#the greatest thing you can do for anyone is live!!!

[moonydustx]

*Thinking and creating a little sketch of how my favorite characters deal with their partners dealing with problems.

To them, you are a force of nature.

Almost bordering on the utopian sense, an Odyssey written about you. You are the strongest person - perhaps resilient or resistant, he would really have difficulty in stipulating a precise name. From missions to everyday life, a fierce enemy or just a street fight, he didn't need to worry. He didn't need to, but that didn't mean he wouldn't. He would just lean against a nearby corner and appreciate you and your strength taking up the entire place even if it was just with words. The shine in his eyes indicated more than just simple recognition. There was respect, fascination and admiration there. You were an ode to many things he contemplated and being able to watch it from the front row made it all the better. However, if he saw someone trying to cheat, he would just move a few steps and touch the enemy's shoulder with false kindness. "You really don't want to touch my girl."

Luffy, Zoro, Mihawk, Law, Shanks, Kid (OP), Satoru, Suguru (JJK), Shikamaru, Kakashi (hear me out: he can do both) (Naruto)

To them, you are the most precious porcelain.

Not that they didn't see you as strong or resilient, quite the opposite. He admired those traits in you and knew that you would know how to make great use of your strength if necessary. But from the moment you agreed to be on their side, you no longer needed to worry. It was that old story of the privilege of a scary dog ​​by your side. Missions that were too complicated? They would deal with the greatest risk. A silly fight in a random bar? The man who dared to raise his voice in your direction would not live long enough to brag about it. An impossible-to-open can? Leave it to him and you would be thrilled with the achievement. Sure, he knew that his manner could be a bit too much for some people, but your smile - even if it occasionally had a touch of sarcasm as you thanked him for being your great hero - was more than enough of a reward. That, along with all the thank-you kisses he would receive, oh, that was worth it.

Sanji, Katakuri, Smoker, Killer, Ace, Sabo (OP) Nanami, Yuji, Higuruma (JJK) Iruka, Yamato (I mean, he would scare the enemy just thinking about it) (Naruto)

-

a/n: Did I forget anyone? I saw Naruto during my writing hiatus and I thought it would be a good idea to put some characters here.

[avelera]

(Heimerdinger anon here) Thank you sm for your thoughts, TBH I hadn't even really considered that Heimerdinger in the alternate dimension might just be making the best out of a shitty situation and doesn't want to introduce Hextech just for himself, which.. yeah fair, I guess I was making my assumption with s1 Heimerdinger in mind and didn't recognize this as character growth. I do like how he is written overall and that he only ever causes harm unintentionally/out of ignorance, because we don't see this type of character very often. I guess my biases are showing because he can be really flippantly cruel sometimes without even realizing and I know ppl like that IRL so the death sirens were activating on sight lmao (your post made me reevaluate some things, basically). Out of curiosity, how do you think Heimerdinger would have reacted to Arcane-infected Jayce and the Machine Herald? I personally think he would have been really shaken

Thank you!

I think the narrative treats Heimerdinger pretty kindly as inflicting most of the harm he does out of ignorance or naiveté, rather than malice or self-interest. He wants what's best for everyone in the long-run, he's just naturally become detached from the normal cycle of a human life, which leads him to the abject cruelty you mentioned. It is a flaw, but I think Arcane takes into account that it's not intentional and sort of punishes him accordingly, since no one in the narrative is perfect.

That said, I absolutely don't blame anyone for getting Kill Bill sirens about him lol. A lot of what he does in S1 especially is so unintentionally cruel and indirectly harmful that it makes my jaw drop. I think he more than most characters deserves a lot of recrimination. "Nice" is different than "good", a fact that goes a long way to making a lot of people think he's harmless, when really his greatest crime is negligence, and he's also not perfect. He's right about Hextech but he is wrong about Jayce not presenting the new crystals, for example. Not that Heimerdinger could have known, but if Jayce had presented the crystals on stage, there's no way Jinx could have stolen them.

As for your question about how how he would have reacted basically to Act 3 Viktor and Jayce, I have 2 answers:

1 ) Doylist (out of universe): I think one reason the narrative deliberately removed Heimerdinger from the story for Act 3 is because the tone of his character is so at odds with the war that ensues and the seriousness of infected Jayce and Machine Herald Viktor. Like Hoskel and Bolbok, Arcane in S2 rather carefully removes a lot of our silly, bizarre, or comedy relief characters like Heimerdinger from the narrative so they don't contrast with the tone.

2 ) Watsonian (in universe): I think it would have taken every ounce of the new-found grace and understanding for short-lived people for Heimerdinger to now say the world's longest, loudest, "I TOLD YOU SO," at the sight of the final result of Jayce and Viktor's choices that he warned them against at every stage. That said, I don't think Jayce would fight him on that point at all. Jayce heard a lot of Heimerdinger's voice in the torture cave specifically. I think he'd give Heimerdinger a big hug and an apology and maybe cry a bit more because his whole life would be so much less of a fucking mess if he had listened.

[greyswarden]

no because ariel really hates it when others make self-sacrifice into the pinnacle of nobility and the greatest thing you can do for anyone. fawk that he wants you to LIVE

[rtfics]

I'm popping in only because a friend told me about this post.

Hi. Professional writer here. Warner Brothers and Tim Burton would never look at unsolicited screenplays. You'd need to have an agent and an extensive CV as a professional writer. Unless you're already a seasoned pro there's no way Burton would look at your script. Besides, for his films Burton creates the ideas and works with the screenwriters; they put words to what he wants to happen. And he adds and removes things during filming. He doesn't just take someone else's script and turn it into a film.

Also, and this is very important: You can't write a script with someone else's characters. You don't own the copyright to any of the Beetlejuice characters. If you try to make money using someone else's characters that's theft and copyright infringement. You can be sued. So the idea of your selling a Beetlejuice script is moot. Can't happen.

Dear god, don't send your script to screenplay contests or any place online that says you can sell screen plays. These are ripoffs. If you seriously want your script to be sold you need an agent.

You can't just send a script to a movie studio or a director and expect it to be read. People try this all the time, which is why pros only look at work sent to them by agents. The agents do the vetting for them. Being a member of the WGA means nothing. Being a member does NOT mean anyone will read your script. You have to be represented by an agent, and one with a good reputation.

And double dear jeezus god, do not go to AI for information. Go to the library and get a book about screenwriting written by a screenwriter. AI is shit.

Becoming a professional screenwriter, or pro writer in any genre, takes hard work and dedication. There's no easy way, no short cut. Websites that promise you such are there to take advantage of your ignorance and steal your ideas and/or your money. If you're not willing to do the necessary work -- which BTW will take years--- then just stick to fanfic writing.

Read I Will Not Read Your F*%!ing Script by screenwriter Josh Olson. I include it below. Believe me, his sentiments are the same for all directors and movie studios. This article is about looking for feedback, but it's the same for those who want to sell a screenplay:

We know you’ve been working very hard on your screenplay, but before you go looking for some professional feedback, you might keep in mind the following piece by A History of Violence screenwriter Josh Olson.

I will not read your fucking script.

That’s simple enough, isn’t it? “I will not read your fucking script.” What’s not clear about that? There’s nothing personal about it, nothing loaded, nothing complicated. I simply have no interest in reading your fucking screenplay. None whatsoever.

If that seems unfair, I’ll make you a deal. In return for you not asking me to read your fucking script, I will not ask you to wash my fucking car, or take my fucking picture, or represent me in fucking court, or take out my fucking gall bladder, or whatever the fuck it is that you do for a living.

You’re a lovely person. Whatever time we’ve spent together has, I’m sure, been pleasurable for both of us. I quite enjoyed that conversation we once had about structure and theme, and why Sergio Leone is the greatest director who ever lived. Yes, we bonded, and yes, I wish you luck in all your endeavors, and it would thrill me no end to hear that you had sold your screenplay, and that it had been made into the best movie since Godfather Part II.

But I will not read your fucking script.

At this point, you should walk away, firm in your conviction that I’m a dick. But if you’re interested in growing as a human being and recognizing that it is, in fact, you who are the dick in this situation, please read on.

Yes. That’s right. I called you a dick. Because you created this situation. You put me in this spot where my only option is to acquiesce to your demands or be the bad guy. That, my friend, is the very definition of a dick move.

I was recently cornered by a young man of my barest acquaintance.

I doubt we’ve exchanged a hundred words. But he’s dating someone I know, and he cornered me in the right place at the right time, and asked me to read a two-page synopsis for a script he’d been working on for the last year. He was submitting the synopsis to some contest or program, and wanted to get a professional opinion.

Now, I normally have a standard response to people who ask me to read their scripts, and it’s the simple truth: I have two piles next to my bed. One is scripts from good friends, and the other is manuscripts and books and scripts my agents have sent to me that I have to read for work. Every time I pick up a friend’s script, I feel guilty that I’m ignoring work. Every time I pick something up from the other pile, I feel guilty that I’m ignoring my friends. If I read yours before any of that, I’d be an awful person.

Most people get that. But sometimes you find yourself in a situation where the guilt factor is really high, or someone plays on a relationship or a perceived obligation, and it’s hard to escape without seeming rude. Then, I tell them I’ll read it, but if I can put it down after ten pages, I will. They always go for that, because nobody ever believes you can put their script down once you start.

But hell, this was a two page synopsis, and there was no time to go into either song or dance, and it was just easier to take it. How long can two pages take?

Weeks, is the answer.

And this is why I will not read your fucking script.

It rarely takes more than a page to recognize that you’re in the presence of someone who can write, but it only takes a sentence to know you’re dealing with someone who can’t.

(By the way, here’s a simple way to find out if you’re a writer. If you disagree with that statement, you’re not a writer. Because, you see, writers are also readers.)

You may want to allow for the fact that this fellow had never written a synopsis before, but that doesn’t excuse the inability to form a decent sentence, or an utter lack of facility with language and structure. The story described was clearly of great importance to him, but he had done nothing to convey its specifics to an impartial reader. What I was handed was, essentially, a barely coherent list of events, some connected, some not so much. Characters wander around aimlessly, do things for no reason, vanish, reappear, get arrested for unnamed crimes, and make wild, life-altering decisions for no reason. Half a paragraph is devoted to describing the smell and texture of a piece of food, but the climactic central event of the film is glossed over in a sentence. The death of the hero is not even mentioned. One sentence describes a scene he’s in, the next describes people showing up at his funeral. I could go on, but I won’t. This is the sort of thing that would earn you a D minus in any Freshman Comp class.

Which brings us to an ugly truth about many aspiring screenwriters: They think that screenwriting doesn’t actually require the ability to write, just the ability to come up with a cool story that would make a cool movie. Screenwriting is widely regarded as the easiest way to break into the movie business, because it doesn’t require any kind of training, skill or equipment. Everybody can write, right? And because they believe that, they don’t regard working screenwriters with any kind of real respect. They will hand you a piece of inept writing without a second thought, because you do not have to be a writer to be a screenwriter.

So. I read the thing. And it hurt, man. It really hurt. I was dying to find something positive to say, and there was nothing. And the truth is, saying something positive about this thing would be the nastiest, meanest and most dishonest thing I could do. Because here’s the thing: not only is it cruel to encourage the hopeless, but you cannot discourage a writer. If someone can talk you out of being a writer, you’re not a writer. If I can talk you out of being a writer, I’ve done you a favor, because now you’ll be free to pursue your real talent, whatever that may be. And, for the record, everybody has one. The lucky ones figure out what that is. The unlucky ones keep on writing shitty screenplays and asking me to read them.

To make matters worse, this guy (and his girlfriend) had begged me to be honest with him. He was frustrated by the responses he’d gotten from friends, because he felt they were going easy on him, and he wanted real criticism. They never do, of course. What they want is a few tough notes to give the illusion of honesty, and then some pats on the head. What they want — always — is encouragement, even when they shouldn’t get any.

Do you have any idea how hard it is to tell someone that they’ve spent a year wasting their time? Do you know how much blood and sweat goes into that criticism? Because you want to tell the truth, but you want to make absolutely certain that it comes across honestly and without cruelty. I did more rewrites on that fucking e-mail than I did on my last three studio projects.

My first draft was ridiculous. I started with specific notes, and after a while, found I’d written three pages on the first two paragraphs. That wasn’t the right approach. So I tossed it, and by the time I was done, I’d come up with something that was relatively brief, to the point, and considerate as hell. The main point I made was that he’d fallen prey to a fallacy that nails a lot of first-timers. He was way more interested in telling his one story than in being a writer. It was like buying all the parts to a car and starting to build it before learning the basics of auto mechanics. You’ll learn a lot along the way, I said, but you’ll never have a car that runs.

(I should mention that while I was composing my response, he pulled the ultimate amateur move, and sent me an e-mail saying, “If you haven’t read it yet, don’t! I have a new draft. Read this!” In other words, “The draft I told you was ready for professional input, wasn’t actually.”)

I advised him that if all he was interested in was this story, he should find a writer and work with him; or, if he really wanted to be a writer, start at the beginning and take some classes, and start studying seriously.

And you know what? I shouldn’t have bothered. Because for all the hair I pulled out, for all the weight and seriousness I gave his request for a real, professional critique, his response was a terse “Thanks for your opinion.” And, the inevitable fallout — a week later a mutual friend asked me, “What’s this dick move I hear you pulled on Whatsisname?”

So now this guy and his girlfriend think I’m an asshole, and the truth of the matter is, the story really ended the moment he handed me the goddamn synopsis. Because if I’d just said “No” then and there, they’d still think I’m an asshole. Only difference is, I wouldn’t have had to spend all that time trying to communicate thoughtfully and honestly with someone who just wanted a pat on the head, and, more importantly, I wouldn’t have had to read that godawful piece of shit.

You are not owed a read from a professional, even if you think you have an in, and even if you think it’s not a huge imposition. It’s not your choice to make. This needs to be clear — when you ask a professional for their take on your material, you’re not just asking them to take an hour or two out of their life, you’re asking them to give you — gratis — the acquired knowledge, insight, and skill of years of work. It is no different than asking your friend the house painter to paint your living room during his off-hours.

There’s a great story about Pablo Picasso. Some guy told Picasso he’d pay him to draw a picture on a napkin. Picasso whipped out a pen and banged out a sketch, handed it to the guy, and said, “One million dollars, please.”

“A million dollars?” the guy exclaimed. “That only took you thirty seconds!”

“Yes,” said Picasso. “But it took me fifty years to learn how to draw that in thirty seconds.”

Like the cad who asks the professional for a free read, the guy simply didn’t have enough respect for the artist to think about what he was asking for. If you think it’s only about the time, then ask one of your non-writer friends to read it. Hell, they might even enjoy your script. They might look upon you with a newfound respect. It could even come to pass that they call up a friend in the movie business and help you sell it, and soon, all your dreams will come true. But me?

I will not read your fucking script.

Josh Olson’s screenplay for the film A History of Violence was nominated for the Academy Award, the BAFTA, the WGA award and the Edgar. He is also the writer and director of the horror/comedy cult movie Infested, which Empire Magazine named one of the 20 Best Straight to Video Movies ever made. Recently, he has written with the legendary Harlan Ellison, and worked on Halo with Peter Jackson and Neill Blomkamp. He adapted Dennis Lehane’s story “Until Gwen,” which he will also be directing. He is currently adapting One Shot, one of the best-selling Jack Reacher books for Paramount.

©2009 Josh Olson. All rights reserved.

So I'm still serious about writing that BJ3 script but I found out about all the requirements needed to join the Screenwriters Guild so its unlikely I'll be able to join. I had thought of joining since Warner Bros does not accept freelance scripts. As I said I'm still serious about getting my script into Tim's/Warner Bros hands. Does anyone know of any screenplay contests or anywhere where you can sell screenplays online? I really want to help all the Beetlebabes dreams come true by making Beetlebabes canon this time.

[haveyouthoughtaboutcomicstoday]

I don’t have time to write up something properly on this topic this week, but here’s an incoherent ramble.

It’s so important to me how it was as an end point for Guy’s new52 character to be him as a Blue Lantern. The blue ring is about healing and faith (in yourself, the people around you, in things bigger than you), and is rooted in belief that things can always get better. That Guy gets to spend his future going around healing people in a universe where he didn’t get the opportunity to pursue that as a career initially is so rewarding.

His role as community leader/teacher/public servant is so integral to how he was first introduced. And through the ups and downs of his story arc in the years following, his ability to forgive people for anything, even to offer that forgiveness first, is what makes him such a good person. We see this most often in his relationship with his family and with Hal, but it’s definitely not limited to them.

There’s also something about Guy opting away from any of the rings that give him strength to do violence in favour of one that is powerful in taking down enemies in other ways. He still carries them with him, and knows sometimes he might need to use them to save people, but thats not his first instinct anymore.

Social worker Guy, psychology student Guy, the version of Guy that is gentle and timid and doesn’t like violence at all (that we only ever saw as a joke in JLI) would all be so proud of him for getting here in the end.

[thelastharbinger]

Tidbits of ATSV That I Enjoyed (Or Alternatively: Just Miles Being The Most Endearing Spidey Ever)

Miles patting The Spot's head after successfully webbing him (I don't see this as condescending, but rather him still engaging with the humanity of a villain like Spot) and ~very assertively~ telling/asking him not to escape.

"I'm like Robin Hood-if he gave to himself."

Miles' spidey senses going off when he arrives late to his dad's party because there's nothing more frightening than Brown parents when they're mad at you. Beware the chancla or correa!

O.k. So we all know there are different versions of the movie out there. You may already know that one of the slight differences is when Miles goes to save Inspector Singh. There's a version where you can hear Gwen's voice in the distant background yelling no! when she thinks Miles gets crushed under the rubble, and there's another where she's silent as she webs to him. Now, I have found ANOTHER version (online) where her shouting is even more at the forefront. She's practically screaming and sounds more desperate, (prolly because it's close to the same way her Peter Parker died so she's reliving trauma) and the fear in her voice is palpable. That one haunts me.

Jefferson trying to equate studying for his police exams to childbirth, which Rio quickly nips in the bud.

Ganke having a soccer poster of Son Heung Min, a famous Korean footballer who currently plays for the Premier League Tottenham Hotspur and is captain of the South Korean national team.

Miles having a Sashimi (his universe's version of Supreme, but I just like the idea that Miles loves eating sashimi. Like I know that kid has good taste in food) poster in his bedroom.

The fact that Miles kept in touch with Aunt May for long enough after the events of ITSV that he helps her move.

The Spot saying he was one of the more handsome scientists at Alchemax according to his colleagues.

Miles and Gwen having the same collectible toys, the only difference being that he keeps his in the box and she doesn't.

"Hey, don't try to wow me with big words, man," *in deep manly voice* "I do crosswords every day"- Miles after Spot points out Alchemax as "the crucible of our connection!"

Miles going, "This job is so dumb sometimes" after he tries to web Spot at the deli, but it goes through a hole and lands on his face.

"Nahhh, he seems more Dominican to me." Kinda want Miles to meet a native Dominican Spidey because that dynamic would highkey fuck hard *pun not intended*. They would repair relations between our two islands-PR&DR.

"Almost there Mami *smiley face* *cowboy* prayer hands*"

The college admissions coach at Visions Academy straight up saying, "That's your story! Now, just stick to the script..." Ma'am what???

"Calmate Mami, eso no es my fault."

"I've hit a lot of different villains with a lot of different food...I'm just trying to lighten the mood."

Miles in his angsty teen era and smart-mouthing everyone around him. Love that for him.

"He almost killed his mom as a baby, I mean, look at those shoulders." No but for real tho. Those shoulders are as wide as a truck. Kim Seokjin who??? (if you understood that reference, ily).

Miles writing a love letter to his dad in 2 cakes.

Gwen at the water tower chowing and saying how feelings make her hungry after her and Miles talked about how they can't be together cause it would end in tragedy. Like Gwen, come again?!

Also, Miles' and Gwen's talk at the Williamsburg Bank Building being lowkey the catalyst for the 2nd/3rd acts of the film. Without them both kind of silently admitting their feelings for each other, Miles probably wouldn't have chased after her the way he did. Pretty sure you know the rest.

"I bet she doesn't even speak Spanish," and Jeff going "Que barbaridad" in his very broken Spanish. Queue Rio's bombastic side eye.

Both Gwen and Miles referring to Spot as a Villain Of The Week, even though neither of them have spoken about Spot to each other.

"I was bitten by a-wouldnt you like to know? Know what I mean?" SIR. Chill. This movie is for children.

The Spot inverting himself, going from a white mass with black spots to a gaping black hole with smaller white spirals. It's giving Junji Ito.

The irony of Pavitr exclaiming, "Well that was another easy adventure for Spider-Man!" right before an incoming canon event. HIS. He was about to experience his first big loss, and his happy-go-lucky nature would've been challenged.

Miguel saying conyo! when all the Spideys start pointing at each other.

"!Cállate!" "Nosy!" Sidebar: we don't talk about Gwen's banter with bad guys enough. She's so funny!

A lot of the Peters saying hi to Gwen as she passes HQ because she is canonically the one lost love--the love interest they all would've ended up with had she not died, so they all have an affection for her.

Web-Slinger going "Giddy up!" Cause he's swinging up.

Miles offering his fresh new takes on how to deal with the Spot upon meeting Miguel, saying "He just wants to be taken seriously. Like we all do." MILES YOU BEAUTIFUL, COMPASSIONATE GOLDEN SUNFLOWER BOY I LOVE YOUUUUU.

Hobie referring to Peter B. as Humbling Reality Spider-Man, which considering how steeped in tragedy the Spidey lore is, is really saying something.

Miguel's nonono no puedo más no puedo más. His misery is very funny and delightful to me. Little bitch ass.

"You know you're the only Spider-Man who isn't funny." Yes! More Miguel slander in the next one, please! Little bitch ass.

"Snitch!"

Miles shouting out Peter's name for help whilst Miguel pins and lays into him the fact that he's an anomaly. This after he momentarily glitches back to his ITSV store-bought suit. Mimicking the way-in also the first movie-Miles shouting out Peter's name for his own rescue as Doc Ock attacks him at the research facility. Because even though he feels hurt by Peter at this point, that's still his dad mentor and he still instinctively looks to him for protection. Rip my heart out why don't you!

Gwen sneaking back into her and her dad's place just to get that printed polaroid of her and Miles, a pic she already has on her phone.

Earth-42 Miles wearing Nike while our Miles wears Jordans.

[orcelito]

ok i am actually so very angry and there's literally nothing i can do to fix it. life keeps going on. she might even be happy. and fuck dude, i'll make sure im happy too, i was a fully developed person before she was in my life and i'll continue to be one without her. but God Damn, the fact that she can just do something so blatantly awful and unfair to me and then run off without any actual repercussions is just so fucking rankling to me.

like perhaps she feels guilty. she said she did when it was all going down. but it was just something she "needed to do". so obviously she didn't feel guilty enough or she wouldnt have done it like that lmaoooo

i really did deserve to have a good solid yell at her. but unfortunately, by the time i did see her in person i just wanted her out of my fucking life. so. no yelling was done, unfortunately.

[mysoulspiralbound]

half the notes are just just say TOPH! and they are so right for that

cartoons were wacky for making us believe this trope

[gaywineauntsstuff]

Every single member of the Batfamily lies about their taste in music

Damian will claim that he only listens to classical music and that everything else is beneath him.

Damian will unironically listen to trashy Arab pop and the absolute worst Bollywood songs known to man (Dick introduced him to them and he hates the fact that sometimes he gets Sheila Ki Jawani stuck in his head during missions)

Tim will put on the most ear grating hyper pop you've ever heard and claim with full chest that these is the peak of humanities capabilities with music (Damian, Jason and Steph have all tried to kill him for this take) He will also play stuff like the living tombstones and sing it obnoxiously loud when he's working on the computer.

Tim however loves his 90s grunge and it's all that's playing in his headphones. (think nirvana, pearl Jam, Melvins, Alice in Chains etc) He has tracked down so many shirts and concert posters and watched every bit of content from the older shows.

Jason will claim he only listens to east coast rap, biggie, Nas, Jay etc and maybe some older metal. He will fight you on east vs west coast music, there will be weaponry involved.

Jason likes rap music... he unfortunately prefers west coast rap and has listened to no vaseline like 500 times. He will deny this till the day he dies...again. (Dick knows and threatens to tell Steph)

Steph will steal the aux and play Taylor Swifts greatest hits until one of the Boys threatens mutiny. Every single one of the bats has had style stuck in their heads during a stakeout at least twice. She will claim that the only rap song she can tolerate in Eminem and the 7/11 is Beyoncés best song.

Steph is an underground fan, think the dude selling mixtapes on the subway type shit. She also unlike Jason genuinely loves East Coast Rap music more than anything and knows every single wu-tang clan song by heart, same with Biggie. Not only does she love the music she also spends any free time binging those "history of rap and its consequences" videos and has been a firm believer that P.Diddy had a hand in a lot of the Death row records well...deaths.

Cass, well everyone thinks Cass has really good taste bc its Cass and she has zero flaws (don't @ me) she never takes the aux and will usually listen to her music while she's chilling or doing stretches. None of them have heard or seen a single one of her playlists except Duke.

its all 2010s top 40s pop music and like the trashy kind too, Beauty and the Beat, Kesha, Katy Perry. It's her turning of her brain time and she will be straight vibing to Rude! by magic or Boom Clap or Shower. she has shown this to Duke, smirked and told him that even if he tried to tell anyone they wouldn't believe him.

Duke is the only one who doesn't... lie. He just hides a few things. Lies of omission don't count as lies when the bats will lie to you about what they had for breakfast, while they are visibly eating breakfast. Duke says he listens to everything and he does. Literally everything. His patrol Jam is offensive bc it with start with Norwegian death metal and immediately switches to "like a G6" followed by kendrick Lamar and then descendants Disney channel movie music.

Bruce... Bruce is just weird, everyone asks him and gets a different answer. Bc he doesn't... like music. Like at all. It's all noise, his mother played instruments so he learned like 14 and he hates how they all sound. He just like vague batwings fluttering in dead silence.

Dick Grayson will obnoxiously play top 40 and radio music religiously around the bats. He claims it's the best music for rhythmic acrobatics and trapeze work and that true! Jason hates this kind of music the most, it's formulaic and holds no substance and drives him insane.

But Dick only listens to that music when he's moving, flipping doing high energy stuff. When he just wants to chill? This man has the most depressing music taste you've ever seen. You know that sad song from ur favorite artist that you can't listen to without crying. Yeah that's his bread and butter. Every single song is just flat out tear inducing, some of these bands have like 100 listeners and he is one of them and it's just their saddest song that reads like suicide note. The titans have conducted an intervention bc its just... concerning. He just thinks it's neat!

[dawnoflemuria]

"I love you but I can't say those words":

I would drown even the stars for you.

When I look at you, I just think about how much things have changed since we first met.. my how time flies..

don't you think looking at me like that will give me the wrong impression?

oh, by the way, don't be late for dinner.

I don't think I would have rather done this with anyone else..

did you ever think we'd grow so close?

how many times have I had to nurse you back to health now?

maybe you should sit this one out, I've got it for now

why haven't you told me this before?

Please don't do anything reckless

Will you sit with me?

When was the last time you ate??

Anything that you have to say to me, you can say infront of [B]

I know you're not feeling the greatest, that's why I brought you [insert thing]

you just love to give me hell, don't you?

You're important to me.

I don't wanna lose you / I can't bare to lose you

do you need some help with that? allow me

Hidden Confessions:

I don't think you understand just how much you really mean to me.

I know how you are, and that's why I've decided that you won't do this alone.

You can't get rid of me that easily (after an argument)

don't think so low of my loyalty to you for I would burn the heavens if it mean saving the stars in your eyes.

you've always been the one person who I could never stay mad at

I cherish the memories we make together

I will never let anything or anyone hurt you

you won't take them away from me

don't you dare lay a finger on them!

if you so much as make a move on them I will kill you where you stand, you hear me?

so precious, our time together

I love whatever this is between us.

do you ever think about where we'll be in 10 years?

careful now, you just might make me blush talking like that

Sappy Sentences:

I don't think the heavens or the hells below could fathom the level of love we share.

If there were a way to bottle your love, I'd get drunk on it every day

Sometimes all I really want is to lay like this, with you in my arms forever.

For us eternity doesn't mean for the rest of time. Eternity is just for the rest of our lives together.

I don't remember giving you my heart, but I know it's safe in your hands.

Watching you get hurt is like a blade through the heart, I can't take it.

Even if I had six hearts, they'd all beat for you.

I can't blame those who stare at you, I get lost in your beauty myself.

I'd worship you as my supreme deity, bathe me in your grace

I'd do anything in the world for you. Just you name it.

Come lay with me, I want to heart your heartbeat.

Everytime I'm with you, I can't help but feel at peace with the world.

[disgustingtwitches]

MDNI

141 as your drug dealer boyfriend

Ghost- Let's be real with ourselves, Ghost is not a good man. He doesn't care who he hurts, as long as he gets his. He will do anything to get what he wants and there is no stopping him. It's what made him a great soldier, and it's what makes him a great kingpin. He moves weight to put it lightly. There isn't a moment where an uncut key is unmoving; from a warehouse, to a plane (or car, or train), to a distributor, to a pusher, to up someone's nose. He'll try to do some damage control, make sure things aren't cut with fent, but that's only to make sure customers keep coming back. He likes to keep his hands clean, in the sense that he'll never be the one to pull the trigger on anyone that's out of line. Living up to his name, no one knows what he looks like. Hell, a lot of people don't even think he's real.

But when it comes to you, Simon's a different man. No talk about work, just you and him. Other than the multiple hidden guns around the house and Glock he sleeps with, life is normal with you. Holiday homes in the French countryside and Bahamas. Designer everything. Sports cars in all your favorite colors. You want for nothing. It's the life he wanted for you. After all those years of crying and hurt when he was away for weeks or months, you deserved the world. Want the new Hermès bag? You got it. Can't choose between the black or white louboutins? Get both. Stop eating you out because you can't feel your toes anymore? Sorry love, only thing he can't do for you.

Soap- Johnny is a small business owner. Weighs everything out by his own hand. Presses his own pills. Let's you help baggie everything up. A social butterfly, this man is at every concert, rave, or music festival. Sometimes he has a friend help push his stuff when he just wants to stay home with you, but for the most part he's his own salesman. And a damn good one. Never has overstock. No matter how much he brings with him, he'll always sellout.

Has a supernatural sense of being shorted. Can tell if a bag is even a few grams off just by holding it.

"Ye'r an idiot if ye think ye kin short me."

And when the other party denies, he always keeps a pocket scale on him, setting the parcel on it. And sure enough, he's always right.

He'll come home with a few grand, the only job you have is to sit there and look pretty. And roll his spliffs. Sitting in his lap, tucking the rolling paper into itself and licking it closed while he counts out a fat wad of cash. He hands you a fat stack,

"A've never bin good wi' money. Ye know how to spend it better than me."

He never touches the stuff he sells, no need to when all the dopamine he needs is right between your legs.

"Ten times better than any o tha' shite, anyways."

He pants in your ear while folding you in half, firm grip on your throat.

Gaz- When it comes to psychedelics, Kyle is your go-to man. He's a fucking genius, synthesizes his own DMT and LSD in a lab. It's a state of the art facility, clean with the latest and greatest equipment available. He supplies the whole Northeast. If it's a hallucinogen, it's most likely Gaz's product. And if it's good, it's definitely his. He has a cozy set up with some "organization" that he cooks for. Steers clear of actually selling to people, no need to when his clients line his pockets so well. Never brings work home, he even wears different clothes when he's in the lab.

He has a set schedule he has to adhere to but sometimes he's able to take vacations with you. And that's how you ended up bent over a balcony watching the sunset in Punta Cana,

"I work so hard to make you happy, now it's my turn yeah?"

A breeze sends a shiver up your spine while he kisses your shoulder,

"I know a private beach where you can even out those tan lines,"

Of course he doesn't give a shit about that, he just wants to fuck you silly on the seaside (and show off to anyone who might be watching.)

Price- Caring and nurturing, the man naturally has a green thumb. And alongside his prized heirloom tomatoes, he grows really, really good weed. Has a whole growroom in his basement, decked out with proper ventilation, ACs, UV lights, the works. The man grows medical grade weed that private clinics buy from him. He's legit. And of course he serves the public as well under the table, sells only to people he knows and established clients can refer others to him. He treats his plants like his babies, even going as far as to play music for them (according to him classical music helps them grow better???). You don't know where he finds the time, but he also made you rose garden for your anniversary. He brings up the idea of a family every so often. He'll finish as deep inside of you as possible,

"Let's replace that plant nursery for a real one, yeah love?"

Gonna write actual stories for each one if y'all like this ( . * 3 * . )/`

[scientia-rex]

One of my patients used to be a Big Deal Specialist in the city and you can just TELL he’s SEETHING that no one out here is even qualified to understand what he did, much less how important he was. He’s also terrified of death. It’s both annoying and really sad. Like, sir, I hate to break it to you, but no amount of knowledge will protect you from the ravages of time. It’s a special kind of hell to know the stages of various fatal diseases intimately. What is it going to feel like when it’s my turn? How do doctors want to die? Suddenly, quietly. Slip away painlessly in my sleep. But how likely is that? Not very. More likely I’ll get cardiovascular disease or cancer, the greatest killers of our time.

He was so afraid of cancer he had an organ that wasn’t cancerous removed just in case. He talks down to me as if I’m his student, and who knows? Maybe I was. He was in the same city as me, and they were forever dragging Big Name Doctors in to teach us things. Maybe I learned how to elicit Achilles tendon reflexes from him.

But mostly I find myself a little scornful. Who lives without the shadow of death? Who doesn’t think about death all the time? When you die, life is a round thing, finished and whole. What will your life look like when God holds it in the palm of his hand?

Also don’t fucking call me by my first name unless I’ve specifically said you can. I don’t GIVE that permission to patients, except for my mentally ill trans and queer patients. If I wanted to be disrespected by an older man I would have married young.

You do not have time. This important doctor who based his whole life around his importance lived as rich and full a life as anyone. And now he’s clinging to it, leaving fingernail marks on the walls on his way out. No one has time. There will be a moment when you’re dying when you think, I would give anything I have to be back in that moment. Any ordinary moment. Taking the dogs out to go potty. Browsing at the grocery store. When you’re being crucified on a hospital bed, dying and aware of it through the morphine, you would give anything you ever possessed to go back and have one more agony-free afternoon. Sit on a curb or a stoop. Walk through a park. Hug your spouse. These tiny fragmentary moments that we are constantly sliding through, tobogganing past at high speeds, these are what will be our life when our life is over.

I am accountable to that self. To the dying me. What did I do with this gift and curse? I don’t believe in God, but I know that I will die, and I have watched enough dying people by now to know the kinds of things I’ll think about. I want to make that me proud of what I’ve done and how I’ve spent my life. She will be a harder judge than God, and I want her to look at this one little life and think, yes. I did what I meant to.

[felikatze]

QoL as Kindness: ISAT's diagetic tutorials

This is the hopefully first of a series of posts I'll be doing reinterpreting ISAT's Loop through the lens of START AGAIN: a prologue's context. As such....

Major spoilers for both ISAT (all acts, including optional content) and SASASAP (all endings).

One of the biggest differences between ISAT and SASASAP is it’s QoL – it’s Quality of Life. QoL refers to all the little things that make a game just that little bit more playable; quick to navigate menus, quicksaving… tutorials.

It’s not really a surprise that SASASAP is as RPGmaker as RPGmaker gets. This isn’t a criticism, just an observation, and also a compliment to how much Adrienne’s skills with the engine improved between releases. Still, there’s some things that ISAT has over SASASAP.

ISAT’s QoL is absolutely essential to making it bearable. Anyone ever watch an ISAT playthrough where the player sighed in relief as the tutorial on picking where you loop came up?

SASASAP lacks a lot of ISAT’s QoL because it’s an earlier project without a studio backing it, but what impresses me is how this change ties into narrative.

Because the greatest chunk of ISAT’s greatest QoL is provided by Loop.

Even before you ever meet them, they’re already over your shoulder. Loop is the tutorial, speaking to you inside your brain. It’s genius, in that no player is ever going to question this. Hell, SASASAP’s movement tutorial is the exact same thing with less flavoring

This reframes what the QoL is – it’s not just a convenience to the player, it’s a convenience to Siffrin, too. It’s diegetic. It’s not something the game is giving you, it’s something Loop is giving you. Let’s look at what Loop gives you, and more importantly, why.

Zone Out

The first of the QoL features I want to talk about is the Zone Out function, the absolute bread and butter of not making this game a total slog.

The Zone Out feature as is did not exist in SASASAP (because Adrienne didn’t know how to do it yet) – instead, some doubled scenes let you just skip them entirely outright. There’s only two extremes: listen to all of it again, or none of it.

ISAT’s zone out system is much more dynamic, since it fast forwards dialogue line by line, letting you zone in whenever you’d like, and forcing you to zone in whenever a) something notably new happens, or b) whenever Siffrin speaks.

The way this feature is introced by Loop is kind of genius. Because Loop’s tutorial is about one thing – it’s okay to skip.

“You might miss what your party is saying, but who cares, right? If you make them mad, you can always loop back and they'll have forgotten all about it!”

It’s a cruel joke, or at least it seems that way on the surface. It’s also genuine advice. And a cruel joke at the same time. For Siffrin, freshly starting the loops, this is scandalous, but for Loop, who’s long since desensitized, it’s the same old same old.

What Loop’s doing here, by joking about Siffrin not listening to the party, is alliviate Siffrin’s guilt when they inevitably take Loop up on the offer. Because, even though Loop loves their party members…

From SASASAP, when sitting outside the bathroom:

(Will you get farther this time?) (Will you live this time?) (Or are you stuck listening to the same lines forever?) (…) (Stars, you’re so tired.)

Loop knows intimately well that Siffrin is going to drive themself insane trying to be a people pleaser every single loop, so this joke is telling the outright – don’t bother.

At first, Siffrin (and the player) still might. I really enjoyed reading the same conversations five times minimum because they’re fun and I’m deranged, but at some point I did start skipping them. And it was a relief to know there wouldn’t be anything new.

Siffrin: “Should I check everything again?” Loop: “You mean, should you check the same barrels, the same closets, the same objects on tables every loop?” Loop: “I mean, you can, but… You know things won’t change, right?” Loop: “If you really want to get a certain item again, or listen to your friends repeat something funny, you should!” Loop: “I personally would only check two or three things every loop, and ignore the rest.” Loop: “It will just make you crazy to expect something to change, when nothing will.” Loop: “All that might change is your reaction to it!”

The game is telling you, Loop is telling Siffrin, don’t drive yourself insane playing, please. The characters aren’t going to remember if you skipped something.

In the course of my script wizard activities, I’ve gotten an in-depth view of just how much that actually holds up. Pretty much all major differences are by Act, unrelated of how often you’ve done something. Minor variations apply for other things, but… those variations are minor.

And this also points out what all those variations are. Siffrin’s reactions!

Loop’s pre-empting Siffrin’s guilt, cuz they probably felt it themself. Hell, we do know they felt the pressure to perform and make sure nobody notices anything’s wrong, in SASASAP! Right up until the finale, Loop was driving themself up the wall.

(You have to act, you can't crack, you have to fake it and play it exactly as you did the first time for the whole way through so your friends don't find out anything is wrong) (You don't want to know what would happen if they knew their quest was in vain) (If they knew their quest for justice and change always ends in stillness and death!)

Acting everything out perfectly is one of the ending paths for SASASAP, which results in… complete and utter failure. Obviously.

(You acted perfectly normally, didn't you?) (Nothing out of place, nothing weird, every line the same as it might've been the first time?) (Ah…That was your mistake, wasn't it…?) (Because… Didn't your very first time… end exactly like this?) (The King throws the Housemaiden's body onto the floor again.)

Zoning out for too many conversations actually awards weird points in SASASAP, locking you out of the Perfect Ending. On the other hand, acting “perfectly” in ISAT… has no awards whatsoever. No special scene or or optional event or anything at all. You get nothing for paying attention!!!

So spare yourself the pain already, m’kay?

(On that note: I don’t think Loop not being sarcastic about it would’ve like… worked. At the start of ACT 2, Siffrin isn’t going to believe Loop when they say “Stop forcing yourself to relive the same thing over and over because you’ll start seeing your friends as disposable actors and lose touch with reality.” That all comes later, when Siffrin can look back on Loop’s words and see how right they were.)

Loop Back

The second biggest sigh of relief in any given ISAT playthrough is probably this specific tutorial.

Loop graciously shows you that you don’t need to loop back all the way to the beginning every single time. You can pick and choose where to go, even going forward by paying up with Memories of Skirmish.

This is a feature SASASAP does not possess, for the reason that it is much, much shorter, only covering about as much as one floor of ISAT’s three floor House.

But… since this is a character showing this to you, Loop showing this to you, we can ask… when did Loop learn this? After all, START AGAIN, Loop’s loops, do not have this feature.

“It'll save you time, so it's important, so listen up!”

This feature not existing in SASASAP means this is a thing that Loop did not know exists during their own time as Siffrin.

And that’s just the thing, isn’t it? SASASAP’s Siffrin does not know how to do this. They cannot pick and choose where they end up, as demonstrated wonderfully by SASASAP’s True Ending. There’s an even more wonderful implication, though –

On SASASAP’s Perfect End path, when exiting the final room before the King, Isabeau says this:

Isabeau: “…I'm glad you're feeling better, though!” Siffrin: (…?) “What do you mean…?” Isabeau: “Oh!!! Um, you were…” Isabeau: “Well! You were acting a little weird when we were way closer to the Castle's entrance……” Isabeau: “You weren't really listening to us, you were kinda smiling the way you do when you're actually not happy…” Isabeau: “…and you like, almost acted like you knew exactly where you were going?” Isabeau: “But clearly you're feeling better now! You're acting just like normal!!!”

SASASAP’s Siffrin knew how to do this, somehow managed to lock themself into the House’s last floor… and then forgot how to get back. By making this tutorial, Loop is ensuring that Siffrin never will.

“What can I do next?” – SASASAP’s greatest flaw

So, if you’ve had the pleasure of playing START AGAIN START AGAIN START AGAIN: a prologue yourself (as you should), then you’ve probably faced this scenario, or some variation of it:

I got to the end, I died to the King, but… what do I do next? The game tells me to go for the extremes, but how do I do that?

(edit: apparently some of yall just managed to speedrun sasasap in two loops. You're gonna need to stay with me here, please. Suspend your disbelief a bit, because a lot of people [including me] were dumbasses about it)

Maybe you try another loop, but just get the same ending again (or a differnet one, depending on a coinflip). You’re getting frustrated. Getting the Perfect Ending demands pinpoint precision to avoid everything weird, the True Ending demands good memorization of every single damn key in the game, and the order you do everything in. (Though, to be fair, the requirements on that one are actually more merciful than one might expect.)

Point is, in SASASAP, it’s incredibly easy to get stuck in that endless loop of “What the fuck do I do now?” It’s not uncommon to think you got it right only to get the same result anyways. What does one do in this situation?

They consult a guide, obviously.

START AGAIN’s ending requirements are frustrating. They are. When I tried to go for either the Perfect or the True Ending, I saved inside every single room, just so I could get right back to it when I inevitably fucked up five times minimum. This is both criticism… and praise. Because Loop is the major reason that ISAT does not suffer from this same problem.

Whenever you’re stuck in ISAT, Loop is just a single loop or call away at any times. And besides that, no plot requirement in ISAT demands nearly as many moving pieces all at once as SASASAP does – the “Sus Route” has been relegated to an optional ACT 4 exclusive event, instead of the game’s True Ending.

Instead of consulting an external guide on how to progress, you have one right there in the game, always ready with the next tip. They’re not infallible, mind you – enough time in Isatcord’s #game-help proves that, but Loop solved all of the moments I got stuck and frustrated in ISAT for me.

(Primarily that one time you need to figure out that a photo is similar to being stuck in time. That moment in particular is actually commendable, as you need to ask Loop about it twice before they tell you, leaving you a last shot to try and figure it out on your own.) Loop is a feature that nullifies SASASAP’s greatest flaw in its successor, and they choose to do so.

Memory of Keys

In my humble opinion, Loop does this because… they do not want Siffrin to suffer as they did. They want Siffrin to escape. And there is no greater example of their kindness than how Loop treats keys.

First of all, all keys in the game have a sparkling effect on them if you’ve picked them up at least once before, making it immediately clear where in the room they are. This means you don’t need to search every single room top to bottom for them, as you had to do for any keys and Star Crests in SASASAP. It’s some nice QoL that just means you don’t have to re-search the same area if you happened to forget which specific cupboard the key was in.

Key point being: SASASAP did not have this feature. In SASASAP, you did have to memorize where all the keys are, and doing so is expected if you want the True Ending.

Loop does not want Siffrin to have to do this. Because…

From SASASAP’s True End:

(The torch in the infirmary? That’s important!) (The key in the book? Soooo important.) (The names of your friends, that have been by your side throughout this entire adventure?) (Not worth remembering.)

Compared to ISAT’s ACT 2:

Siffrin: “How come I can see where the keys are?” Loop: “Whaaaaat? You caaaaaan? How can that beeeeeee?” Siffrin: “Is it thanks to you?” Loop: “Maybe.” Loop: “I figured you'd have other things to worry about than where a stupid key is.” Loop: “No need to thank me.”

To Loop, that they memorized the House’s layout over their friends’ names is a defining moment to their own failures. After all, in all likelihood, the True End of SASASAP is the last loop before they called it quits. It’s a traumatic experience from them, one that came from having to remember all the dumb fucking keys.

They do not want Siffrin to experience this. They do not want Siffrin to have to memorize the House, to push away what actually matters in favor of efficiency. So Loop is directly, personally, giving them a boon, so that Siffrin does not have to.

Conclusion

There’s probably more tutorial things I could talk about, but I feel like you’re seeing the pattern now, even if I don’t bring up saving level ups or keeping equipment or the “You’re stuck” signifier, least of all cuz they don’t have direct points of comparison with SASASAP like my other examples do (SASASAP has no changeable equipment, and saving levels doesn’t matter if you only have one floor, and you can’t softlock either.). So.

Loop’s tutorials all belie a fundamental kindness to their character. Everything that made their own experience trapped in the timeloop just that bit worse, they’re choosing to do away with it for Siffrin. They are choosing to make Siffrin’s time here easier.

Zoning out too much lead to them never paying attention to their friends, forgetting their names, so they make sure that Siffrin can still zone back in whenever something new happens.

Loop trapped themself for years on the final floor, locking themself out of progress that might lie further back, so they’re ensuring Siffrin knows exactly how to loop forwards and backwards so it doesn’t happen again.

Loop lets Siffrin keep equipment across loops to cut down on time spent doing the exact same thing over and over.

They are saving Siffrin time, and they are giving Siffrin comfort. At every single turn, Loop is saving Siffrin from the same pitfalls they fell into without anyone to guide them out.

It's honestly incredible to transform an increase in skill into an actual narrative element. Yes, SASASAP sucks more to play. But ISAT sucks less, because Loop wants it to. It's the perfect marriage of real world circumstance and storytelling. I could... probably pull another comparison here, saying it's like a game and its remake - overhauled graphics, expanded story, and loads and loads of QoL, because the makers of the remake realized something. They love the original, but parts of it do suck, and there's so much that can be done to make a new player's experience smoother. Metanarrative commentary,,,, woah,,,,,

Every single one of these QoL elements I’ve mentioned function as a crutch for a player’s failing memory, but also Siffrin’s (similar to what I talked about in my previous essay on ISAT’s ludonarrative - the player and Siffrin are always in sync, even in how tutorials benefit them). Loop doesn’t know the player exists though (only the Change God does), so they do everything for Siffrin.

To keep Siffrin from forgetting. To help Siffrin focus on what’s important. To make Siffrin’s journey just a little bit less miserable. Loop directly improves ISAT’s QoL. For you. For Siffrin.

From Loop’s introduction:

Loop: “See, I’m useful! I’m very useful! That’s why I’m here, helpful Loop.” Siffrin: “Why are you helping me?” Loop: “…” Loop: “Because I think you should be helped.” Loop: “I won’t always have the answers, but… I think having someone on your side to talk to is better than dealing with this alone.” Loop: “Right?”

From Loop’s hangout:

“But it’s fine.” “Whether you believe me or not, I’m here to help you.” “So you can escape this loop.”

And finally, from the start of ACT 3:

Siffrin: “Are you really here to help me?” Loop: “Stardust…” Loop: “…” Loop: “Yes.” Loop: “If you can believe anything, believe that.” Loop: “I asked to be here, so I could help you.”

And I do believe them. Loop’s feelings on Siffrin are… complex, to say the least. They love Siffrin, and they hate him in equal measure. They’re jealous, and spiteful, but underneath everything…

In SASASAP, if you die to a Sadness thrice, you get this monologue:

(Sometimes, when you loop back here…) (In the corner of your eye, you can sometimes see someone that looks just like you.) (Is it a you from another loop? Remnants of your past failures?) (Are you going crazy?) (May they succeed where you cannot.)

[yandere-daydreams]

tw - implied non/con, mentions of physical/psychological abuse, obsessive behavior, delusional thoughts, and kidnapping.

Alhaitham is strict.

He's a man of science. He believes that obedience is something that has to be trained, not taught, and that the only way to properly train any thinking, breathing creature is through the continuous and uniform use of punishment to discourage undesired behavior and with-holding of reward until desired behavior is not only seen, but repeated. His rules are firm and unchanging, and when he catches you, say, hoarding mora underneath a lose floorboard or trying to mail a letter of poorly coded pleas for help to a former peer, he feels no guilt as he wrestles you over his knee and delivers a strike for each spare coin he found in your little collection, each word you wasted on someone other than your loving caretaker. He values your intelligence, and that's why he knows you can live up to his suffocating, but not particularly high expectations. He's strict, but really, it's for your own good.

Kaveh is soft.

As soft as crushed velvet and flower petals and down-stuffed pillows. As soft as crumpled silk and grass on a warm day and his heart, whenever you thread your fingers through his and ask so prettily for him to let you go. His greatest in the world is to make you happy, and it pains him to know that, so long as he continues to be so selfish with your affection, you won't be. He'd do anything for you - bring you gems and flowers from each distant corner of the world, dedicate himself entirely to your every whim and desire, carve his own heart from his chest and lay it at your feet - but he knows you truly want is out of his reach. Kaveh is soft - soft enough that, no matter how much it hurts him to see you suffering, he knows the pain of letting you go would destroy him entirely.

Cyno is sweet.

Even if he will admit to taking a certain amount of satisfaction bringing the cruel blade of justice down on those who've earned it most, he's not a sadist, and you've done little in your life to deserve anyone's cruelty. When he does have to hurt you, it's done with remorse, and when he has no reason to, he does not often pretend he has any desire to find one. His affection is silent, but sickeningly apparent. It's expressed through rose blossoms left on your bedside table, trinkets that made him think of you tucked into the pockets of your clothes, the phantom of his lips against your neck - never quite making contact but never drifting away, either. He holds you when you cry, despite being the reason for your distress, and when you beg him for space, he never seems to go very far. He's sweet, even if the tenderness of his love is lost on you.

Tighnari is subtle.

He knows who he is. He knows how he feels about you. He knows that, if he were to chain you up in his hut and do every terrible thing he's imagined, it'd be less than a full hour until you were liberated from his loving embrace and his head was liberated from his shoulders. He has to be more careful than that, more discrete, even if it means spending the better part of one of his few days off piecing together a mix of herbs and serums tasteless enough to be slipped into water and strong enough to ensure you won't wake up the first time he drives his fangs into your skin. Even his more daring moments are limited to a hand ghosted over the small of your back, a strange insistence that he should be the one to look after you when your strange, unnamable illness resurfaces and you inevitably need a professional's time and care. He's subtle - so much so that even you won't know just much he's willing to do to love you.

[biboomerangboi]

My friend was watching the show for the first time and they brought up a misconception that I think we see a lot in fandom. So I want to talk about The Gamblers Den and specifically this scene in particular:

My friend genuinely wondered what Hua Cheng would do and then when they heard his explanation they were even more confused:

They basically messaged me saying, wait Hua Cheng would have made the bet. He bets people’s lives and some how Xie Lian is okay with that. How???

And to anyone else who’s thinking the same thing or falling for the Demon King vibe Hua Cheng is trying to sell here I am here to tell you, you have all been duped.

What’s import to understand is that Ghost City actually came from making one of Xie Lian’s ideas work:

Xie Lian is talking about a specialised market here, a place where the common people couldn’t just stumble into without reason and that’s what Ghost City is and The Gambers Den is the foundation of it. While Xie Lian didn’t say hey go gamble, Hua Cheng is taking a risk and playing into his greatest strength and then showing of for his crush is the most dramatic way possible when talking about it.

For Hua Cheng the house always wins! Literally. Or at least what he wants the bet to be will always happen. His luck is just that good. If the gambler wins it’s genuinely because Hua Cheng let him.

In the Den he is acting as Judge and Jury with Xie Lian as his moral code but he can’t just turn down the deals. If he does then these people could go to less safe options (looking at you Qi Rong) to get what they desire which negates the reason he built Ghost City in the first place.

Hua Cheng has to let these people play by his rules if he wants to follow his Gods wishes. So he has to be creative and look at loop holes, phrasing and Xie Lians most important teaching finding the third path.

For this moment specifically giving the options I think Hua Cheng would have taken the 20 years of his daughter’s life. Why you may ask? Well the phrasing is easier to manipulate. While the eradication of his competitors is pretty well laid 20 years of his daughters life is pretty vague.

Option 1) Hua Cheng could take her away from her shit father and put her in an apprenticeship and marry a man of her choosing since her hand is now her own to decide since Hua Cheng doesn’t want it.

Option 2) She has to work in Ghost City for 20 years and is married to Yin Yu in name only (because Hua Cheng can’t have a wife at all or he won’t win Gege) then gets pleasantly divorced and giving a severance payment after 20 years.

Option 3) He could decide life is a vague term and after she dies she has to spend 20 years in Ghost City and matchmake a future marriage between her and another ghost.

Option 4) He could decide what she has to do with the next twenty years of her life which could include an actual good marriage and education. Where she has to worship his shrine and be only his devotee for 20 years.

Option 5) He can literally say I’ll collect when I decide and never cash in.

He can do anything because the wording is so fluent and for Hua Cheng debater and Civil God Killer it’s probably easy. He’s not a demon king, he’s a crafty trickster spirit basically a fae lord.

He’s playing the system and he’s winning that’s what Xie Lian figured out and why he supports it. He knows Hua Cheng well enough even back then to trust that he would make the right decision because he believes in Hua Cheng and he’s right too.

[evilminji]

Dani should Kidnap The Clones.

It's basicly protective custody. Preemptive child services, if you will. NONE of these fuckers out here makin adorable clone baby just cause they want kids!

*kicks down the door to your shady lab* Knock Knock! ITS THE POLICE! *Walker's Shock troopers swarm the place as Dani secures the kids*

Look me in the eyes. You KNOW he'd love an excuse to enforce The Rules on people technically outside his jurisdiction. It's for The Children(tm)! Why, he simply had no CHOICE!

Meanwhile? Dani is shoving all these mal-adjusted Murder Clones into her Lair? Which is? Basicly a Door style Lair she hid inside Danny's Lair for safe keeping. It's shoved behind a vending machine just outside the observatory. And the inside? Goes on for DAYS.

Like national parks and every beautiful beach she ever came across. She smashed together the BEST sights and places she's found in her travels, like a collection. Always adding more. New waterfalls, new noodle shops, new fields of wine grapes. It's... beautiful. Snapshots of every wonderous little thing about Earth, stitched together.

They can't hurt anyone. Can't achieve their "objectives". Are just treated like actual individuals and the children they truely are. Are surrounded by other Clones. So it's NORMAL here. Just? All of it.

But also?

Dani and Dan? Teaming up to make History's Scariest Adoption Agency(TM). Dan runs it. Dan wants to know why EXACTLY you want a kid. Explain yourself to Dan. What are your references? Qualifications. He's doing a home visit to inspect the premises. He BETTER not find any suspicious Labs.

And? It just? Appears out of nowhere. It's powered by Zone Bullshit. One second you're thinking "oh woe is me D:> I will never have a child to fill my lovely home, because of all my Superhero Secrets and also because government bureaucracy!" And the next?

.....wasn't that an out of business taco bell? "Zone Adoptions"?

"....Free Clone Baby?"

Okay that is HIGHLY suspicious and as a hero you are basicly legally obligated to investigate. But now it's bigger on the inside? Fancy waiting room? You are being interrogated? Wait, no, you're supposed to be the one doing the-?

Somehow? You leave with your Clone Son from another Dimension. And a pamphlet. You're scheduled for a home visit in three days. You... you never told them where you live.

Somehow that doesn't seem like it will slow them down.

Did the Fae just Suprise Baby you with a clone baby? Can they DO that? W... what's happening? What days is this? Who ARE YOU PEOPLE?! HUH!?!?

Just? Imagine. IMAGINE. I was gonna say Bruce... but?

Damian.

He finds himself... pondering What Could Have Been. Had his Clones not wanted him dead. Wondering if he could have saved them. If, perhaps, he had found them as infants. Raised them. Could he have given them a good life? Been a good father?

He gets emotional. Fatherly. He's about 14.

Dan's been around Ghosts too long to remember how humans age or how age relates to development. This one TALKS like An Adult. Must be one. Probably just short.

And Damian? Never backs down. The second Dan starts challenging him? His character is flawless and his morals divine. He has never done anything wrong, ever, in his LIFE. Fuck you. And on TOP of that? He not only will be the SINGLE GREATEST FATHER TO EVER FATHER, his home is the most loving and beloved ON THE PLANET!

In entirety of EARTH'S history, no less!

....what are they arguing about?

*is handed a baby and kicked out of Dan's adoption agency*

See you in a few days!

(o.o ) *happy gurgling from the baby* *Damian.exe has stopped working*

Smash cut, after Damian speed runs his stages of grief at his own Dumbass Life Choices, to his rocking back up at the Manor like? Congratulations, Father. I have brought you your first grandson! Do Not ask how I obtained him. It was likely dubiously legal but I will not be returning him. We have bonded.

And just? Annihilating the collective Bats on one go. You did what? You have What?! That is a baby! WHY IS THERE A BABY?! How is there a baby!? WHOS BABY!? *sirens going off and everyone panicking*

Will Damian be allowed to KEEP the Baby? Ha! Hell no. Bruce will. Damian is a child. But it will be a Needlessly Dramatic Bat Cold War Of Dramatic Drama to pry that small cherubic baby from his grip long enough for Bruce to fill out the paperwork.

Child thieving bastard that he is. How dare he. That is Damian's SON! D:<

*happy oblivious baby noises as Alfred feeds him in the background, while the Bats do their Dramatic Custody War*

@hdgnj @babbling-babull @hypewinter @nerdpoe @lolottes @mutable-manifestation