he is a Parselmouth, learning Expelliarmus, using Sectum Sempra, gaining the Hawthorn wand and consequently defeating Voldemort etc. And many many more.

Similarly Harry is indirectly the cause of the Malfoy family's downfall, the only person Draco willingly tries to use an Unforgivable on, the only living person to witness Draco's hesitation on the Astronomy Tower, the cause of Draco's courageous decision at the Manor to lie to Voldemort, and the center of Draco's whole life for 5 books. I mean really - everything Draco does in books 1-5 is just summarized as: "Draco Malfoy and How Do I Get Potter to Pay Attention to Me?" Everything from spying on Hagrid's illegal pet dragon to going after the hippogriff to joining the Inquisitorial Squad centers around Harry.

Their stories are inextricably linked in so many ways - both petty and profound. And for all that they are in one sense enemies (first rivals at school and then soldiers on opposite sides of a war) they can never bring themselves to hate or even distrust each other like you'd expect. Whenever one is actually in trouble they always save each other immediately and without question. In book 6 Draco sends the other Slytherins away before confronting Harry and turns his back on Harry to get his wand, safe in the knowledge that Harry will not attack him, or if he does, it won't be that bad and then when Harry finds himself totally at Draco's mercy a moment later he doesn't for a minute fear that Draco will kill him or turn him over to Voldemort or even seriously hurt him. I can't imagine Harry reacting this way if he was in a similarly helpless position around Lucius or Pettigrew or Bellatrix or any other Death Eater.

And they also understand each other so deeply. Harry immediately can tell when something is off with Draco - in book 6 as well as in earlier books. Draco never for a moment believes that Harry is the Heir of Slytherin even when the whole school thinks he is and understands that Harry hates his fame (while even Ron sometimes struggles to accept this).

I am fascinated and compelled by how they circle each other and are enemies who can't quite hate each other and who are inexorably drawn to each other, how they understand each other so deeply and so intuitively, how their wit and personalities and abilities are so complimentary and so compatible, and how their stories connect but also diverge. There's so much potential there and it just feels so right to me. Plus, hilariously, JKR accidentally made it outrageously canon. Draco and Harry's fascination with each other is a major part of their characters and their stories which really can't be ignored or removed.

[chosotallgf]

UNEXPECTED TURN - CHOSO KAMO [chapter 1]

SUMMARIZE.. y/n never bothered getting to know choso after the shibuya incident happened and he became an ally to jujutsu high but what happens when he decides to try and get to know her on a personal level and they start getting put on mission together

TAGS.. choso x fem!reader, shibuya incident arc spoilers!!, post shibuya incident au, character dearth mentioned, slow burn, smut, angst, reader is a sorcerer, oral sex, masturbation + more

A/N.. hi this is my first fanfic ever also I posted it on A03 under the same username. keep in mind I’m a beginner at writing lol. like & rebolgs are appreciated | DONT NOT REUPLOAD :D

………………………………………………………………………………….

you and choso where out having lunch discussing your plans for an upcoming mission later that day. It’s been half a year since the shibuya incident, even after the many deaths that took place that night you ended up finding yourself making a new connection later down the line

choso become an ally for jujutsu high short after the incident, first it started off with you two getting place together to go on small missions together outside of Tokyo. When you first heard of the idea of you and choso being partner up you weren’t a big fan of it, everyone seem to connect well off of first interaction and start to enjoy choso company especially after finding out that he is yuji half brother but you? barely even talk/avoided him outside of missions.

“what are you thinking about”? choso asked as he saw your blank expression as you two were waiting on the food to come out “Huh? oh.. just that how much I hate working with you that’s all” you softly smirk at him. you love teasing choso so often that become y’all daily thing to do to each other. One day after you and choso got back from a mission you were about to head out of jujutsu high until you heard fast steps catching up to you.

“hey.. um y/n you have a moment?” choso asked awkward while scratching the back of his head. you then turn around and sign “yeah what is it?” choso honestly wasn’t sure how he should approach you, when y’all get sent on mission its just strictly about the mission no personal stuff about each other lives, nothing.

he kinda took the hint that you didn’t want to conversation about anything outside of that 3 weeks after the incident when you both were on the train headed to koyto and he asked how long you been a sorcery at jujutsu high and you responded with “why do you care just let’s just do our jobs, the faster the better”

every since then choso didn’t dare to bring up anything after that until the day he generally was curious and had enough of this ‘only talk during and about the mission thing’ he wasn’t a pushy person but he can bet there has to be more to you than this nonchalant mask you are pulling because of the story’s yuji told him when he himself first started out and you and gojo teach him. he had to know why you were so casual with everyone but not him

“Sorry to bother you y/n, don’t take this the wrong way but did I genuinely do something to offend you? every since I came to jujutsu high and going on mission I feel like you been bothered by my presence of that makes any sense” your response could go south either way choso though he didn’t know if you would just curse him out or just turn around and keep ignoring him like you been. “Are you that much of new puppy that you need everyone attention and become friends?”

“hey wait a min don’t go yet” as you turned your head a little bit choso could see your eyes get glossy. “Let me go pls” you barley spoke. A single tear fell down your face. “I’m sorry if it’s becaus-“ choso was about to finish his sentence until gojo loudly interrupted them.

“Heyy choso how have you been? Oh y/n you there too? did you file the last mission yet I haven’t seen it yet if you did” gojo said when he got a glimpse of your hair behind choso back as he was walking up to y’all. as soon as you heard gojo voice you quickly pull your wrist back from choso and he let go.

you then quickly rush off campus and into your car. “Hey come back” choso shouted. You thought how embarrassing that was,now you wouldn’t even dare show your face in front of choso now after he seen you in that state. “I guess she really doesn’t like doing reports after all” gojo said confused.

part 2 coming soon… don’t forget to like & reblog :)

[losyash]

SHIMON ARC: Hibari to Tsuna

Recently I've been liveblogging my Shimon arc reread to my friends.

On chapter 323 one of them said they always wondered if the headband being there meant something. And yes, curtains might be blue because it's a nice color. But no. No, curtains being blue is incredibly goddamn important.

HEAR ME OUT

First, to recap what is happening: Shimon arc, pre Adelheid vs Hibari battle they briefly argue about Tsuna and Enma and decide on their pride and the rules of the battle: to seize each other's handband. Adelheid creates an ice prison that is impossible to penetrate from outside and 500 ice clones to fight Hibari. He fights them all, tells Adelheid she is wrong about Enma and small animals (which i will talk about later) and uses minirolls to crush the ice fort from the inside. After this he gets her handband, they talk about Tsuna again and Hibari drops his "it is because of the sky the cloud can float freely" thing.

Before I delve into it, however, I feel like I should take a quick dive in Tsuna-Hibari relationship from Hibari's perspective.

To put it simply, at first Hibari does not give a single fuck about Tsuna personally. Even after this glorious scene happens

All Hibari thinks about that day is that he wants to meet Reborn again. During the course of Daily life arc however Hibari messes with him plenty. Ny the time 43rd chapter (sakura viewing) rolls around, Hibari's opinion on Tsuna is summarized by this:

And this is actually the key. Hibari does not understand Tsuna. To him Tsuna is some weird ass alien creature who does not fit his rigid worldview. At first Hibari tries to make him make sense again by asserting himself over Tsuna and putting him back to the role of herbivore which he does follow every time except when he doesn't?? For some reason?????

Kokuyo arc is the arc that changed the manga tone in general but it's also the arc that changed Hibari himself. He is brutally shown that he as he is does not have the power to do whatever he wants. Something has to change. And Hibari seeks that change in Tsuna, who somehow managed to defeat Mukuro when Hibari himself failed.

chapter 123, cloud battle aftermath

He stops trying to still Tsuna. Instead he wants now to understand what the fuck is up about him and what can he do. The answer is Tsuna can burn a man alive in a fit of rage btw.

BUT THE THING IS. THE THING IS EVENTUALLY HE DOES UNDERSTAND TSUNA. AND THIS LEADS US TO TAKE A LIL BREAK FOR THE PRIDE TALK

Now, the obvious thing: headband symbolizes Hibari's pride.

Here is what he says, when first asked about it:

But also Hibari vs Adelheid battle is the one that finally clears up what the hell does "pride" mean.

The thing is. What Hibari is saying (and what he tried to make Tsuna understand, because the whole battle here his two goals are to win (duh) and to help Tsuna find his conviction again) is that the actual meaning of "What is your pride?" is "What makes you yourself?". You, as a person, should be proud of who you are. And he tells Tsuna, that it is whatever he cannot give up, whatever makes the very core of Tsuna's self is what he should fight for (And then Tsuna tells Enma "You are my pride" which is very juicy but deserves its own post).

Okay, now with this out of the way, let's get to the next thing:

Hibari vs Adelheid (but not the violent edition)

Hibari and Adelheid are not only fighting, they are also talking to each other. And by talking I mean arguing. About Tsuna and Enma and little animals.

Here is important thing to note first: asking around some people who know some people who know japanese gave me information that actually "small animal" is. Not different from herbivore at all. They are apparently used intechangingly based on how much space speechbubble has.

This does affect things: when it is usually thought that Tsuna in Hibari's eyes carves a new category for himself, not worth calling by name nor insulting nickname, nor he can be classified as a simple herbivore, he is just his own thing. Instead it seems like Tsuna changed Hibari's opinion on entire population of herbivores-small animals. (and if those people just got me confused ill die of shame (;-;)b)

ANYWAY, THEIR DEBATE

yes i had to put it all here. it's good. read it.

Do you see it guys? Do you see how far he came from daily life? He now really does understand Tsuna. He cracked the code. And he does now acknowledge that yeah Tsuna (and by extention other ppl like him. Like Enma) has his own way to live life and it does work for him. Tsuna is not weak. Being a herbivore does not automatically mean being weak.

Another interesting thing here is this:

"Why is a man like you with the likes of Sawada Tsunayoshi?"

"I'm not with him"

And I think it's important to remember here that Adelheid does see Tsuna=Vongola boss thing. To Tsuna it's Him and His Friends against Enma and His Friends. To her? It's Vongola vs Shimon

And when she talks to Hibari about Tsuna, she is saying "Why are you with Sawada Tsunayoshi?" but what she means is "Why are you with Vongola?" and this difference does impact Hibari's answer. Case in point:

I DON'T LIKE THE WAY YOU SAID THAT... WELL... TRUE ENOUGH.

BUT WHAT DOES IT MEAN TO BE CLOUD GUARDIAN OF THE VONGOLA'S SKY? ACCORDING TO WIKI, THIS:

A drifting Cloud, whom cannot be bound. Protecting the famiglia from an independent standpoint.

AND SO

I am sorry, I am very normal about this, promise.

And so Hibari basically admits that he will not be bound to Tsuna, but he will be around, involving himself when he feels like it. They're friends your honor.

BUT THERE IS MORE.

The attribute of the cloud flames is propagation. Why is it relevant?

this is the hype up text at the end of chapter 322.

and this is the last page of chapter 323.

Remember i briefly mentioned Hibari stagnating in daily life arc and realizing that there must be something more during Kokuyo arc? He found it. Tsuna is the one who gave him this opportunity. Just being around Tsuna allowed Hibari to grow. To propaga- Okay, that does sound silly. But I think the point still stands. Tsuna gave Hibari space to grow, and frankly, Hibari is grateful for that.

now we are entering the deranged territory

Hibari watched Tsuna grow all during the course of the manga and at some point Tsuna DID outgrow him. Not psychologically, but powerwise? Def. And Hibari cannot be not aware of that.

You might ask, how is he okay with that, but the thing is, Hibari is actually very chill with not being the strongest person in the room. What he actually needs is people to respect him and his authority as Disciplinary Committee chairman and Namimori protector. Reborn respects it and is stronger than him. Does Hibari want to fight him? Yes. But he is not actually going out of his way to attack him.

Tsuna has a great deal of respect for Hibari, and in turn Hibari does not feel the same hostility to him he does towards Mukuro despite Tsuna being totally able to win against him in a fight. Once again, rip Byakuran.

BUT. HIBARI IS NOT GOING TO STOP GROWING ANYMORE. HE LEARNED HIS LESSON, HE IS NOW ENDLESSLY EVOLVING OR SOME SHIT.

AND

WHAT I AM SAYING IS

HE IS NOT ONLY NOT GOING TO STOP HELPING TSUNA TO BE BETTER BUT HE ALSO IS GOING TO USE TSUNA AS BENCHMARK

NOT AS SOMEONE TO BE LIKE. BUT SOMEONE TO BE BETTER THAN

THE PRIDE AS SYMBOL OF SELF AND AND THE BAND AS SYMBOL OF PRIDE

AND DISCIPLINE BEING THE KEY TO BETTERMENT OF SELF

HE DECLARES TSUNA BOTH HIS FRIEND AND HIS RIVAL THATS WHAT THE BLUE CURTAINS MEAN I REST MY CASE

[nozunhinged]

Okay so I wanted to play it cool and summarize the second tonklash in just one sentence:

this is how youre supposed to get fucked by your sugar daddy

But more and more thoughts about it left me with no other choice than write way too much about Pretty Men Smashing Artistically On Screen™️ again🤦

If you still didn't understand that sex is a fundamental part of tonklas coping mechanisms (and I don't mean it's a good one) then I don't know what to tell you.

Wintonkla may have fucked like in a 10/10 porn movie, but we need that level of graphicness to understand tonkla. Btw, we neither saw kornfah nor nancreepyguy fuck, only tonkla.

Anyways—

We already start with a very emotionally distressed tonkla throwing his stuff around because his beloved Korn still won't answer his calls. We clearly see hes unable to deal with that rejection although he's apparently aware of his position and how he shouldn't let Korn treat him like that. I think he ran so fast to the door because he thought it was Korn — he didn't look disappointed but I think that's because he smelled his chance with the detective the second they met.

Tonkla getting straight to business without any care what mister detective trying to tell him proves that furthermore imho. Wins timing (yaknow) couldn't have been better.

When they start making out, the contrast between them and korntonkla almost gives you whiplash. Tonklas room is dark and gloomy and the whole scene continues to stay dark and blurry, the complete opposite to the warm oranges korntonkla were drenched in. And that's only the beginning.

To match the moods room, tonklas face is cold and distant the whole time and only touches win when he absolutely has to.

He's demanding and completely selfish with the pleasure he seeks and poor win looks very pleased to follow. Its now crystal clear Tonkla is trying to recreate the illusion of intimacy he craves from Korn while simultaneously keeping the necessary distance. Not in the "imagining his face" type of way but more of a "if I can't have him then this has to make do" way.

(Honestly I think this time the fuck me raw question is 60% durex product placement and 40% tonkla manifesting said illusion 🤓)

The position they fuck in is also as distant as it can get. No touching, no kissing, no tonkla clinging to win like it's his last lifeline like he did with korn.

And the irony of it all makes me wanna rip my hair out honestly I—

Look, we saw Korn do nothing but chase his own pleasure and tonkla ate it up like candy and now someone actually cares about his pleasure and he may have not hammered it in like 4-second-korn but he 1. jerks him off while fucking him and 2. lasts until tonkla cums and all mister detective gets for that is a pat on the chest AND to finish by himself.

And now think about how Tonkla was absolutely over the moon with Korns 4 Second Show™️ and didn't even care if he got to finish or not, he just wanted his sugar daddy happy and bask with him in the afterglow. BRUH.

You see, this is why how win fucked him is how a proper sugar daddy fuck looks like and not the messy shit Korn pulled him into. But win is the one with the feelings I— this is just so damn good. FUCK ME.

Love makes you so dumb and that goes for win AND Tonkla. They are gonna destroy each other and it's gonna be so good.

Their post coital talk brings the point home. Tonkla now has proof that he can use win for what he can't get from Korn and asks him if he can come by more often. Win of course agrees and caresses him with the most heartfelt kiss one can imagine. Tonkla on the other hand doesn't even move a finger. Insanity. Absolute insanity.

I don't think it's calculating or planned from Tonkla to use win like this, he just wants to be loved and can't get it from the person he wants. He's so fragile and lonely he even turns to drugs to cope. And this is again why the graphic sex scenes are necessary for his character arc, sex is his way of filling the void he doesn't know how to fill otherwise. I'm soooo so so excited how it's all gonna play out and who's gonna die because of it lol.

One smart Tumblr fella said greattymes scenes will serve as the loving contrast to this fucked up dynamics tonkla is messing with and now that we have this ending I'm really really looking forward to how that's gonna play out ooooopppppp

Read my words on the first tonklash here