#the narrative presents him as an adult

[itsrocketsurgery]

ngl chilchuck age discourse feels like it’s getting way too close to the idea of being “minor coded”

like yeah, he looks younger than he is but he’s also married, is considered a veteran at his job, has 3 daughters who are all working age, etc.

a real world example would be… uh… me?

i am 22 i turn 23 later this year and according to most people i still look 16

but also i’m a senior in college i have a car and an apartment with my name on the lease i’m responsible for my own debt and i live in a separate city from my parents and any other family members (i have for the past 4 years) and i’m doing just fine taking care of myself

are you saying that despite me being an adult that i should be treated like a teen because i look like one?

[aroacettorney]

perhaps the reason why aup ended like *that* is because it was not supposed to have a happy ending in the first place, but sayren didnt have the guts to deal with readers' backlash for when they finally kill off the main character so a half baked happy ending is what we get 😔

[meticulousmaker]

another random thing that stands out to me rewatching Steven Universe as an adult:

throughout the show there's this clear Vibe that Steven has inherited some big magical destiny, right? and it makes sense narratively: he's the son of Rose Quartz, leader of the rebellion, now being raised by her friends who were the last remaining survivors of an interstellar war. he's like a human child in most ways, except he has magical powers that start to become more obvious as he's getting older. no one like him has ever existed before. it's a big deal. raising him and figuring out how he's going to grow is its own unique challenge, because nobody knows what to expect. so of course there's this magical destiny vibe, given all that.

What's interesting to me, though, is that this magical destiny is in no way literally, physically present in the story, it's just something everyone kinda feels. Like, there's not some ancient prophecy about a half-gem, half-human savior. He's not the Chosen One in any literal sense, he just happens to give off Chosen One vibes. And I say that's interesting because it means that the fact he was kinda raised with this Chosen One vibe is completely a decision everyone around him made, for better or for worse. And the show is aware of this, because the weight of Rose's legacy and everyone's expectations of him is a constant theme, and as Garnet, Amethyst, and Pearl all grow and develop, they also realize the downsides of them putting those expectations on a child. Like, Steven spends his whole childhood being told about how great Rose was, and how because he's inherited her gem he will probably inherit her powers - and that's not necessarily a bad thing. Imagine how awful things could have been if Steven had no exposure to the Gems and no knowledge of what they were or how they worked, and then his powers started coming in? It was hard enough even when he was surrounded by the most qualified Gem Experts on Earth. But being primed for all of this "you're going to have your mother's magical powers" stuff put a heavy weight on his shoulders, and then the fact that nobody else quite knew how his abilities worked meant he was constantly faced with the adults in his life looking to him with concern because they didn't know what was happening with him. That's gotta leave an impression on a kid - and, well, throughout the show and especially in SU Future we definitely see that it does.

I like the way the show handles the pressure that's put on him, and the fact that everyone is just... trying their best in a completely unprecedented situation. Nobody knows what to do or how to raise this kid, and that inevitably causes problems but everyone is trying. And Steven can feel that everyone is trying without knowing what to do and he just wants to help and not be a burden and none of his caretakers have said that he's a burden but he can feel everyone's confusion and concern and the expectations he's not living up to and he cares so much, about everyone, about everything. He's in an extremely unique position that grants him opportunities to help that nobody else has, and he feels like he's failing everyone if he can't fulfill that, and in the end it never should have been his job to fix things but somebody had to try. Somebody had to try, and he was one of the only people with the ability to stop the Diamonds, stop the war, stop the lies, stop his world and everyone on it from being destroyed... and he was just a kid.

[varpusvaras]

I thought about how the recent depiction of Jason and his dynamic with the Batfam and especially Bruce really, really is accidentally written to be an uncomfortably realistic depiction of an abusive relationship, and then I thought about it more and realised that if Jason ever realised that and said it out loud, others would have a really hard time believing him.

Of course others would believe that Batman has done those things, but Jason is a big and strong adult man who has done/does crimes. Realistically people would take one look at him and go really? you? why don't you just hit back? and besides, don't you kinda deserve it? surely it is your fault somehow, since you are not a good person.

And this is even how the narrative presents the whole thing, since Bruce himself told Jason to his face that he deserves to be beaten in order to stay in line, and Jason fucking agreed to that. And I just. I don't like that for how casually it all justifies a thing that is an actual real-life problem.

[ramp-it-up]

Fade to Love

Summary: You and Bucky go way back. Way back to when you acted together 20 years ago. You had a crush on him then, but you were too young. Tragedy and artistic passion made you best friends. Will your history make you lovers?

Word count: 4.3 K

Pairing: Actor!Director!Producer! Bucky Barnes x Reader

A/N: I've been dreaming about this ever since I got my #BuckyBarnesBirthdayBingo by @avengers-assemble-bingo. This fulfills the square: Best Friends to Lovers. As always, I crave feedback, so please let me know how you feel in asks, comments, reblogs and likes. TIA! ❤️

Warnings: 18+ Only, Minors DNI. Read at your own risk. Smut! Best friends to lovers. All of the reckless behaviors that come with growing up in Hollywood, teenage crush, small age gap, young love, tragic loss, idiots in love, cigarette smoking, mutual pining. Then comes the smut. :)

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———

This was deja vu all over again.

The paparazzi swarmed the studio as you and Bucky arrived for your meeting at the studio. After all, you'd spent your teen years under the camera’s glare, a co-star in an ensemble drama series, Idol’s Ridge, that captured the hearts of millions 20 years before. 

During those five years portraying Sophie Randall, you’d met the people who’d become your best and enduring friends. Sam Wilson, who played your older brother, Peter Randall, Carol Danvers, who played your best friend, Morgan Blair, and James “Bucky” Barnes who played Sam’s Best friend and Morgan’s older brother, Jack Blair. 

There were several other actors from the show with whom you’d remained cordial and friendly, but this was your core group. 

But today? Today was different. Today, you were meeting in a creative capacity, not just as an actress. You were going to control the narrative. 

The past twenty years had been a whirlwind. A marriage, scandal, and a career that had taken unexpected turns. You'd left the acting world long ago, but here you were again, standing next to Bucky Barnes, one of your best friends. Someone who’d been through it all with you.

Bucky, with his model handsome looks, dark hair and true blue eyes, was more than just a pretty face. His career had been varied, lucrative, and meaningful.

He was now reaching phenomenal heights. And he was the one the tabloids still associated you with, before, during, and after your marriage, even after all these years. 

The shipping of the characters was inappropriate at the beginning, but toward the end of the run when you were an adult, Idol’s Ridge fans were calling for Jack to notice Sophie, and wanted you and Bucky together, even though you never dated.

It was others pushing that narrative, always trying to create drama where there was none, not you two. 

You and Bucky were just friends.

But if you were being honest, that “what if” had been curling around your mind since you were a kid with a crush on a co-star who was too old for you. 20 to your 15 when you first started the show, Bucky didn’t spare you a second glance in a romantic capacity, but he took you under his wing and protected you, calling you his “Little Star.” 

He decided that nothing was going to ruin your innocence, lecturing you all the time about the pitfalls of fame at a young age, even as he was reveling in those pits. If he knew you wanted him to ruin you, he didn’t let on.

Bucky’s decency did nothing to sway your heart away from him. In fact, it only made him more appealing. You always had a soft spot for Bucky Barnes.

If Bucky noticed you growing up and becoming a woman, he didn’t let you know. You were always his little sidekick, not quite a sister, but definitely not a romantic interest.

Perhaps it was because his best friend, another rising star in tv and film, did. 

Steve met you briefly when he was filming in LA and hanging with Bucky. They were roommates in New York and best friends, having known each other as child actors from Brooklyn.

After he met you when he was 24 and you were 19, Steve talked about you all the time to his best friend and begged Bucky to give you his number. 

Bucky refused, citing the fact that you were not ready for the likes of Steve Rogers, the golden boy heartthrob actor who partied harder than he did. Yes, that was the reason.

On the night of your 21st birthday after Idol’s Ridge was over, you had a get together in Manhattan, because you were filming a movie in New York City. You invited Bucky who was now based out of Brooklyn, and Steve was not going to miss this opportunity to get next to you.

That night, 25 year old Steve Rogers bought you a drink, and the next morning, Bucky heard you two in the room next door, cursing his, and Steve’s, timing. The rest was tabloid history: the whirlwind romance, the young, impetuous marriage, the substances, the breakout films, the nominations, the miscarriage, the rumors, the tragedy. 

You were a widow at the age of 26, the caretaker of the legacy of one of the most talented young actors of your generation. Gone too soon.

Bucky was there for you, and you for him, feeling the loss as no one else could. When you were ready to get on with life, you and Bucky created Valkyrie Production Company as a tribute to Steve.

While you slowed your acting career way down before 30 years old, only taking on about one indie film project a year, Bucky’s career had taken off. 

He’d transitioned from actor to actor/director, and of course, actor/director/producer. You watched him get engaged to Natasha Romanov, one of the older Idol’s Ridge alums, break up, and then date a string of actresses and models, but nothing ever stuck.

You didn’t understand. He could be a bit intense, but Bucky was such a good guy. He deserved happiness. Now, he was a 40 year old single successful actor slash slash with no family to speak of but you.

“Ready to roll?” 

Bucky’s voice pulled you out of your thoughts.

You blinked, taking a step back into the moment. You smoothed your pencil skirt down your hips, which were wider now than they were 20 years earlier. You wondered what production would think of you at 35, no surgical augmentation, just naturally you in a sea of plastic.

Bucky was the same way, his dark hair and beard peppered with gray and crows feet framing his striking eyes. But on him they were ‘sexy.’

Women were held to a different standard.

You missed Bucky appreciating your curves and your looks as you bit your lip and looked up at him with those big eyes.

Bucky’s heart clenched when you smiled at him. So fucking beautiful.

“Yeah. Let’s make magic, ” you murmured.

Bucky was a goner. 

He loved your voice since you developed the lower register of your tone. It was one thing that the critics and fans raved over in anything you did.

He chuckled at how you’d trashed his trailer when he’d tried to hide your cigarettes from you that one time. It was all for naught, since you quit 18 months after you started. 

He didn’t know that you’d just done it to hang out with him outside the soundstage door, stealing time. But it had permanently changed your voice into something that cemented your icon status in the present day, despite your limited career.

Bucky grinned that boyish grin, the same one he’d flashed a thousand times when you were on set together all those years ago. It made your heart do that little flip it always did, despite everything.

You had a meeting with the studio execs to discuss the next project, a reboot of the very series you'd starred in all those years ago, Idol’s Ridge.

It was too perfect, too full of nostalgia. But it also felt strange.

You glanced over at Bucky as he started talking to the execs. He was charismatic, confident, everything he had always been. But there was something in the way he kept glancing at you. His eyes were more intense, more aware of your every movement. 

It was unsettling, especially the premise he pitched. 

You finished up with the execs and stepped outside the back entrance for a quick break and Bucky lit up a cigarette, something you hadn’t seen him do in years. 

“You’re quiet today,” he said, leaning against the wall. You inwardly railed at him smoking again, but he was grown. You watched the smoke curl around him through narrowed eyes. Then you grabbed the cigarette from his fingers and took a drag.

“Don’t do that, Star…”

You raised an eyebrow at him and then inhaled, Bucky watching you closely. Too closely, you might have thought if you noticed the way he watched your mouth after you removed the cigarette.

Bucky put the cancer stick in his own mouth and closed his eyes as he took his own drag, tongue chasing the filter as he removed it to exhale. He peered at you through the smoke, licked his lips and then dropped the half smoked bone on the ground, extinguishing it with the sole of his brown Ferragamo.

“We quit.”

You laughed and leaned on the stucco wall with your hand, staring up at him while he smiled down at you. This was your thing, this unspoken language that was understood but not explicit.

You worked together, but it was always more than that. 

You were waiting for him to speak, but Bucky could always wait you out.

“James.”

You punched him on the arm. Hard. 

“Ow!”

He laughed and rubbed his arm as he looked down at his shoes, smiling.

“You can do it, Star. I believe in you.”

You rolled your eyes at the old nickname. He always told you that you were the brightest little star on the set. 

“But Bucky…”

You thought you lost it when Steve disappeared. But you couldn’t lose that feeling, so you took small roles, just to have permission to be someone else for a time.

Your films were critically acclaimed, but your confidence was shot.

“You can do it.”

You appraised Bucky. Something had shifted. Maybe it was the project, or maybe it was something more. Bucky looked right back at you, his expression softening. 

“Are you in or are you out, Star?”

“I’m in,” you said, your voice steady and sure.

He tilted his head, studying you. 

“Good. Because I need you.”

“You’ve always needed me,” you said, half-joking, half serious.

Bucky chuckled. 

“Yeah, well, this time it’s different.”

You could feel your heart pounding. He was looking at you like he’d never looked at you before. Like he was really seeing you. But you were reading too much into things again.

You took a deep breath.

“You know, I’ve always trusted you, right? With everything. You’re the only person I’ve never felt like I had to pretend with.”

You took his hand and Bucky looked down at you tangling your fingers with his. 

He should tell you. 

“I know, Buck. You’re my best friend.”

There it was. The friend zone. Bucky sighed, but held on to your hand.

“Although we didn’t talk about that one plot point.”

You released his hand and crossed your arms, pushing your breasts up in your sweater. Not that Bucky noticed that sort of thing.

Bucky looked at you, one eye closed, squinting from the LA sunlight. Or was it because you were so gorgeous? 

To you, his glance felt loaded, like there was something you couldn’t ignore anymore. But of course you tried.

“Which one?”

You smiled at his evasion.

“You know. The one where our characters are married now?”

Bucky smirked.

“We discussed this being centered around the children of the cast from 20 years ago.”

You huffed, frustrated.

“Yes, Bucky, but our characters were never a thing.”

He stood up and walked two steps toward you, into your space.

“Not true. Sophie always had a crush on Jack, but he blew you off. It’s 20 years later, he’s grown up and finally appreciates the beautiful woman who was always right there in front of him.”

You looked up into his clear blue gaze and had a scorching comeback for him.

“Oh.”

He reached for your face, palm resting on your cheek, thumb brushing at the side of your nose.

“Hold up…” 

Bucky moved even closer and brought his face close to yours, warm menthol breath hovering over your own. He pulled his hand back and looked at it, showing it to you briefly. You didn’t see anything.

“Eyelash.”

He opened the door and held it for you as you tried to get your soul back into your body.

“Break time is over.”

—--

The next hours were a blur.

The production meeting went long as you brainstormed for the reboot, and you and Bucky worked seamlessly together, bouncing ideas off each other and firing on all cylinders. The dynamic was amazing and reignited your old crush.

You went to Bucky’s LA home after the meeting, excited at the preliminary greenlight for the project. You both decided to work on an outline that weekend to deliver to the studio Monday morning.

You’d gone home to pack a bag and get your essentials, as Bucky said you could bunk in one of his guest rooms. 

It would be like a sleepover with one of your girlfriends, sweet, innocent and fun.

But after eating takeout tacos from Leo’s, you got to work in Bucky’s home office, and the vibe was thriving, but different. Every time your hands brushed as you passed papers or exchanged a glance, it was electric.

The air arced between you, but you couldn't tell if it was just you, or if Bucky felt it too. 

As you sat looking at the whiteboard with the preliminary outline of the pilot episode, Bucky leaned back in his chair and regarded it, a smirk playing at the edge of his lips.

“This shit is fucking brilliant. It’s going to be better than the original.” 

You looked at him, excitement coursing through you. You smiled at him and got up to walk behind his chair to lean on it and admire your ideas, as if you could see better what he meant from his perspective.

“I can’t believe it’s really happening.” 

You leaned down and whispered in his ear, afraid to voice it too loud. Bucky swiveled around in his chair to look at you. You were still in your outfit from this morning, too excited when you pack to change into something more comfortable. You looked gorgeous. 

He stood up and grabbed your hands in his.

“Better believe it, Star, we’re going to do this thing big.”

You squeezed his hands back and looked up into his beautiful blue eyes. Bucky’s hands were on your arms now and he was drawing you closer.

“Couldn’t do this without you, Star. I love… working with you.”

Your stomach flipped as he murmured at you. You inhaled the spice of his cologne and savored his touch while listening to his voice.

But your stomach dropped when you heard the ‘L’ word and you didn’t know what happened; just like Sophie and Jack all those years ago, you didn’t know what came over you when you pressed your lips to Bucky’s.

You had every intention of ending the contact before it began, but Bucky’s hands were now in your hair and tugged you close. He turned and lifted you onto his desk, stepping between your thighs, pressing them wide enough so that your skirt fought the movement.

It only made everything hotter. 

Bucky used his hold on your hair to tilt your head so he could kiss down your neck. You arched your back, needing his mouth all over you, needing him to rip you out of the clothes that had the nerve to create a barrier between you. 

For some unknown reason to your cunt, words emerged from your lips,

“We shouldn’t.” 

“Why not?” 

He pushed your cardigan off your shoulders and nudged your tank top lower so that he could mouth at your cleavage. Your panties flooded with wetness. 

“We’re both grown, Star.” 

The acknowledgement in Bucky’s rumbling voice sent a bolt of pleasure straight to your core. He skated his hands up your thighs, pushing your skirt higher until you had to lift your hips to allow it to bunch around your waist. He fingered along the edges of your panties. 

He looked down.

“Black lace. Fuck.” 

He cursed low enough that you had to strain to hear him. He licked his lips, his saliva making them look so delicious. 

“Can I touch you, Starlight?”

You shivered at the nickname and nodded, breath caught in your throat.

“Need your words, Baby. Need that beautiful voice.”

“Yes, Bucky. Please touch me…”

Bucky’s fingertips traced your clit through the fabric. 

“Fuck, I’ve wanted you.” 

“Me too,” you whispered, and he met your gaze, which threatened to stop his heart. 

His blue eyes were fire, bright enough to make your whole world glow. If you let him, he’d sweep you away and ensure you enjoyed every second. You wanted it. To be swept away by him. 

Bucky started the torturous slide of his thumb over your clit. You threw your head back and whined, caught up in a nirvana you’d only dreamt about.

“Bucky! Dont…”

He stopped what he was doing, stilling his hand over your cunt.

“Don’t?” 

His voice was broken, and pleading. You used your free hand to cover his where he cupped your pussy. 

“...Don’t stop Bucky….” 

Still he didn’t move, searching your face for answers you didn’t have. You drew in a shuddering breath. Bucky’s slow smile sent your stomach into a dizzying flip. 

“Naughty girl. You want to use me for your pleasure. Your own personal sex toy.” 

You dragged your gaze over him, from his dark hair, to those wicked blue eyes, to his sinful mouth, down to the pants clearly sporting a huge hard-on. You grew bold in the knowledge that he’d started this. 

Bucky Barnes wanted you, too.

“I have a sex toy. In fact, I have several. None of them look a thing like you.” 

His laughter rolled through you. 

“I guess I have work to do. Need to retire some sex toys. Check.” 

“You’ll have to work real hard. I’m kind of attached to them, especially Arthur. Haven’t had real cock in 2 years.”

Bucky arched his eyebrow and hooked his fingers through your panties and dragged them down your legs, stepping back so you could kick them off. 

“I’m disturbed that you named your vibrator.”

“Dildo,” you corrected.

He chuckled and shook his head.

“But I’m up for the challenge of making you scream my name…”

Bucky went to his knees between your spread thighs, looking at your pussy so intensely you could feel it like his touch. 

“And I won’t tell you that I’ve jacked myself to the thought of you countless times over the years.” 

“Bucky…”

He pressed a painfully gentle kiss to each thigh and then his breath ghosted over your clit. 

“I sure as hell won’t tell you that when I fucked my hand, and imagined being inside you, that I came so fucking hard, Star, just from thinking about being buried in you to the hilt.”

You tried to focus past the pleasure of his mouth, his big hands holding your thighs wide as he devoured you. But his words had you floating.

“I… You fantasized about me?” 

Bucky licked up your slit and then kissed it, looking up in your eyes before he answered you.

“Hmmm. Yes. I did.” 

He sucked on your clit hard enough to make your back bow. 

“Eating you out...” 

Another long lick and a smile that he was accomplishing that very thing. 

“You on your knees for me...” 

The image in your mind of looking up at Bucky made you clench down and Bucky smiled at your pitiful pussy.

“...Bending you over something, like this desk, and fucking you hard…”

You whimpered, your pleasure building as much from the fantasy as from Bucky’s mouth. 

“... Maybe taking that ass…”

He rolled his tongue over your clit, working you in just the way you needed. 

“....cuming inside you, or all over your back. I’ll let you choose.”

“Oh! Bucky!”

You were practically screaming as you tried to slow your pleasure, to make it last, but Bucky drove you to the brink and you couldn’t resist him. You came with a cry that filled the room around you.

Bucky didn’t give you a chance to recover, though. He stood and stepped back between your thighs to take your mouth. You tasted yourself on his tongue and it made your toes curl. 

You wrapped your legs around his waist and he lifted you off the desk easily and walked you down the hallway, still kissing you, never missing a step. 

“You’ve done this before,” you murmured. 

“Not like this. Never this.” 

He kept you pinned to him with one arm around the small of your back and used his other hand to pull your tank top off. You ran your hands down his muscled chest. He really was too beautiful. It almost hurt to look at him and touching him only magnified the sensation. 

He spun and pinned you between his body and the wall next to the door, thrusting against you. The seam of his pants pressed against your clit and you cried out. 

“More.” 

Bucky dragged his mouth up your neck and set his teeth against your earlobe and that set you on fire.

“You’re so needy, Star. I get it, I really do. Been wanting to show you how I feel for 14 years…” 

You gasped and Bucky’s teeth scraped against your lip, making your nipples tighten in response. He let you down and stepped back, running his hand through his hair.

“Strip.”

There wasn’t much left to take off, but you obeyed and his grin made your heart stutter. 

“On the bed.” 

You crawled on the mattress and reclined among the pillows. You were rewarded by Bucky stripping out of shirt, and his pants and underwear in one go, shoving the material down his strong thighs and kicking free of them, leaving him naked. 

The sight of his large cock straining against his stomach had you biting your bottom lip.

You knew what came next.

You craved it. And you forgot all about Arthur. You reached for him. 

“Don’t make me wait any more, Bucky.” 

He pulled a string of condoms from the nightstand and tossed them on the bed next to you. You counted six and raised your eyebrows. Bucky gave you an unrepentant grin.

“One condition.” 

“Damn it, Bucky.” 

Of course there were conditions. 

“Stay in my bed tonight. Another fantasy of mine.” 

You melted. Why not? It was finally time to have what you wanted. And you wanted Bucky.

You met those intoxicating blue eyes and nodded. 

“Yes.” 

“Thank fuck.” 

He was on you in seconds, shoving your legs wide and he ground the base of his cock against your clit. He tangled his fingers in your hair and took your mouth like you were the sweetest fruit and he’d never get enough. 

You reached blindly over and grabbed a condom. You tore the wrapper with your teeth and you rolled it over his cock. He allowed it, shifting back to give you the room to work.

Your body cried for him; you needed him inside you and you needed it at that moment. You lay back and  guided him into you and he thrust in slowly, inch by inch, until he had sheathed himself completely. 

Oh god. The stretch. Bucky broke free of your mouth and pressed his forehead against yours, your breath mingling between you. 

Each of your exhales came out as, “Oh god. Oh god. Oh god.” 

He gentled his touch, stroking your hair as if you were a wild animal he was taming. 

“Stay with me, Starlight. I’ve got you.” 

As if this was something that was forced upon you, rather than what you grabbed with greedy hands because you wanted it so badly. 

You smiled, blissful. Fucked out, enjoying the feeling of Bucky’s cock pouding inside you. You needed more.

“Please move, friend. Fuck me, Bucky.” 

You hitched your leg around his hip so you could take him deeper and leaned up until your lips brushed his ear.

“I need it hard.” 

Bucky squeezed his eyes together and bit his lip as the pounding of his cock increased. You both thought he would cum right then.

“‘M not your fucking friend…”

He pulled out and flipped you onto your stomach, pulling your hips up even as he impaled you again. 

“You want me to fuck you hard?” 

“Yes!” you moaned. 

“Knees wider, Starlight. Let’s go.”

Bucky slapped your ass and then grabbed a handful of your thick hair, tugging at just the right amount of pain to go with the pleasure.

The first stroke was slow.

“Fuck, you’re gripping me like a fucking vice. Almost had me cumming a few minutes ago.”

You could tell that Bucky’s teeth were gritted when he spoke. He had to brace against the urge to rut into you like a wild animal, but his pace and intensity increased. 

For long, mind-blowing minutes, he thrust into you, paying attention to your sounds and movements to know that he was hitting that spot inside you. You meet him thrust for thrust as Bucky began to fuck you like his life depended on it.

He made the mistake of looking down at how your ass took the shock waves of his back shots and the evidence of your arousal left on his cock as he pistoned inside you and he cursed.

“Fucckkkkk! You should see the beautiful cream you’re leaving on my cock, Star. So fucking hot.”

The way you moaned set him on the road to orgasm and again and he reached for your clit, rubbing his thumb over it. Almost as soon as he did, you screamed his name and shattered beneath him. Bucky followed you headlong over that cliff and collapsed beside you, dizzy.

He looked over to see you already falling asleep, exhausted. He kissed your temple and went to the bathroom to dispose of the condom, coming back with a washcloth for you.

When he was done cleaning you up, he gathered your boneless body in his arms, pressing kisses to your forehead as you curled into him, your head on his chest and leg thrown over his. 

It was like you didn’t want to let him go.

“I know the feeling, Star,” Bucky whispered as he closed his eyes.

A feeling settling in his chest that he’d almost, but not quite, ever felt before.

[physalian]

Your colloquialisms are ruining the immersion (or, non-contemporary dialogue)

I am no expert here! Whenever I wrote historical fiction it was anachronistic historical fiction. This advice is from a reader’s perspective and from my experience writing high fantasy.

So what’s the deal with immersive dialogue? I’m going to ignore writing dialects and accents and so-called “old English” with the thee, thy, thou and such. Solely focusing here on the narrative telling me this isn’t set in present times, and yet the dialogue being painfully colloquial like present times.

This is coming from a book I had to read set in HRE times. In it, characters were spouting modern curse words, tacking on verbal tics and crutch words like “or something” and “um” and drawing out words like “daaaamn” and “nooooo”. Rip out the dialogue and toss it in a script with zero context and it would read like two high schoolers from 2009, not two adults from the Holy Roman Empire. Which is a problem, because it completely shattered the immersion. —

1. On so-called “formal writing”

Everybody knows that nixing contractions doesn’t do a damn thing to help your writing look more “formal”, it just looks robotic and stiff, right? We’ve gotten past this as a society? There’s a time and a place for replacing contractions with the full words, but not for every single sentence.

I swear this show keeps creeping into my writing advice but here we go. Transformers Prime. The context for Optimus’ dialogue has a lot to do with his aging voice actor, Peter Cullen, and the perception of the character over the decades from the corny 80s paragon hero everyman type leader to the grizzled and wizened old soul type leader. Optimus isn’t “one of the guys,” he’s old. Very old. He’s the dad of the group (one dad, his grumpy medic is the other dad).

So he gets lines like:

“I fear Megatron’s ambition is at its zenith.”

“But if his return is imminent as I fear, it could be a catastrophic.”

“I bore Skyquake no ill-will.”

He doesn’t curse like the other Autobots. His voice only raises in surprise, horror, or rage. He doesn’t go “um/ah/so/but/eh” and always thinks about what he’s going to say well before he says it. Despite him, Ratchet (the dad medic), and Megatron all being very old, Optimus is the only one who’s “proper” and collected and dignified with his lines. The writers didn’t achieve this simply by omitting contractions, he gets them where necessary and removes them when effective (e.g “We do not.” / “We don’t.”)

2. Thesaurus Rex

Continuing with the Optimus example, no other character in that show would use “zenith” unironically. Or “ill-will”. This doesn’t mean crack open and abuse a thesaurus but there’s a huge divide between:

“Megatron’s gone crazy and he’s going to implode soon” and “Megatron’s ambition is at its zenith”.

I can’ think of a better word to use than dignified, perhaps distinguished to describe his dialogue.

He doesn’t say “what?” when he’s confused, he pauses and says something like “please elaborate”.

This is both word choice and a syntax issue so if you’re struggling to fit a non-contemporary vibe for your work, pay attention to both.

3. When to abstain from cursing

There’s something very special about the dialogue in the Lord of the Rings movies: It’s PG-13 so they can’t curse, but if they had, it would have probably ruined the trilogy. These characters are able to yell in rage and anguish, spit vicious insults at their enemies, and stare down armies that are determined to kill them, all while never breaking the immersion.

Insults like:

“Late is the hour in which this conjurer chooses to appear.”

“Keep your forked tongue behind your teeth, you witless worm.”

“Your words are poison.”

And all three were said by or about Grima Wormtongue.

Characters aren’t dumbasses, they’re fools, with the exception of Gollum’s insults toward Sam, the “stupid, fat hobbit”.

Even devoid of name-calling, Denethor absolutely trounces his second son by asking (and I’m paraphrasing) “Is there any man here willing to do his lord’s bidding?” right after Faramir expresses some apprehension about a suicide charge with his remaining soldiers, completely ignoring him and implying that he’s not a real man.

LOTR is full of juicy lines beyond curse words, too. One of my absolute favorites is: “Dark have been my dreams of late” as opposed to “I’ve been having nightmares lately.”

Do you see?? It’s poetry. The motif of Shadow and Darkness as if they’re real, physical things, all the lines of poetry pulled straight from the books like Theoden’s “where is the horse and the rider” monologue just before Helm’s Deep.

It’s dignified.

—

This one was a bit harder to, ironically, put into words without doing a full-blown case study into either franchise’s ability to write dialogue and monologues. I didn’t even talk about Ratchet’s several monologues (one of which was done perfectly in the sound booth on the first take) because Jeffrey Combs has a voice like ambrosia.

TLDR: Immersion goes far beyond your vivid setting descriptors and the clothing or the names and languages. I mostly write fantasy and sci-fi and whenever I read or watch fantasy and sci-fi that isn’t meant to be a world different from our own, or about characters who don’t speak modern English, and they go off with modern slang, syntax, and verbal tics, it just feels sloppy and weak. Pay attention to the following:

Syntax

Modern slang and jargon

Filler words/verbal tics

Curse words/curses

Flat, unmotivated vocab

*All of the quotes were from memory because I watch both of these franchises way too often. So apologies if I got any wrong.

[ultravi0lence14]

Primadonna Girl

dean winchester x fem!reader

1.1k | fluff

summary: you and dean couldn’t be anymore different. but that’s why he loves you so much.

*loosely based on the song Primadonna by Marina and the Diamonds

sam couldn’t help but smile anytime he saw you and dean together.

the two of you couldn’t have been anymore different. yet, you two somehow ended up in a relationship. a year and a half long relationship that is.

dean winchester had always been rough around the edges. even as a young boy, people would look at dean and know to not get in his way, to not get him angry or the outcome wouldn’t be pleasant. his wardrobe always consisted of leather jackets, flannels, and big boots. something some people would find intimidating.

that had followed him into his teen years, and most importantly, as an adult. growing up with a berating father who saw you as nothing but a soldier didn’t help, and dean was sometimes jealous of sam for how level headed he was.

the thing was, you couldn’t be anymore opposite. growing up, you were as bubbly as a shaked can of soda. always laughing, smile on your face 24/7, and a knack for anything feminine.

you were a girl after all, and you couldn’t help but love anything that had to do with lace or dangling bows from wherever you could place them.

the narrative that a girl being hyper feminine and — for lack of better words — girly in nature was dumb or didn’t amount to much always made you angry. a girl could do anything a man could do if she was wearing slouchy jeans and a flannel or platform shoes and a skirt. it wasn’t how you presented yourself, it was your integrity, and how hard your drive to help people was.

crossing paths with the winchester brothers was never on your bucket list. you had heard too many stories of how those boys started more than one apocalypse, how they had a way of ending up in hell every other month. with your knowledge, you didn’t want anything to do with that.

if it wasn’t for you running into them on a case, you would have never given them a second thought. but you’d realized how dedicated the two were, how kind and how they were all around sweet boys. so you stayed. bonding with sam over your love for books and how you were both severely lactose intolerant.

dean on the other hand, he was harder to crack than his giant of a brother. the first couple of months the man did nothing but berate you. finding any chance he could to make a jab in your direction. you honestly thought he hated your guts, only for sam to finally admit that this was how his brother acted when he really liked a girl.

that same night, you confronted him. spewing multitudes on how treating a girl like that just because you have feelings for her is something a middle schooler would do. what you were not expecting was for dean to wrap his arms around your waist and press his lips roughly to yours.

since then, you two have been inseparable. sam couldn’t help but snicker when he caught his brother carrying around your purse, or walking behind you like a lost puppy. dean was wrapped around your finger, and anyone with eyes and a brain could notice it.

sam most importantly didn’t hold back in telling dean how whipped he truly was. all the older winchester did was keep on going with a smile on his face. knowing he’d do anything to just be near you.

all of this lead you two to this very moment, a calm night in the bunker as you and dean sat in his so called ‘dean cave’. on the couch and watching some cheesy teen drama on the flat screen tv.

you were sat in dean’s lap, legs moved sideways over his as he played with the lace trimming on your black knee high tights. dean’s grey henley and dark, plaid pyjama pants were in no synchronization with your frilled, white skirt and your big, fleeced, dark pink sweater.

the two of you were sat in a serene silence, eyes averted to the tv while dean’s fingers travelled up your calf and your hands found purchase in the tuffs of his hair.

neither of you had noticed sam’s figure in the doorway until you heard startle of laughter. looking up, you both saw sam leaned on the door frame, shit eating grin forming on his face as he analyzed the scene playing out in front of him.

“wow,” he started, shaking his head and having a strand of hair fall in his eyes. “if someone told me you’d be all domestic like this five years ago dean i would’ve laughed in their face.”

all dean did was roll his eyes, pulling you impossibly closer and nuzzling his face in your neck. promptly ignoring his brothers annoying remarks while also being in close contact to you. what else could he possibly need at the moment?

you just laughed, shooing sam away and watching him turn around a giggle all the way to his room. when the younger winchester was out of sight, dean moved his head so he could plant multiple kisses all over your face.

a squeal tore through your lips as you jokingly attempted to push him away, only spurring dean to hold on tighter to your legs as his mouth placed two sloppy kisses on both of your cheeks.

somehow in the midst of loud laughter and entangled limbs, you had ended up on top of dean. legs straddling his waist as he moved his hands from the top of your stockings to hold on tightly to your waist.

your hair had created a curtain around his face, and all he could see at the moment was your radiating smile and gorgeous coloured eyes. with a slight tug at his lips, he moved his hands under your sweater to soothingly move his hands up and down your skin. “you are the best thing to ever happen to me, sweetheart.”

a smile broke out onto your face, pressing a quick kiss to dean’s forehead before lying down and cuddling up to his chest.

all the winchester could do was hold you tighter, relishing in the fact that he had you. you, the greatest thing to ever come to him. dean sometimes thought he didn’t deserve you, that you were too good for him in so many different ways. but when you let him hold you like this, kiss your face and see you in any way possible, he knew that pushing you away would be the stupidest thing he’s ever done.

“i love you, dean.” you murmured, eyes back on the tv as his deft fingers on your back was calming you down. if possible, dean’s smile got even bigger. moving down to put a soft kiss on your head as he whispered back, “i love you too, Y/N.”

[justrustandstardust]

it's established that gojo's blindfold is a hallmark of his character. it's understood that the blindfold keeps things out; however, i also think there's something to be said about how it also keeps things in. despite the fact that there's already a lot of discourse regarding his blindfold, i think there's more to it than meets the eye (or doesn't, in the case of gojo).

this is going to be somewhat of a long post, but i promise that if you stick around, the end will make the journey worth it.

(this analysis is the lovechild of mine and @chiarrara, whose sexy big brain sponsored this whole thing).

as a character, gojo is unknowable without his eyes. it's very much proposed that gojo is his eyes; he's even repeatedly referred to as "the six-eyes brat". he's the strongest, and his eyes embody that status/symbol/role in the narrative. his eyes and his character are so intertwined that they almost become the same thing.

we are repeatedly reminded of his eyes throughout the story; they are perhaps his most distinct and identifiable feature. when we're shown the progression of gojo's life from birth to adolescence, we only see his eyes.

during this scene when toji is remebering him, he repeatedly refers to him as the "six-eyes brat". he is his eyes, and nothing else. that's the only thing that toji knows about him because to the jujutsu world, that's all he is.

however, when he's a teenager, although his eyes are more present than we've ever seen them throughout the series, they're noticeably un-glorified. they're undeniably present but they're unremarkable.

they're less symbols of his power and more what they are, which are just eyes. we see glimpses of his eyes so often that we almost forget that they're special, until he steps into his role as the strongest and reminds us of them.

it's important to note that what sets the depiction of his eyes apart here (versus when he's an adult) is the presence of geto. if you comb through every single scene with geto in hidden inventory, you will find that gojo's eyes are not the focal point of his character. they're backgrounded features; his eyes are either half-hidden or entirely obscured by his shades, and they rarely glow.

his eyes make themselves known when geto is absent, like during gojo's fight with toji. in these moments, he is the strongest, invariably leaving room for nothing else. the only exception to this rule is when he's carrying riko's body, in which his eyes glow when he toes the line between human nature and godlike power. if we understand his eyes to be conduits of his power, then their noticeable downplaying can be understood as gojo leaving behind his title as the strongest and stepping into his humanity.

when geto breaks up with gojo, his eyes are not only uncovered, they're un-emphasized. they're perhaps the dullest we've ever seen them, and their distinct, eye-catching blue is swallowed by the whites surrounding his irises. his strength and power don't matter in this moment, and his eyes reflect that. when he's losing geto, he is not the strongest; he is purely gojo satoru.

the emphasis on his eyes in his youth makes their absence in his adulthood even more stark. we rarely see his eyes now, and it's only in the direst of circumstances.

everyone is familiar with the dictum '"the eyes are the window to the soul", which is true: eyes let people see into us. however, they function both ways; like a two-way mirror, they also let us see the world. eyes let people look in, but they also let their beholder look out.

there's a reason gojo only put on the blindfold after geto left. why didn't he wear it from the start? why did he start wearing it at all? all the credit to @hijinks-n-lowjinks for their masterful analysis that inspired this idea, which is as follows:

"....Gojo wants nothing more than to leave the memory of Geto unscathed....There's still a part of Geto's memory that's untarnished if he keeps it private instead of exposing the depth of Geto's crimes to the students, and I think that's what he's clinging onto."

gojo wears the blindfold for two reasons: one, to keep people out, and two, to keep geto in.

in donning the blindfold, gojo seals geto in his mind and simultaneously seals himself off from the world. he holds geto inside of himself, rendering him (or gojo's construction of him) untouchable by anyone else. in order to achieve this, however, the practice necessitates that gojo keeps everyone else out, because they belong to a world without geto that gojo literally and figuratively refuses to see. the wall functions like eyes: twofold, both keeping in and keeping out.

geto can be understood as gojo's blindfold: he is the reason it exists and why gojo put it on the first place. the blindfold is an intractable element in how he (doesn't) navigate the world without geto, because geto's departure from his life catalyzed his withdrawal from the world, which is symbolized through the blindfold.

when geto was in his life, gojo let the world in because it had geto in it. after geto left, he wasn't there for gojo's eyes to find. the permanent blindfold operates like schrödinger's cat— instead of seeing a world without geto, gojo simply chooses to stop seeing.

it's worth noting that the literal barrier pairs with the figurative barrier gojo puts up, which is in his disposition.

there's a reason that gojo's cocky, lighthearted persona comes out when he's wearing the blindfold. it's a figurative barrier that matches the literal one. like i said before, we only see his eyes in the direst of circumstances, and his goofy, cocksure demeanour is notably absent from these instances. i'm not saying it's fake, but the persona is a front, designed to keep people at a distance. he plays it up, and it feels even more distant because we can't see his eyes.

however, gojo isn't the only person with a barrier.

after the breakup, we never see geto wear casual clothes. we always see him in his cult leader outfit, which is distinct and elaborate. geto knows it's a costume, evidenced by the way he even says it himself when someone asks why he's wearing the cult getup:

we also see a notable shift in his persona, to a crazed and almost manic disposition that contrasts starkly with the gentle, kind nature he had in his youth. geto's literal barrier is found in his cult outfit, whereas his figurative one is in his disposition. although they present differently, gojo and geto's literal and figurative barriers mechanize the same modes of expression that seem to be at odds with one another.

gojo’s disposition is designed to counteract the loneliness that shapes his character (a loneliness that geto abetted in being his companion) and geto’s disposition is designed to push people away, because he decided no one could understand him (a role which was previously fulfilled by gojo).

gojo can read geto in a way that no one else can, and geto is gojo's counterpart in a way that no one else can be— they’re missing something only the other can provide and compensating with two dispositions at opposite ends of the emotional spectrum.

when geto is dying, gojo drops the literal and figurative mask. he's almost unrecognizable; he's not laughing, he's not smiling, and he's not wearing the blindfold, because he doesn't need it anymore. the only person he wants to see, the only person he's ever wanted to see, is in front of him now.

however, once again, he's not only one whose walls have come down.

geto drops the manic persona (although he retains the ideals) and he gently smiles in a way that's reminiscent of his youth. his cult leader outfit is also falling off, exposing him in more ways than one. he admits that he never had any hate for anyone at jujutsu tech, and in doing so, materializes the version of himself that lived in gojo's mind for a decade. that's why gojo doesn't bother with the blindfold; the geto in his mind and the geto in front of him are congruous and he's looking at the person he's been seeing inside his head all along.

it's been established that we don't know what gojo says to geto. however, it is also absolutely key that we don't see gojo's eyes in this deeply intimate moment. his eyes, which are inextricably linked to his strength and his role. his eyes, which are the medium through which he limits his engagement with the world. his eyes, which he sealed after geto left and only brings out when he's tasked with fulfilling his role.

in this moment, he considers the question geto asked him during the breakup. "are you gojo satoru because you're the strongest? or are you the strongest because you're gojo satoru?"

and in shielding his eyes from us, gojo answers him.

"i'm gojo satoru because of you, suguru."

his eyes, as the windows to the soul and witnesses to the world, are looking at geto suguru not as the strongest but as gojo satoru, and they are meant for geto alone. yes, the eyes are the windows to the soul but they're also two-way mirror— gojo opens his eyes for geto to look into his soul because the material manifestation of his soul is dying in front of him right now. in baring his eyes, he bares his soul.

before geto dies, we see him the same way gojo does. he seems bashful, almost shy, even mirthful; all traits that are antithetical to the crazed front he put up earlier. conversely, gojo is the most solemn we've ever seen him. in this moment, we see them both for who they really are, because they literally and figuratively only reveal themselves to each other.

after they part ways in shinjuku, geto and gojo embody the same barriers through identical mechanisms: fabric and persona. these barriers function to do the same thing, which is to keep people at a distance in order to leave space for the one person noticeably absent from their lives. it's very fitting that their walls come down as they meet for the last time, because the only people who could've torn them down are the same people for whom they put them up in the first place— nobody else but each other.

[cognitiveleague]

Something I really enjoy about the Dressrosa arc is the narrative comparison and contrast presented between Law and Doflamingo.

Oda, especially post-timeskip, devotes a lot of storytelling to looking closely at protagonists and villains alike, asking the audience to join him in exploring questions of “what made them like this?” and “does it matter what drove them, at the end of the day?”

And Dressrosa is one of the places where those questions hit the hardest for me, because one after the other, he shows us two children — both having experienced a fall from (different degrees of) privilege and into incredibly traumatic situations at a young age, both victimized for things they had no means of controlling as children. Law and Doflamingo are both shown as being radicalized by that trauma and loss of control, rejecting the gentler values their parents tried to instill in them because they reached a point of not being able to see a point in compassion, or hope for any justice but revenge.

In the present, Doflamingo hasn’t really known for a very long time who Law truly is, but in a sense, he wasn’t wrong when he saw himself in the way a younger Law reacted to the loss of his former life by wanting to lash out at the world. In that moment, there was something in Law that DID reflect his own wounded inner child’s rage, and in a strange way, he clung to the connection he felt with that worst possible version of Law long after Law had discarded it and moved on.

The question implied there is “what made them different in the end? What redeemed Law, and what (if anything) pushed Doflamingo past the point of redemption?”

While the second question (as is often the case) is up to a lot of interpretation, the answer (as with Big Mom in the following arc) seems to me to lean toward “while his choices were his own and he ultimately has responsibility for them, it’s also true that when he was young and vulnerable and poised to go down a path of destruction for himself and everyone around him, the adults in his life used his brokenness to their own selfish advantage, encouraging him along that path instead of teaching him better; whether or not it absolves him of ANYTHING at this point (and it certainly doesn’t absolve him of EVERYTHING), there is a tragedy in the fact that we will never see who he might have been if he wasn’t encouraged and enabled to embrace his worst impulses.”

That tragedy is a core part of Corazón’s story — Corazón’s big brother who never grew past fear and rage and clinging to the selfish comfort of the memory of how easy their past life of privilege had been, who thought he loved him on some level, and who on another level probably knew he never developed the capacity to truly love anyone but himself. I think it’s probably why Corazón didn’t pull the trigger fast enough, when it came down to it — even after seeing what a monster his brother had become, even after dedicating his whole adult life to stopping him from hurting even more people, part of him still remembered the wounded, frightened child in his big brother, and the times he’d tried in his selfish way to protect him. Something in him still had sympathy for that child, and wanted, if not to believe, then at least to hope (even against all evidence) that enough of him was still in there that HE wouldn’t pull the trigger without hesitation, either.

We know how that story ended. It was far too late for his kindness to save Doffy by then, if it had ever been possible — there might have been something left in him that could feel something akin to regret over killing Corazón after the fact, or at least greedily resent the loss of him, but if there was, it wasn’t able to stop him.

But in the end, Corazón’s kindness — his compassion, his determination to believe that even a deeply wounded, deeply flawed world was worth placing his hope in and fighting for, his unrelenting love — was worth it, because it saved Law. It was enough to save the bitter, broken child Doffy saw so much of himself in.

Corazón took Law away from the adults who would have enabled him the way Doffy was enabled at his age, and put in the hard work of showing him, day after day, that while his pain was worth acknowledging and sympathizing with, he was worth more than just revenge — he was worth love, and healing, and the fight for a world better than the one that had hurt him so badly. He taught him not a naïve hope like the one the adults in Flevance had tried to give him, but a stubborn, bitter hope, one that laughed and spat a bloody declaration of victory right in the face of the enemy even when their backs were to the wall, hope with its teeth bared in defiance of a world that Law already knew to be unjust and pitiless.

That is what made Law’s story end differently than Doflamingo’s, and how we ended up with the version of Law that we and the Strawhats get to know - a man determined to trudge on, in spite of his own pain and disillusionment, as the bearer of lights that would otherwise be lost, those left in his hands by people he saw (still sees) as having been kinder, gentler, more deserving than he was of survival. A man who covered his body with reminders of the love that dragged him kicking and screaming into the light when he’d given his own heart up for lost, who named his crew in honor of that love, who devoted the rest of his life to making sure that love and that sacrifice mattered. A man all too familiar with his own worst impulses, who struggles to see or to trust in his own kindness, but who has chosen to be a defender like Corazón was to him, to be a healer like his birth parents were to those around them, to be not a tyrant like his former mentor, but a leader who loves and respects the people who follow him, and who is genuinely cared for by them in return.

And, despite his own misgivings, despite not being someone who reads to strangers as warm or caring, he is kind. He has chosen, through the love that was shown to him, to be a genuinely good man — faithful and just to his friends and allies and those he’s seen wronged in front of him, unwilling to demand sacrifices of others that he wouldn’t give of himself, determined to fight back against the ugliness and apathy and cruelty of the world, to wrest every bit of hard-fought justice he can from life not only for himself, but for others who have been crushed down by life.

It’s thematically fitting that he specializes in surgery, even completely aside from how suited his power is for it. As a character, his narrative is fundamentally about having chosen to become someone who can offer the world a surgeon’s sort of kindness —not warmth or softness, usually, but the mercy of a sharp, careful blade, a steady hand, and a clear understanding that sometimes, you have to roll up your sleeves and do the ugly, messy work of cutting away what’s too damaged to save before the healing can begin.

[fatkish]

Hey, it's me again!

I have another request if that's ok. If not, I understand.

Pro heroes (All Might, Aizawa, Hizashi, Midnight, Ryukyu, Fatgum) Mirko who adopted a child with a dangerous quirk that's hard for them to control and is scared that they'll end up hurting people because of it. The kid being only around 3 years old

Pro Heroes x Nezuko Reader

(I know I already did this but I just love Nezuko and it’s the only thing I could really think of that would work. That’s also why Aizawa isn’t in this, because he was in the previous one)

So the narrative is that the police got a call from civilians saying that a child just got their quirk and is out of control. The police alert the heroes and the following is how I believe each person would handle the situation and how they would help the child if they’re the one who answered the call. Each one of the heroes gets the reader a muzzle for them to wear after they adopt the reader.

All Might:

Was shocked at how strong you are in your adult demon form

Gets a bite taken out of him and while their teeth are in his arm, he hits their exposed neck knocking them unconscious

After that he asks one of the police for help and manages to fashion a makeshift gag/muzzle

The reader’s parents were unfortunately killed by the reader in their transformation induced hunger and rage

All Might decides to adopt the reader since he fears what AFO would do if he found the child and stole their quirk

When you wake up and learn what you did you end up crying and he holds you in his arms as he laughs and shows you that he’s fine

Present Mic/Hizashi:

Was slightly scared by how strong you are in adult form

He handles the situation similar to All Might

Although he does get bitten a lot more, he refuses to use his quirk on the reader

Seeing as the parents are il-equipped to handle the reader, he decides to adopt them and help them

He helps the reader fight off their hunger for humans

Likes to play games with the reader and helps them learn how to control their quirk

Midnight:

Isn’t too scared of your strength since she barely saw it

Midnight puts the reader to sleep and has the police help fashion a makeshift gag

Seeing as the parents are too scared of the reader, she adopts them

She loves dressing the reader up in cute outfits and the reader loves having Nemuri do their hair

She teaches the reader restraint and helps them fight their hunger for humans

Ryukyu:

Is amazed by how strong your quirk makes you and knows you’ll get even stronger

She manages to subdue the reader until the police can put a muzzle on them and quirk restraints

She tries to find the reader’s parents at the scene but later finds that the parents abandoned the reader and don’t want them

She takes the reader in and teaches her how to get used to their new life with their quirk and helps them fight their desire for human blood

Fatgum:

Is surprised by your strength and how powerful your quirk is especially for someone your age

Uses his fat to subdue the reader and puts quirk restraints on the reader

When he discovers that the reader’s parents are villains he decides that he’ll adopt the reader since their parents are locked up anyway

He helps the reader overcome their hunger for blood by making sure they have plenty of alternative food to eat, no eating people

He loves cuddling with the child and helps them learn to navigate their new quirk

Mirko:

Knows that your strength will make you a great hero someday

The only one who actually has to fight the child in adult form

Does get bitten but doesn’t mind

Like Midnight, the parents reject the reader saying that the child is a monster so she adopts the reader

Teaches the reader to put their hunger into their resolve to not eat people

Teaches the reader how to fight and use their quirk

[mapoeggplant]

skip to loafer and the "i love you as a person" message

skip to loafer general spoilers

one thing that i'll always be very grateful of skip to loafer is really how they highlight so much the "i love you as a person" mindset — and how that is present in all the narrative, not only on shima and mitsumi's relationship.

this is not only important for the story's target audience, but it also opens the door to a discussion about the value of platonic relationships, which are often "denied" because they are not as "important" as romantic love. and this happens not only when mistumi tells shima that she will like him no matter what happens or who he is — the message spreads to other characters as well.

one of the examples i love most is the moment mika confesses to shima. throughout the chapter, all of her insecurities are exposed and she tirelessly hurt herself saying things like how she doesn't deserve to have someone who likes her in any way (a reflection of the way she was treated throughout her adolescence). this dissolves when shima refuses to throw away the valentine's gift she made especially for him and thanks her for all the care she took with it — an affirmation that her hard work has been recognized and appreciated. this shows mika that she is a person who deserves love and to be valued. for the first time, mika understands that she is being seen as a person, as someone who deserves to be treated well and be recognized.

i know that many people must be thinking that there was an intention for a romantic development in this scene and yes, i agree. after all, mika went to him to confess her feelings. but the way in which the scene was handled makes me think that being seen as a valid person to have feelings was worth much more to her than having her romantic feelings reciprocated — and this, in my opinion, comes back to prominence in chapter 54, when nao, once again, recognizes her pain and connects with it (the appreciation of the "self" when you find someone who understands where you’re hurt).

(...)

(this part wasn't included on the original analysis, but later on I decided to add:

oh my god i was so focused on some very specific scenes for mika that this one slipped my mind and i feel so bad for that! this moment is one of the most important for mika’s development and it also highlight the first time she was seen as a person (by no other than nao). since that day, mika holds nao to a very important place in her heart. i feel that she, at that time, said exactly what mika needed to hear to feel validated and to feel comfortable enough to just go back and spend the night with the girls. if it wasn’t for nao at that time, mika would probably go home and regret ever making this decision — and this ties directly to chapter 54.)

(...)

the second character i want to talk about is yuzuki and all the times she had her identity erased thanks to other people's selfishness.

since the opening of chapter 38, yuzuki talks about how she was always seen as someone whose time was numbered: there was a countdown until the day she achieved "true beauty" and began to be an object of desire, no longer a person. this not only happens thanks to the disgusting adult men that surround you, but also thanks to the friends she tried to make in middle school, one of the most important times of a child’s life, phase where they are beginning to recognize themselves as a person.

yuzuki is simply seen as a object of status to the boys in her class, while to the girls, she’s someone who was only interested in "diminishing others with her beauty" — something she never did, but never even had the chance to defend herself. 

Thanks to that, yuzu is forced to grow up without having an identity of her own, but one forced on her, causing her to rebel and refuse to open up to new people. she had her feelings denied, being defended only when there was a sexual/romantic interest in the mix and forced to believe that she was being selfish for denying such a privilege of being "spoiled" and "admired" by everyone, all the time.

yuzu gets her chance to be valued as a person when she enters high school and meets mitsumi and the other girls. she is, for the first time, seen as a person, seen as a yuzuki, seen as someone who has the right to impose herself and be selfish, something she has never been able to be before. her feelings are not diminished or seen as "not valid enough” but most importantly: she’s finally heard. 

and then, i think we have one of the most important “i love you like a person” moment: the breakup chapter. chapter 46 is a huge twist to skip to loafer’s romantic narrative, which i myself appreciate a lot. kind of a personal twist here, but it’s a breath of fresh air for someone like me, a demi girl, who always had a little trouble with understanding love when i was their age — and now, basically ten years later, mitsumi’s words not only reached shima, but it also reached me and other thousands of readers who needed to hear something like that.

but well, let’s get back on track. chapter 46 is one of the first times we see shima talking about his past relationship with other people and going a little more in-depth with his relationship with his mom. the core message of it all and the core line that guides all of his personal connections is very simple and highlight why shima have so many trust issues: no one ever saw him as a person, but only as a status object, as someone who was there to be used for their own benefit. shima was used by his mother when she forced him to keep on acting, was used by his peers in a situation a little similar with yuzuki (ofc not completely equal, because we need to remember that gender roles also have a huge influence on how both stories developed (see ririka, for exemple. i have a whole thread on her as well, but this is another topic), when both felt like they were nothing but puppets to the ones around them. 

when shima is sitting by mitsumi’s side, he starts to wonder if he really deserves all of that, if he really deserves someone like mitsumi near him. he doesn’t understand his feelings as a whole, because he was never given the opportunity to really explore them and try to dissect it all — this is brought up once again on chapter 53, when he starts to discuss with mukai what it means to love someone in a romantic way (and why loving them as a person isn’t enough on society’s eyes). 

he’s not, at any point, using mitsumi or making fun of her feelings. imagine if you were never allowed to think for yourself and then, suddenly, you have the freedom to do so. how does one express something they never had? how does one understand what it means to have a feeling, any feeling, if all they ever felt was guilt?

and that’s when the bigger bomb hits the scene: mitsumi, seeing how troubled he is, shows how important he is and how she values him as a person. it might seem silly to a lot of people, but just hearing someone saying “i will always like you as a person, no matter who you end up being” when all you ever heard in your life was how useless you were, makes you whole world crumble on the spot. he was seen, he was heard, he was understood. mitsumi valued him to the point of assuring him that a romantic relationship wasn’t more important than the platonic one they had. isn’t that beautiful?

to finish it off, i think the conversation the girls have on chapter 57 is also extremely important to the narrative and to the overall message. by not wanting the girls to see shima in a terrible light, mitsumi is, once again, putting their relationship as friends above any other romantic relationship they could have. she shows how much she values him and how much he is important to her — she sees shima as a person, not as an object. 

and then, makoto comes to picture with a beautiful speech about how loving someone (any kind of love, not one or another) is to hope that they are happy, content, being taking care of and being comfortable with their own feelings. by forcing someone to feel anything you selfish want, you’re not valuing them as a person with their own feelings and insecurities, but only seeing them as a way to satisfy yourself.

of course, i’m not here to defend everyone and say that they never hurt anyone. yes, shima did hurt mitsumi and she still not completely over it, but she’s way worried with losing him as a friend than forcing something out of a relationship that both don’t feel very comfortable with. mitsumi herself is also someone who is slowly understanding her feelings and understanding what it means to love romantically — but never putting the platonic side aside, since there is no right way to love someone.

thank you so much for reading!! i hope i was clear about the points i was trying to bring up, but i'm always open to discussion!!! 💛

[crystalrainfall]

I love how in 2003 Ed in the beginning is so shy! In the dub he stutters as well and flip flops over how to properly Adress Mustang it's absolutely adorable.

He has like respect for people older than him, he's not stepping over boundaries of people he barely knows, he has manners -

Like he used to be a really sweet boy before the world decided to take a massive shit on him daily.

Makes you wonder how he would've turned out if he wasn't exposed to cruelty so early.

2003 really puts an emphasis on the relationship Ed has with adults and facing his own maturity and growth as a person and how all that is significantly influenced on the people around him.

Ed doesn't really start off disliking Mustang until he realizes that mustang basically tricked Ed into

1. Proving himself to be capable.

2. Using him to partially deal with his dirty work.

Although I don't think roy was being super malicious and was putting Ed into alot of danger, sure alot could've gone wrong but he knew where the train would arrive and that Hughes and falman (?) were on

(roy trusts both of them and knows they're capable)

They were on board so if things were to go wrong they would be there at least.

It was just a controlled environment to see if Ed was actually capable to deal with far worse shit in the military because at that point in the narrative Ed is still super naive and childish, he's not all sunshine and lollipops but he doesn't really get the heavy implications that the title of state alchemist bears either.

Just look at how happy he looks after he got it, holding it up like a kid would a medal, presenting it with pride.

Anyway after the train arc Ed developes his iconic rivalry/"hatred" of roy that we all love to see on screen <33

Afterall, in Ed's point of view he's been tricked, he's been bamboozled, he's been Lied to.. ect

Ed's face of pure disbelief as the dying embers of respect he held for Mustang dies out:

[voftdubsofficial]

Do you like how chaotic and mean spirited homestuck^2 has become????

Oh boy do I have so many thoughts about this topic haha. This is going to be a long one and I’m sorry in advance.

Personally I absolutely love Homestuck^2 and Beyond Canon. Tbh I wouldn’t be putting so much effort into a dub of it if I didn’t. And when it comes to Homestuck^2 and the epilogues, they were made to evoke specific emotions and the fact that some people feel that it was “mean spirited” and “chaotic” means that they are doing their job well.

I’ve always stated that, while one of the major themes of Homestuck proper was about being a kid growing up on the internet, one of the major themes of Post canon Homestuck is about living in the world as a traumatized adult. I may be a little biased about this because I waited to read the epilogues until I was 20 and felt very connected to the 23 y/o cast of post canon, but it struck me as very relatable watching the way their lives were playing out. Anyone past high school knows that when you finally get out into the real world, a lot of things and people change, even the ones you’ve grown incredibly close to. Some end up incredibly depressed, some end up fully occupied by their jobs and responsibilities, some become people that you barely even recognize anymore and no longer like, and some end up disappearing one way or another. It’s the way of life and it was really relatable to read through.

Another part of it is trauma and how the story has affected our cast. I think a whole lot about what comes after the story, how the protagonists return to their lives, how the adventures have changed them. When it comes to Homestuck, these were kids who were plucked from their normal lives at 13 years old and for some even younger, a time in your life you’re supposed to be doing the most growing up and maturing, and they had to spend it in a traumatizing life or death scenario that caused them to watch their friends die multiple times over. And then… they’re just dropped into the new world as gods, disconnected from society yet trying to just exist within it as well. There was no way for them to end up with a perfectly happy ending, not without a lot of bumps along the way.

Similarly the main conflict of the story is once again about endings. Much like in Homestuck proper Calliope is cast as an insert for one side of the fandom, however this time the other side is cast as Dirk. With Dirk being the side of the fandom that is scared for the story to come to an end, scared for him and all the friends he cares about fading away in to non-canon, scared to the point that he makes himself the villain to keep the story going. Calliope is the side of the fandom that just wishes for Homestuck to have an ending, attempting to rip the narrative away from Dirk, trying to stop his plans on Deltritus, and even so far as placing the candy timeline in a black hole completely severed from canon. I think it does a really good job of representing both halves quite nicely.

Speaking of meat and candy. They both are also meant to evoke specific emotions. The epilogues as a whole do a really good job with making you feel specific way. With the whole thing being text with no pictures, it feels a lot less accessible to the fandom because it’s not what we’ve expected from homestuck in the past. It already starts you off feeling off, just like John is. Then as you go on slowly you get more and more comfy before you’re given The Choice. Meat or Candy? Meat presents you with a story that is grounded, familiar, canon. Something that feels a lot like the Homestuck you know. While candy provides you with something that feels… off, unsettling, non-canon. In a way you can’t really pinpoint until John states that he feels it too. And there’s a lot of things that help provide this but the one I want to point out is Gamzee. He’s present all throughout the candy epilogue, showing up in places no one wants him and places he shouldn’t be. However, when a piece of canon finally pierces into the isolated timeline, when Vriska falls from the battle with lord english, the clown finally dies. Stuff like this just shows how well post canon does at making you feel the things it wants you to.

Overall the main point i’m trying to make here is that post canon in general is really good at making you feel emotions that match the themes and tone it’s trying to get across. It’s a coming of age story not for teens but for adults. So if you’re feeling like the story is chaotic and mean spirited, that’s because you’re supposed to. And I think that’s pretty cool.

[hauntingofhouses]

We all already know Mizu and Akemi are narrative foils. But you know what? Lemme just say it, here's what I think:

Taigen and Mikio are foils.

Not necessarily to each other as individuals in the way that Mizu and Akemi juxtapose each other, but mostly in the contrast between their relationships with Mizu.

I've covered specific parallels between Taigen and Mikio in other posts I wrote; but as the number of parallels I'm noticing between them keeps piling up, I'm compelled to just compile them all in one post. So! This is, thus, the post in question.

First of all, let's look at their similarities.

1. Their status in society is the same. They are both samurai who lost their honour and have dreams of reclaiming it.

2. They are also both diligent as they strive to achieve this goal, they both care deeply about their work, but here as they begin to contrast, as the work in question and way they go about their goals is different:

For Mikio, his work is in taming and rearing horses; in order to prove himself, he must tame Kai—a willful and strong horse—and present it to his lord. For Taigen, his work is in sword fighting and martial arts; in order to prove himself, he must kill Mizu—a willful and strong swordsman—and present her dead body to his lord.

In the parallel above, not only are Taigen and Mikio contrasting each other, but Mizu and Kai are placed in comparison as well. And of course, Kai is Mizu's horse, and represents her. Which is why, when later, Mikio sells Kai off, it represents the way he is tossing Mizu (and their relationship) aside.

From there, the rest of the details of their character begin to contrast and juxtapose each other more clearly. So let's look at those differences, shall we?

Their backstory:

Mikio was a great samurai who was banished. A somebody to a nobody. Taigen was a fisherman’s son who rose to the top. A nobody to a somebody.

2. The first time we meet them on-screen:

Mikio is an adult. An older man. Mizu's superior in age. He is Mizu's to-be husband. A love interest. Taigen is a child. A young boy. Mizu's peer in age. He is Mizu's bully. An antagonist.

3. Their maturity and growth:

Mikio is mature, but stuck in his ways. Taigen is immature, but capable of changing and learning.

4. Their overall attitude:

Mikio is generally relaxed, easy-going and unfussy. Taigen is uptight, irritable and severe.

5. How they talk to and conduct themselves around Mizu:

Mikio is aloof, soft-spoken, and serious. Taigen is obnoxious, brash, and sarcastic. Mikio is quiet, speaking only when spoken to, even when Mizu turns to smile at him and shows openness to be near him. Taigen is loud, talking while others are silent, even when Mizu turns from him and shows no interest in conversing with him.

Mikio doesn't show much of who he is to Mizu throughout their marriage, despite their growing affection. Taigen openly shares his traumas and life story to Mizu during their brief alliance, despite their mutual antagonism.

6. Their external vs internal selves:

Mikio is calm, gentle, and considerate on the outside. Taigen is hot-headed, rude, and selfish on the outside. Mikio is cowardly and deceitful on the inside. Taigen is brave and loyal to a fault on the inside. Mikio tells Mizu that he wants to know and see all of her. But he scorns and betrays her, the woman he loves. Taigen tells Mizu that he wants to duel and kill him. But he endures torture to not betray him, the man he hates.

9. Their hair, a symbol of their honour:

Mikio's topknot is untied by Mizu during their spar. This humiliation occurs in private, the two of them alone in a rural location where no one can see them. Taigen's topknot is cut off by Mizu during their duel. This humiliation occurs in public, the two of them being watched by many others in the Shindo Dojo.

10. Their power dynamic with Mizu:

Mikio believes he is Mizu's mentor. He teaches her to throw knives, how to ride and care for horses, and about the tactical benefits of using a naginata. Taigen believes he is Mizu's equal. He views Mizu as a samurai like himself who received all the same teachings he did, and who possesses the same values.

11. Their perceptions of Mizu:

Mikio sees Mizu's feminine side first. He sees her as sweet and gentle, but also clumsy and incompetent. Taigen sees Mizu's masculine side first. He sees her as terrifying and deadly, but also strong and skilled.

12. The way they approach sparring with Mizu:

Mikio only spars with Mizu once. As the fight progresses and she is beating him, he tries to put a stop to it. When she teases/provokes him, he starts taking the fight personally and seriously, finding no enjoyment in it. Taigen spars and brawls with Mizu all the time. No matter how many times Mizu beats him, he doesn't back down. When Mizu challenges him with a chopstick, he is eager to compete with her and gladly rises up to the challenge.

Mikio and Mizu's one and only spar is a friendly match; Mizu is smiling and having fun while he grows increasingly frustrated. Taigen and Mizu's last-seen spar is a playful wrestling match; both him and Mizu are having fun and laughing.

Mikio cannot deal with Mizu being better than him, so he scorns her and walks off, avoiding her thereafter. When Taigen cannot deal with Mizu being better than him, he follows her to observe her moves and continues training in hopes to eventually beat her. After being bested by Mizu once, Mikio leaves her and sells the horse he'd previously gifted to her. After many times losing to Mizu and fighting alongside her, Taigen commends her and admits she is better than him.

13. When Mizu pins them down in a friendly spar:

Mikio sees Mizu's whole face objectively. Taigen stares at Mizu's mouth and eyes.

Mikio gets angry when she kisses him, throwing her off of him and snapping at her, calling her a monster. Taigen gets aroused, apologising, so she pulls herself off of him.

14. Mizu's blue meteorite sword is a reflection of her soul. She believes most are undeserving to face it, let alone hold it. And on that note:

Mikio is the first person (chronologically) that Mizu fights against using her sword. Taigen is the first person (we see on-screen) that Mizu fights against with her sword. Mikio is the first person (chronologically) to ever hold her sword, as she passes it to him, letting him wield it. Taigen is the first person (we see on-screen) to ever hold her sword, as she passes out, and he picks it up and carries it for her.

15. Then, last but not least, in Fowler's fortress, when she is drugged and in pain, she hears Ringo's voice in the dungeon. She then follows it to an open cell:

Mizu first sees Mikio as a hallucination, the sight of him haunting her and causing her to lose her grip on reality. Her eyes glow a surreal blue to represent this. Her Mama appears then and says Mizu's name accusingly.

Mizu then sees Taigen, but he is real, the sight of him a relief and grounding her back to reality. Her eyes return to their normal blue colour to represent this. Taigen looks at Mizu weakly and says her name softly.

Then, later, when facing Fowler, her revenge awaiting her, she instead chooses to follow her conscience (represented by Ringo's voice in her mind), putting aside her vengeance for a time, in order to save Taigen.

So that's basically all the ones I've noticed so far, but even then, I feel there's already so much that forms a contrast between these two.

What makes it especially incredible about these juxtapositions is that Mikio was Mizu's husband, the man she had fallen in love with, the one person she had ever been intimate with, the man who made her begin to accept herself, to put down her desire for vengeance and instead live a life of peace and happiness.

So for Taigen to have so many parallels with him... Do you see what I'm saying here!

Not to mention that Mizu clearly already has some burgeoning attraction to him, as indicated by how she thinks of him when asked about her desires. And Taigen clearly has shown interest as well (see: him getting a boner after their spar, him holding her hand and telling her, "We're not done yet.").

And on the topic of speculating future possibilities of this relationship, this post by @stromblessed has pointed out yet another parallel between Taigen and Mikio:

Mizu promises Taigen to meet him for their duel in autumn. Mizu fell in love with Mikio and duelled him during autumn.

With all that said, I do believe Mizu and Taigen's relationship is definitely hurtling towards something. But whether they will actually end up together in a sustainable relationship and have a happily ever after? Well, that is a whole other story; we'll just have to wait and see.

[wisteria-lodge]

I LOVE the version of Lucius in your fic Prison of the Phoenix. He's different from a lot of portrayals I've seen. Why did you decide to write him how you did?

A lot of the fun of writing a book-accurate fix-it fic comes from taking the events of the book, and removing JKRs (simplistic, misleading, sometimes just weird) narrative framing. Slytherins = baddies, Gryffindors = goodies, you know. 

This is especially fun with Lucius Malfoy, who just like… isn’t very evil? Chamber of Secrets is his most villainous book, and I’ll get to that, but otherwise? He tries (unsuccessfully) to get the animal that attacked his kid killed. He donates to hospitals (but in like, an evil way.) He is a hilariously incompetent Death Eater, and then he's Voldemort’s punching bag. 

That’s kind of the point of Lucius. He looks the part. He commits to the aesthetics of the thing, with the hair and the peacocks and the snake-wand-cane. He likes the mystique of walking into a room and knowing that you know (but can’t prove) he’s a dark wizard. It allows him to be… kinda lazy. He can coast on his family name, money, reputation, privilege. I really think that if you sat Lucius Malfoy down and asked him to walk you through all the wizard-supremacy talking points he wouldn’t be able to do it. He’ll toss around words like “mudblood” and “mudblood-lover” no problem, but in the end he doesn’t really care. Lucius is not a true believer. The way the world is set up benefits him tremendously and he doesn’t want Voldemort back. That’s just text:

“Use your brains, Ron,” said Bill. “If they really were Death Eaters… I bet they’d be even more frightened than the rest of us to see him come back. They denied they’d ever been involved with him when he lost his powers, and went back to their daily lives… I don’t reckon he’d be over-pleased with them, do you?”

Lucius and friends had too much to drink at a sporting event, put on the old outfits (again with the aesthetics) and started levitating muggles. Which obviously isn’t GOOD, but they’re not killing or torturing, or furthering any kind of agenda. It’s important that Barty is so insulted and pissed off by the way they’re basically playing Dark Wizard that he casts the Dark Mark to “show [them] what loyalty to the Dark Lord meant, and to punish them for their lack of it.” Which kicks off most of the events of the book. 

Prison of the Phoenix is going to have a companion, parallel fic told from Harry’s POV (tentatively titled Harry Potter and Malfoy’s Suspicious Interest in Werewolves.) Lucius does show up in that one, and I was honestly surprised by how much more frightening and intimidating he is when filtered through Harry’s perspective. Because with a Severus POV… when Severus is used to spending time around Voldemort, Greyback, Bellatrix, honestly Dumbledore and Sirius Black…. Lucius is not scary. Lucius wants to buy presents for his son, go to high-profile events with his beautiful wife, and wear a variety of snake-themed accessories and extravagant hats. 

I wanted a kind of college-roommates-who-stayed-friends feel for the Severus + Lucius relationship, because they are friends. Sirius calls Severus Lucius’ “lapdog,” and Narcissa calls him Lucius’ “oldest friend.” Lucius is also part of the welcoming committee when Severus is first sorted into Slytherin. He’s five years older (I think Jason Isaacs is the only Harry Potter adult the same age as the character he plays), which would have affected the dynamic between him and Severus a lot in school. Personally, I think it makes sense for Lucius to be a little protective of this brilliant half-blood kid with no money. And as an adult, there’s some guilt mixed in there as well. Severus probably would not have been sucked into the Voldemort thing nearly as deep or nearly as fast if it hadn’t been for Lucius, and the war kind of destroyed him. Lucius remembers a younger Severus who was modding potions, inventing spells, coming up with cheeky nicknames for himself, and that person is gone. That’s a big part of the reason he’s so invested in the Severus/Remus relationship in Prison of the Phoenix. Something about Remus has managed to wake up parts of that younger Severus, and Lucius thinks that’s fantastic.

I also think Lucius might be the character who knows Voldemort the best. He’s one of the only Death Eaters who Voldemort calls by their first name (Bellatrix, Severus, and Draco are the others) and he’s weirdly familiar with his “slippery friend” Lucius, addressing the whole speech about how/why he returned to him, for some reason? Anything that helps Voldemort make sense as a person I’ll take, and to me it makes sense that young Tom Riddle charmed Abraxas Malfoy, Lucius’ father, first. The dates are right, and he’s exactly Tom’s type - rich, pureblood, probably easily flattered (let’s be honest) and sitting on a pile of magical artifacts. It’s very Hepzibah Smith vibes, is what I’m saying. And rich, posh, popular seventeen year olds don’t join cults. But if Lucius’ father was already in a cult… 

It also makes sense to me that Tom Riddle got sort of stuck when he killed Marvolo Gaunt, and made his first horcrux at sixteen. He has this fascination with sixteen year old pureblood wizards (so Barty, Draco, and Lucius would have fit this profile.) He sort of wants to be them, but also sort of wants to break them? It’s messy, and complicated. It’s creepy and compelling, that Lucius is aging but this spectre that’s dominated his life isn’t. 

And so when Lucius gives Ginny the diary in Book 2… it makes sense that he’s just trying to get rid of it. He was just at Borgin and Burkes selling dark artifacts, but knows that the diary is worse. He needs to make sure it can’t possibly be traced back to him. So he gives it to the daughter of the head of the Misuse of Muggle Artifacts office. (It is an enchanted muggle artifact, after all.) If Arthur Weasley finds it and deals with it, fine. If Ginny is discovered with it in a way that blows up in Arthur’s face, also fine. If it does get to Hogwarts and does open the Chamber of Secrets - well Draco is going to be fine, and it might undermine Dumbledore. If it was really important to Lucius that the diary rid the school of muggleborns… he would have given it to Draco and had him use it. Or given it to Draco, and told him to leave it somewhere for an enemy to find. But Lucius doesn’t do that, because he doesn’t want Voldemort back and his politics just aren’t that important to him. 

The one trait I did give Lucius is being an unrepentant wife guy. (And I mean… it doesn’t contradict anything. There isn’t anything in the books to suggest that he isn’t a wife guy.)  EDIT: I cannot believe I forgot the little "it's going to be okay" wrist squeeze Narcissa gives him right before he passes Voldemort his wand. This meta does a fantastic job getting into who Narcissa is, and I am officially justified in writing them just as googly-eyes about each other as I want. Also going full Gomez and Mortica makes them a better foil for the Weasleys, and the (not typically on the same page) Arthur and Molly.

[marvelstars]

There´s always a price to pay

Anakin Skywalker

Anakin didn´t have an attachment problem before his mother died. In fact Anakin became attached because his mother died and that lead to his fall in ROTS when he tried to keep Padme alive by any means neccesary. Anakin didn´t get his balance back until ROTJ.

I see a lot of fans, especially anti-anakin fans talk about how his "attachment" problem was the main reason why he could never be a good Jedi, they usually go back to George Lucas commentary about him being fearing for Padme in ROTS because he was attached but if this is their inspiration they are unaware or forget Lucas comments about Anakin on EP I and EPII.

Because Anakin pretty much had to "let go" of his mother in slavery on EP I when he was 9 to become a Jedi. At 9 Anakin wasn´t just compassionate, he was self- sacrificical as well, he did that out of love for his family and for his friends. His only problem was the he loved too much(acording to lucas) and to the Jedi Order eyes.

Anakin was asked to leave his mother behind and never contact her again as the price to become a Jedi, that was what he was asked to do, to truly become a Jedi and he did it.

Anakin wasnt "attached" to his mother, Anakin LOVED his mother just like he loved Padme, that´s different but Jedi teachings didn´t approve of love, you can have "compassion" (even when I can´t remember any Jedi in the actual movies made by Lucas having compassion for anybody in particular, except Luke and Anakin) but you can´t love, that always has been part of their beliefs and fandom needs to remember that, because that´s central to the story.

EP II: Anakin discovers that this singular action of doing everything the Jedi way cost his mother her life, because he wasn´t there to protect her, she got herself a loving family for herself but she was left vulnerable to Tatooine´s dangers while her Jedi Son wasn´t allowed to contact her for 10 years. THIS was the beggining of Anakin´s "attachment issues" THIS was also the beggining of Anakin´s fall to the darkside when he killed the tusken raiders who kidnaped and tortured his mother for weeks in revenge.

Acording to Lucas commentary this singular event unbalanced Anakin for the rest of his life right until Return of the Jedi.

Because from Anakin´s perspective being a Jedi lead to him abandoning his mother and letting her die, that was a mistake he wasn´t willing to allow again. He became fixated on keeping Padme, Rex, his soldiers, fellow padawans, Obi-Wan, Ahsoka, Palpatine, whoever was under his care alive by any means neccesary and he no longer cared about being the pefect Jedi because being that killed his mother. Still a lot of his efforts were not enough to keep them alive especially during the clone wars, which convinced him he needed to become more powerful to keep them safe, which was the trap Palpatine put to make him fall "Help me destroy the Jedi Order and I will teach you how to save you wife and keep the galaxy at peace, we will have peace" It was a faustian exchange and Anakin agreed, just like he agreed to leave his mother behind so many years ago.

In both the clone wars series and official novels, other characters including Sith like Count Dooku made the comment there was a growing darkness in Anakin post EPII and the reason for this was because he was already using the darkside at the time of the clone wars but he didn´t fall fully into it until ROTS, he used it when he tought he needded it to protect his loved ones or end more quickly a battle in the clone wars.

You know how Lucas enjoys making his narrative ryhme? and both Luke and Anakin stories were made to ryhme.

Luke was presented with this same choice, stay, sacrifice your friends lifes and become a Jedi or leave to rescue your friends. Luke choose to rescue his friends even if it cost him his hand, promising he would come back. Because he feelt more free to do so as a young adult than Anakin at 9. Luke wasn´t the perfect Jedi in Yoda and Obi-Wan´s eyes because he cared for his friends and family but for Luke that was alright because that was the right thing to do.

Luke was presented with another choice, kill your sith father and his master the Emperor to truly become a Jedi. Luke choose to save his father and have compassion for him because for him doing the contrary was cruel and a sure way to fall to the darkside.

This doesnt mean Luke didn´t have doubts or darkside temptations, remember when he force chocked Jabba´s guards and told Jabba he was going to kill him? remember when he almost killed Vader to protect Leia? he was using the darkside to save his loved ones, just like his father did at his age. The difference was that having friends around who supported him unconditionally, not because of duty but because of love, helped to ground him. This gave him the idea that if this worked for him, it could work for his father as well, if only anyone showed him compassion again, not because of duty, not as a quid pro quo but because of plain unconditional love.

This action was enough to awake in Vader himself the desire to have compassion and love again, for his child and for the galaxy, this was the reason why he became self-sacrifical again, just like when he was young and he was willing to throw away his life and the last person he loved, the Emperor, to their deaths if it meant Luke´s Jedi ideology survived everyone. He could not let that die.

So if the fandom is going to talk about how Anakin was "evil" from the beggining and twisted using Lucas arguments about the difference between attachment and love, it would be nice if once in a while they didn´t erase the commentary Lucas made about the real origin of Anakin´s attachment.