#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 😔

[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.”

[elizabethrobertajones]

kriles summer trust top is kinda problematic tho... lalafell r smol and should be wholesome.

Aw, come on.

I'm sorry but I have to disagree because within the fiction, lalafell are just as mean, gross and horny as anyone else. Gegeruju is a perv, and the whole Ul'dah Syndicate is full of evil little bastards. On the good side, lala are just as complex and grown up as anyone else - Tataru courts followers and dances in a skimpy outfit in the Forgotten Knight, Giott is a roaring drunk stereotypical fantasy dwarf (not to mention whatever the heck is going on with the Tomra and Komra dwarves in general tbh :P). And Lamitt's story was sweet but it did involve her having adult feelings for Ardbert.

Like, really, I can only think of 4 completely wholesome lala out of a cast of hundreds, and they happen to mostly be the ones we've interacted with a lot (Nanamo; Pipin who is a Heroic Knight archetype; Papalymo, who was a grumpy old scholar man; Krile). But that's more about them being main characters serving roles in the narrative rather than indicative of how lalas behave as a whole. In fact after going through ARR, meeting Pipin and finding One Good Ul'dahn Lala is an enormous relief (since the other one is apparently dead now).

And Krile is a main character now so she's allowed to step out of the shadow of being uwu cat hoodie girl who wasn't written with much depth outside of being serious and earnest and rather spooky; she's actually 22 years old according to the first wiki I found - regardless of if that's totally accurate she's definitely meant to be a peer of the other adult Scions and they all treat her like an adult. Her introduction cutscene has her ribbing Alphy as an older friend laughing at how a much younger one used to behave, so we're supposed to immediately understand on meeting her that she's post-teen since she knew 11 year old Alphy and was of course older than him since he was a freak entry into the Studium at that age. Probably a necessary writing moment because establishing lala's age with hilarious moustaches or deep voices or whatever is a part of how the game has to present them.

Out of the fiction, I know lalas are part of a much wider trope that people do find problematic as a whole (e.g. just because in universe Tataru has babes across the globe and that's normal to everyone involved, who are consenting adults in a world which wholly understands Tataru as a consenting adult, is it actually really creepy that it's happening at all because her body type is toddler-esque? Is it weird in general that lala emotes are SO baby in the same way miqo emotes are SO kitty?

ffxiv definitely goes waaay further into borderline creepy territory than many games with smaller fantasy races in it, when it comes to how lala look, so yeah I know it's a fraught area and can be discomforting to see the game present child-shaped people as having adult desires and a thing some people understandably set aside along with other elements as things they're not happy with co-existing in the game with things they really love.) We can absolutely talk about that on a meta level of how we relate to the game and feel about it, just like things we find racist or uncomfortable in other ways e.g. eng translation Hien's treatment of Yotsuyu being a really problematic point.

But, that's one thing, versus talking about us here in fandom and how we relate to it, and I think your ask is, well, really not very deeply considered on any level, but I think is talking about how we as fandom relate to lalas, based on an inaccurate reading of them in the game, meaning you're really not even analysing a thing about it and therefore your ask comes more in the terms of policing how we should FEEL about Krile's beach outfit, and dictating that we SHOULD find lalas smol and wholesome, and that therefore there's an inherent problem in anyone reacting positively to the outfit, rather than critiquing its place in the game in the first place. Having hit a cognitive dissonance in seeing swimsuit Krile existing you've come to me to complain it's problematic rather than taking any actual meaningful action. Ergo, this is a fandom problem to you, not a game problem. WE should find it problematic and say so, you are implying, shocked that so many people looked at a post about the beach outfits and no one commented as such.

Aside from lalafell being fictional and at no point other than the visuals are they treated as children (and emotes aside, playing through the MSQ as a lala wol you easily fall into seeing them as an adult because of course all the cutscenes share the same level of gravitas no matter what you're playing or what clown costume you have on any player), there ARE actually real humans who are built somewhere closer to lala than not, and would be drawn to playing any of the smaller races in a game (like, gnomes in WoW, halflings in D&D, etc) because that's just their chance at representation. And because FFXIV doesn't have anything other than precious moments doll-shaped people the look might be great in the sense that they have the proportions of a cherub statue and it is a lot harder to meet in the middle than a halfling (notoriously hairy middle aged bastards and much easier to read as adult, though that doesn't exclusively represent people who've had growth developmental differences), that IS still the only representative option some people have in the game and if they want to indulge it rather than play something else with proportions forced on them by many games, then what the hell is wrong with that?

And they WILL go to bat for lalas and get upset when people say that they have to be precious baby characters who act like children. I've seen that on tumblr: there's a whole lala community who keeps kinda low key and away from everyone else by their own admission BECAUSE as soon as they get too much attention they're deluged with hate for playing characters who have adult desires and dress fancy - or, you know, like any other random slutty elf WoL. The fact I wandered onto lala blogs at random and saw that complaint on the first pages should speak to how often they have to deal with it. And, again, within the fiction of the game their characters are completely 100% normal and doing what other lalas who are written by the game do as well. I KNOW those blogs are out there and they'd be scared of getting this exact ask, and it would greatly upset them and ruin their day and put them off having any interaction with the community, which fucking sucks. We're here to have fun!

That said I'm not a weirdo anti all up in others' business, it's also fine to just like lalas and stuff without some huge circumstantial justification like "they look like me" - or - "my IRL wife" or whatever - you can also just play a lala or ship with one and it's like, your business. If that's all you're doing and it's not a hypothetical child molester who also has a whole gallery of lala porn that the cops find when they impound the computer full of REAL CHILDREN stuff as well it's never going to be anyone else's business anyway, ever, and that's like, one hypothetical awful person for a whole fandom of normies who are just surprised by how much idk Pipin's deep voice rocked their world and changed their whole perspective on what a hot character was.

Like, granted, that one HYPOTHETICAL weirdo will make everything rancid because there are people waiting to jump on people who like lalas, but also it still won't actually change what other people are doing into being Evil just because someone who actually hurts children found lalas attractive too. That, again, was the hypothetical awful person's problem and not theirs. And in no way can we just casually imply ALL people who like lalas are just inherently going to be dangerous, like real children, or enacting a private psychodrama teetering on the edge of all that.

They could in fact be completely average and boring psychologically and also have a crush on Tataru. Or, I guess, normal amount of weird for a fandom, but basically average XD In a fictional world where these characters are treated as adults, even normal people will naturally end up drawn to them as adults because, well, that's the story that's we're all engaging in. It's not inherently a thought crime to do so, because, weirdly, thought crimes don't exist.

Also, of course, people will literally discourse that hobbits are child-coded and shouldn't be shipped or seen as sexy, despite the most famous halflings, who made the entire halfling race as a generic brand, all being middle aged, hairy, smoking, drinking, guys with normal adult desires and mindsets. I mean yeah Elijah Wood was 18 when they started filming LotR (over several years so he was Krile's age by the end :P) but also Frodo celebrated his 40th birthday before setting off on the Ring Quest in the book and he was the baby of the group aside from Pippin.

In any case, there's no fucking winning and so I can understand completely that if a fucking Hobbit from Lord of the Rings gets shit for being short, and people are getting called a perv for fancying Sam Gamgee, then why not just embrace it with a Lalafell because you're literally damned no matter what in the eyes of someone who won't meet a LOTR HOBBIT where he stands as an adult man.

There's some DEEP puritanical brainrot going on online and I don't want to be a part of it whatsoever, so it means accepting lala likers for the sake of protecting Merry and Pippin's right to be seen as hot, than like, I know which side of of the line I'm dragging my beach chair. It's not even a question. I'm defending people who think lalas are appealing.

ANYWAY none of this is my business, I don't even find lalas sexy, I just think Krile looks nice in her cute summer top and it's lovely that she's getting fashion advice from her besties, and there's a million reasons to be happy about that and for her as a character, and only miserable bastard reasons to go "aurgh aurgh it's problematic" and condemn the game and everyone who plays it just for enjoying something. Lalas are NOT smol and wholesome, they're short and people, and that's fine.

[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.

[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.

[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

[powerpuffobsession]

The whole Eden Lucifer-Adam-Lilith-Eve situation is kinda creepy. I see serious groomer undertones in it, given the difference in Lucifer's and humans' life experience (and to extent, maturity) at the moment

Imagine that you are an adult experienced angel who is present during the making of Eden and the birth of first humans. You also apparently want a wife. And to be a part in creation of Eden. What do you do? Find some female angel to marry and live your life with? Find an actually helpful way of working alongside elder angels?

Nope, instead you meddle with the lives of newborn and inexperienced humans in the most destructive way possible.

You could have helped them sort out their disagreements and actually taught them proper ways to behave. But you don't. You groom the naive female human into trusting you and then you encourage her cheating on the male human, causing trauma and insecurities to corrupt his personality in his first few years of living (the most influential in shaping a person's mentality). Thus you become partly responsible for the vengeful monster he will become in the future

More than that, you take away the female human's chance to live safely in paradise or on earth. Because of aiding you in your not-so-well-thought-out-plan (she didnt have any other choice, you and the male human were the only company she had), she is doomed to be allowed to only live in hell the rest of her life. And you knew that no one in heaven was going to give her the benefit of the doubt

As icing on the cake, you don't stop just on grooming and encouraging cheating, you don't leave the male human alone after you've already did him dirty and abandoned him... you come back and corrupt his new wife for some unclear reason (because your "whimsical" ideas of how you'd do a project elder angels know better how to carry out, are never even elaborated upon).

As a result, you doom not only these three babies in adult bodies but also the entire humanity to a terrifying life of fighting sinful outbursts, suffering, surviving, dying and risking ending up in hell where they'll be suffering for an eternity

I'm not sure if writers will ever hold Lucifer accountable for all this in a proper way. Probably not. But thinking about how much he fucked over first three humans makes me wish more depression on him

At this point, Lilith leaving Lucifer is not surprising. Imagine if after maturing and gaining life experience (and already giving birth to Charlie) she realized how her husband was practically using her. That could be why she left after doing her job of raising Charlie until she became an adult that can survive on her own

(I mean, it could be true if hazbin hotel was good at having the characters live through consequences of their actions and not just making Adam a scapegoat who is supposedly like Stella v 2.0 - evil ever since he was born and already inventing patriarchy with his very first breath. Like, all humans are selfish jerks when they are newborn - that's what parenting is for, shaping something more pleasant out of all that selfishness) (notice how the writing only focuses on how Adam was "bad" back in Eden)

(That also gives me a reason to judge angels in general - just a few narrative details really show how little they cared about the first humans' wellbeing and future. It's their fault too that Lilith ended up in hell and had to make some sort of deal to get a chance to visit her home/ Adam became an immature mentally unstable murderer/ and Eve... dunno, we haven't seen her yet)

[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:

[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 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 that doesn’t go back to the books is just being madly in love with Narcissa. Lucius is 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.)  I honestly did that for structural reasons. I’m writing a romance with Severus, who has the emotional awareness of a stack of roofing tiles. He just really, really needed a friend he could ask for relationship advice. 

[innocet]

I mean the thing about Daniel is that he will always play the hand he’s given. He’s so fundamentally an “adult life is already so goddamn weird, this might as well happen” guy. He and Armand are more similar than either would admit in that they cannot conceive of themselves as being present actors in the events at hand; Armand is learned helplessness georg and will always see his life as something that Happens To Him rather than something he Does, while Daniel cannot picture himself as a character in the narratives he tells rather than an observer even when he is an active participant. He will continue to spend his eternity thinking of himself as removed from what he observes even as it warps him beyond recognition. It’s what he’s always done. It’s what estranged him from his family. This started out as a joke post but man. He and Armand can and will invent new mental illnesses

[meanbossart]

what was everyones endings in your du drow playthrough? like did they live happily ever after or did some of them parish from the narrative

-Lae'zel died in Act 1, DU drow slashed her throat after she tried to murder-suicide the camp out of fear of turning into a mindflayer.

-Gale sought out the crown. In the game's canon this means he immediately ascends to Godhood but in my personal narrative (I finished the game before the epilogue was out) he goes on to research it while having to flee Mystra's wrath by any means necessary for several years before anything can actually happen.

-Wyll broke his pact with Mizora. They also rescued his dad from the prisons after going down there and realizing he was still alive (despite her best efforts) this was mostly for rubbing-on-Mizora's-face purposes LOL

-Karlach died at the docks because of her engine after the brain was felled.

-Shadowheart sacrificed her parents and for a while travels alongside DU drow and Astarion, events from A Novel Experience proceed.

-Astarion killed Cazador, was persuaded not to ascend and freed both the seven thousand marks and his spawn siblings. Events from A Novel Experience proceed.

-Barcus got flung through the sky and died from rough-landing-itis.

-The gang sided with the mercenary duergar at Grymforge and killed Nere. The gnomes that didn't die remained enslaved to the duergar.

-They saved Arabella both at the tiefling grove and at the shadow-cursed lands.

-The rest of the gnomes at Moonrise Towers and the tieflings from the grove were never rescued, so I think that means they died. Zevlor was freed from his illithid tank and I'm sure he's dealing wonderfully with that information.

-Halsin stayed behind in Act 2 since they never rid the land of the curse. Good luck with that buddy!

-Jaheira came along into Act 3 because these guys need at least One adult present (and herself and DU drow loved bickering).

-They made an alliance with Gortash but didn't honor it, killing him at his tower later after disabling the steelwatch.

-Yenna was captured by Orin and died at Bhaal's temple.

-They killed Lorrokan AND Rolan and I'm sure Isobel and Aylin lived happily ever after.

-Raphael died, Hope survived.

-Minsc was rescued because mom said so. I'm sure he's out there Minsc-ing around right this moment.

-They betrayed the Emperor and freed Orpheus, who had to take on the task of becoming Ilithid himself.

-DU drow killed Orpheus.

EDIT: Nothing happened to Kagha because I didn't pursue her quest, I was mixing things up with another run of mine.

[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!!! 💛

[fixated-dark-king]

Sooo, I had the amazing experience of attending a panel C.S. Pacat was part of during the Sydney Writers’ Festival on 25th May 2024. The panel was called “Creating a Monster” (with two other YA authors).

And finally a week later (because adult-ing is hard), I had time to actually go through my notes and write up some of the fascccccinating things Pacat had to say about: monsterous heroes, and villains, and enemies-to-lovers deliciousness, and queer identity!

I didn’t want to forget some of the interesting things said in this panel and thought others might be interested in hearing about them too? Please indulge the splurge. :)

(Please note that all bold headers are just my thematic summary of each section for people to jump to, not the actual question asked.)

WHAT APPEALS ABOUT ‘THE MONSTROUS’ TO PACAT:

From a technical writing standpoint, the ‘Monstrous’ is appealing because a villain will often do an act and the hero reacts to that. It gives unconscious clues to the reader that when the villain turns up, something exciting is going to happen. In that sense, villainous characters have a special sort of ever-present attention given to them (possibly because human nature is to always keep one eye on the dangerous thing that could harm you).

On a personal level: A) When queer characters are awesome but also ‘Monstrous’, Pacat says it can feel really ‘electric’ and empowering to reclaim/allow yourself to embrace the monster role that you’ve been told you fit into by society. Like in Anne Rice’s Vampire Chronicles where queer people are allowed to be beautiful/glittering & powerful & witty & have existential conversations about good and evil while fitting under the Monstrous label. Like heck yeh, that’s cool. And B) as an author, you can feel a ‘minority pressure’ to have characters be Good all the time and be the perfect ambassador for that minority, but sometimes you just want to be a vampire and take over the world, you know?

THE EXISTENCE OF ‘PROTAGONIST-CENTRED MORALITY’ WITHIN THE DARK RISE BOOKS:

When pondering whether it is hard as a writer to convince readers that a Monstrous protagonist is a likeable character, Pacat pointed out that the funny thing is that the question ‘How am I going to make readers like this monster?’ never really ends up being an issue because people actually really like monsters! The thing you might not expect is that the struggle is actually: ‘How am I going to make these readers who are barracking for the protagonist feel that this ‘monster’ is actually monstrous?’

Pacat explained that when a protagonist is also a monster, it brings into play something called ‘Protagonist-Centric Morality’ -- where you bond with that protagonist and want the best for them etc, so much that it can obscure when the protagonist is actually doing something bad. Pacat mentioned that he has found the Protag-Centric Morality fairly striking in the case of the Dark Rise books because people have said to him things like: ‘The Dark King Did Nothing Wrong Ever In His Whole Life’ and Pacat questioned whether the moral centre of the story was landing somewhere different than intended. He was curious whether the other authors had experienced that with their ‘monstrous’ protagonists too.

IF A HERO IS ALSO MONSTROUS, HOW ON EARTH DO YOU DIFFERENTIATE THAT FROM THE VILLIAN? When pondering over the distinction between a Monstrous Hero and a Villain, Pacat shared some thoughts from his lived experience. He said the times when he has felt most threatened by the ‘Monstrous’ is when that person isn’t clearly identifiable to others around you; where there isn’t a shared understanding between everyone that ‘yes, that person is a monster’. Extending from that, the Truly Monstrous is when that person has some kind of control over you and control over the narrative as well; if the monster is the one telling the story but casting you as the monster. Essentially gaslighting via ‘narrative control’.

ENEMIES TO LOVERS TROPE:

This is Pacat’s absolute favourite romantic trope. And he elaborated that he doesn’t mean that in the sense of ‘these characters sort of don’t like each other’, but rather to the point where two characters really hate each other and for a very good reason. He likes when a path between two characters feels IMPOSSIBLE to overcome.

This trope was first explored in the Captive Prince trilogy and Pacat loved it so much he just had to use it again for the Dark Rise trilogy. The planning behind it for CaPri was brainstorming: ‘What is the worst thing I could think to use?’ (Answer: Killing a character’s brother, which lands the bereaved character into a set of hellish circumstances.) But that meant when Pacat decided to use it again for DR, he had to extend that to: ‘Now I need to think of something EVEN WORSE THAN THAT (CaPri)’ in order to separate the main characters. So Pacat had to spend ages thinking about what could be the absolute worst thing to use this time -- and he hopes that he came up with something that is ‘truly, truly way worse.’ Which essentially had everyone, including the moderator, laughing loudly in fear. XD

WILL KEMPEN: FOUND FAMILY & THE LONELINESS OF INAUTHENTICITY:

Pacat spent a lot of time trying to develop a really meaningful platonic friendship between Will and Violet. It meant a lot to see a friendship like that reflected on page for Pacat because some of the most important friendships of his life were across gender lines. The reception to Will and Violet has been so pleasantly surprising, so Pacat supposed he wasn’t the only one with a hunger for that kind of friendship within the romantasy genre.

Pacat also reflected on Will’s complex relationship with his Found Family -- that having the support of a Found Family can be so essential, but in Will’s case that lifeline is undermined by secrecy, turning that Found Family into a different kind of loneliness. Because the thing is: if something so immense happens to you that you feel you can’t talk about, or you feel some way about yourself but think you can’t share that with others, it means you can’t really be your authentic self. But if you’re not being you’re authentic self, who are your friends friends with? They can’t be friends with the true You; they can only be friends with a facade/with a performance. So as long as Will is scared to show his true self and remains hiding himself away from even his friends, he will be alone. It’s a hard step to take. (Note from me: so heavvvvy but poignant.)

NOT DR-RELATED, BUT PACAT’S FAV MONSTERS FROM POPULAR FICTION: Pacat was so excited to namedrop his favourite monsters from popular fiction, he volunteered to go first LOL. The answers: 'The Brat Prince' Lestat (Lestat has been on his mind a lot recently because the AMC TV portrayal captures Lestat so well & has completely rejuvenated Pacat’s 12 year-old love of vampires. Total mood); serial killers such as in the Ripley series; and simply: American Psycho.

Great panel, right? Now it’s Europe’s turn!