#there are more examples but this is what I could recall at the top of my head

[pianokantzart]

A little bit of context: I recently posted this in regards to Mario, and got some... interesting responses.

Fools! Blind fools!

MARIO IS ABSOLUTELY GOOD WITH KIDS.

Say what you will about Bowser Jr. and The Koopalings, but the rules completely change if the kids not only start the fight, but are willing, able, and intent on killing you.

But even then! Throughout their fights Mario sent across enough good vibes that Bowser Jr. knew he could come to him for help saving his Dad!

So yeah, get out of here with that nonsense.

[yellowbrokenblue]

The Club

Harry is the owner of a very exclusive nightclub, and when a girl he doesn’t recognise walks in, he knows he needs to have her.

cw: smut, exhibitionism, degradation

— ✶ — ✶ —

He spotted her from a mile away. Blonde bouncy curls cascading down her back, and her low cut top paired with a skirt that barely covered anything was almost too much for him to handle. He stood in the corner of the club, a drink in his hand as he watched her.

He didn’t recognise her at all, which was interesting to him as this was famously an exclusive establishment. You had to be on the list which the bouncer had at the entrance to get in. Harry approved of every one ever added to the list, but he didn’t recall adding her.

Harry didn’t do it to be a dick, or to act superior over everyone else. Making his club invite only had its reasons. For example, people came here for a good time- and it was not the ‘drink and dancing’ type of good time. He turned a blind eye to these activities, but the word spread over time about what went on inside. Not that it bothered Harry in any way. Sex was exciting. And if it made people talk, and made people more desperate to manage to get into his club, then so be it.

Curious people made him money.

He watched this girl longer, and the curiosity was clear on her face.

She was looking around, taking in the whole place, until she locked eyes with him. Harry’s eyes stared right into hers, sipping on his drink while her body froze in the middle of the dance floor.

Harry took the opportunity to place his glass on the nearest table, and walk through the crowd of people towards her.

“Are you alright?” Harry asked as he approached her.

He stood as close to her as he could, sliding a hand on her hip.

“Yes.” She replied, her eyes wide, staring into his. “I’m just looking for someone.”

Her voice was shaky as Harry used the hand on her hip to pull her closer.

“Hm?” Harry said, “And who may that be?”

Her attention shifted from Harry to the couple next to them on the dance floor. They weren’t even trying to be subtle about the fact the woman was getting fingered in the middle of a crowd of people, and the girl Harry had in front of him seemed shocked, yet pleasantly surprised at the same time.

Harry leaned down, his mouth brushing against her ear, and whispered, “I don’t remember adding you to the list of people who are allowed to come in my club, which is a shame, really, because I would’ve loved a pretty little thing like you to come in much sooner.”

Her eyes met his again.

“Now,” Harry repeated, “Are you going to tell me why you’re here?”

She swallowed.

“I’d heard people say things.” She said nervously, “I just wanted to experience it for myself.”

“Experience what?” Harry asked, a devilish smirk playing on his lips, “The drinks? The music? Or did you just wanna experience getting fucked in a crowd of people.”

Harry’s crotch pressed against her, his rock-hard cock pressing into her stomach.

She let out a gasp and pressed her hips against him, feeling her skirt ride up as she moved.

“What’s your name, gorgeous?”

“It’s uhm…” Harry tightened his grip on her waist, “It’s Maya.”

“Well, Maya,” Harry said, “Are you going to let me show you a good time?”

She nodded, and Harry was in no mood for time wasting, so immediately his lips were on hers. She tasted sweet, but the thought of fucking her was consuming him, so he began to grind his hips against her, a moan leaving Mayas lips. His mouth traveled down her neck, licking and sucking at her skin. He tasted her perfume as he kissed her, but even then it tasted sweet.

“You never told me your name.” She moaned as Harry kissed her collarbone, his erection still pressed hard against her.

“Harry.” He mumbled back. “Styles.”

His hands were exploring her body as his lips kissed her, and his fingers were slowly creeping up her short skirt.

“Listen to me, Maya. I’m going to make you cum in the middle of all of these people, right here, on my hand. And then I’m going to take you over to that corner and fuck you, because it’s all I’ve been able to think about since you walked through that door.”

She nodded in compliance, desperate to feel him.

He made quick work of finding her clit, moving in quick circles while she groaned against his skin. He slid one finger into her entrance, and then another, pumping his fingers into her while she moaned his name.

“Harry.” She cried, “Oh, yes! Just like that.”

“Can your tight little cunt take another finger?” Harry asked.

She nodded enthusiastically, and Harry inserted a third finger. She was loud, but the people around them didn’t care at all, everyone was engrossed in their own business, not caring what was going on around them.

“You’re so tight,” Harry said, “Can feel you clenching around my hand. I want you to cum now.”

“I’m close.” She moaned, her head falling backwards as Harry pumped his fingers faster.

She cried out as she orgasmed, her sticky cum coating Harry’s hand, and dripping down her leg. She moaned his name over and over, Harry keeping a hand on her waist to hold her steady.

“‘Atta girl.” Harry said, “You just came on my fingers in front of all of these people, bet it made you feel good, huh?”

She nodded.

Harry grinned, bringing his hand to his lips, and sucking on them. Licking her cum right off her fingers.

Her wide eyes watched him, audibly moaning at his actions.

“We’re not done here, yet.” Harry said, as he led her over to the back of the club, towards the bathrooms.

He took a key out of his pocket, and unlocked the bathroom specifically for staff, leading her inside and locking the door behind them again, leaving the key in the lock so no one else would be able to enter from the outside.

He could see her better now, away from the very dim lighting of the club.

Her hair was much lighter than he thought, a bleached blonde with her natural brunette hair creeping through at her roots. Her makeup was smudged from their previous activities, and her outfit was still as flimsy and revealing as it had been outside. The only thing keeping her top on her body was a small tie at the top at the back of her neck.

“You’re a pretty girl, Maya.” Harry said. “How lucky am I that a little whore like you walked into my club tonight?”

Her breathing was heavy, and her cheeks flushed.

“Pull your skirt up,” Harry said, “All the way to your hips.

She quickly done as he said, and Harry unbuttoned his pants, sliding them off.

He guided her to the other side of the bathroom, to where the sink and mirror were.

“I like to see people when I fuck them.” Harry said. “Can I fuck you, Maya?”

She nodded, enthusiastically.

Harry took her wrist and spun her around, so they were both facing the mirror.

“Say it.” He said.

“I want you to fuck me.” She said.

He grinned.

“Ask nicely, and I will.”

“Please fuck me, Harry.” She begged, “I need to feel you.”

Harry grinned, “Much better.“

He reached down to grab a condom from his jeans before throwing them back on the floor, and took off his underwear, letting his erection spring free.

He rolled the condom on, and grabbed hold of Mayas hips, quickly finding her entrance, and pushing the tip of his dick into her from behind.

Her cries of pleasure while he sunk himself deep into her probably could’ve been enough for Harry to cum right there and then, but the moans she let out of her mouth as he quickly thrusted were even better.

She gripped the sink as he fucked her. It was rough, messy. But neither of them cared.

He looked at her in the mirror, her makeup was ruined and her hair was a tangled mess from Harry’s hand gripping onto it.

“You’re taking my cock so well, Maya. So tight, my good little whore.”

She moaned at his words, and he sped up, desperate to make her cum.

The bathroom was filled with the sounds of their moans and their skin colliding, the smell of sex filling the room.

“Harry, I’m gonna cum.” She said.

He wished he had a video of this so he could remember her moans of pleasure for the rest of his life. He wanted to hear her cry out his name while he fucked he from behind forever.

“Cum with me, gorgeous.”

He’d been struggling to hold on since the moment his cock was inside of her, and as soon as she reached her own orgasm, Harry let himself release, pulling out from her and letting his cum fill the condom.

The softened nightclub music soon was the only thing either of them heard while the both caught there breath. Harry slipped his underwear and pants back on, and Maya sorted herself the best she could in the mirror, pulling her skirt back down and wiping away the smudged makeup.

“Where’s your phone?” Harry asked.

Maya turned to him.

“They took everyone’s phones off them at the door.”

“Shit,” Harry said, forgetting about the rule he had set where security thoroughly searched everyone at the entrance for mobile phones or any other recording equipment, and locking it up for the duration of your stay. It was to prevent any pervs videoing people or anyone leaking the ongoings of the exclusive club. “I forgot about that.”

“You got a pen?” Harry asked.

She shook her head, “I think I have an eyeliner pencil in my pocket?”

“Get it out, that’ll do.” Harry said.

She found the pencil, and handed it to him.

“Your arm?” Harry said, grabbing her hand and pulling her arm towards him.

She assumed this was going to be a one time thing, but when Harry began to write a phone number up her arm, she guessed that Harry hadn’t thought the same.

“I want you to come back tomorrow.” He said. “We’re not done here.”

read part two here !

[thepersonperson]

I can't believe it's genuinely canon that Geto was jealous of Sukuna being the one to fill up Gojo.

I know Gojo reassured him but we saw he thought of Toji as the last person who satisfied him. No wonder Geto ended up on a crusade against no cursed energy monkeys.

Geto's insecurity with his place in Gojo's life really was his downfall. (On top of not having access to Karl Marx.) He kind of just assumed that Gojo being in a league of his own after awakening meant they could never be together as The Strongest duo.

That insecurity was so pervasive he initiated their break up by objectifying Gojo for his strength. And he later assumed Gojo stopped loving him too.

But you might be onto something with Geto's jealousy starting with Toji. Though he didn't see Gojo awaken (which was essentially "la petite mort" or the little death), Geto was around to hear Gojo call Toji アンタ (Anta). And that particular usage of Anta was really weird.

(Yeah this is one of those asks that poked my neuroses in just the right way.)

-Content Warning: Brief discussion of teenage sexuality.

-Mangareader(.)to for the raws.

-TCBscans for everything but Vol 0.

(Click images for captions/citations.)

Gojo's You Pronouns

I kind of lost my mind over Sukuna's you pronoun usage if you want to know why this kind of thing matters to me. Thankfully, Gojo's you pronoun usage is much more straightforward. Which is why the use of Anta for Toji sticks out a lot.

Gojo usually uses オマエ (Omae—masculine, informal, between peers or to look down on the addressee) for absolutely everyone. Friends, enemies? Doesn't matter, he's using Omae. It's either that, 君 (Kimi—affectionate towards juniors) with his students, or he avoids using you pronouns to be polite. He has only deviated from this pattern with two people—Uraume with てまえ (Temee—hostile and offensive), and Anta with Toji.

Anta is a contraction of あなた (Anata) and both are used in the exact same way. It's an informal you mostly used by people learning Japanese since normal use suggests a familiar and casual relationship with the addressee. That can be rude depending on the context. In the context of love, it's a romantic thing, colloquially called the wife pronoun as its often used by a wife to her husband. The only real difference between Anta and Anata is the indication of class. As a contraction, Anta is seen as more low class/uneducated than Anata.

So what did Gojo mean by his use of Anta with Toji?

Since Anta can indicate the speaker is casual/friendly, uneducated, or flirting, we'll have to infer what Gojo meant with context. Sometimes, it's easier to look at how other characters use this pronoun to get an idea.

For example, Hanami uses Anata for everyone which is why there's nothing flirtatious about them using it. This is just how they talk in general and they aren't singling anyone out in a special way.

A male character who uses Anta for most people in the way Hanami uses Anata is Ike from Fire Emblem. (I'm so sorry this is the only guy I can think of using this as a default you pronoun and he's from a completely different series.)

Ike uses Ore (masculine, informal) as his personal pronoun and he was raised as a mercenary with no formal education, so the Anta in context is more of him being from the lower class and casual. Anta is also less masculine than Omae, so this is also gives Ike that soft edge to his roughness that everyone loves him for. When he uses Anta while speaking to nobles in Path of Radiance Ch 14, they find it extremely offensive and get pissed because they perceive it as him not showing enough respect. (And he does call them out for being dickholes using Anta which makes them even angrier.)

If I recall correctly, (sorry I only really remember Zelgius and Sephiran's pronouns because it subtly confirms them a queer couple), Ike uses Omae (or Temee? The fudging accessible JP transcript went poof.) for the Black Knight and no one else. The Black Knight killed his father and Ike hates him for this. This Omae is not friendly, it's hostile.

I use this example because it shows how for one character these pronouns mean one thing and other characters it the polar opposite. Gojo uses Omae to be friendly, Ike uses Omae to be hostile. Ike uses Anta to be friendly, Gojo uses Anta to...

I don't know.

I don't know why Gojo uses Anta for Toji. It's really fudging odd and he never uses it again or for anyone else. Gojo for Toji uses Anta then Omae then Anta.

First it's confusion over being stabbed. I think in this context it means more of "hey there, buddy" in the way someone might try to talk down an aggressive person by trying to be chummy.

At the time, it probably told Geto something was really wrong because Gojo never uses that pronoun.

The Omae he swaps to is normal Gojo usage. He explains how Toji screwed up with killing him in the way he's been talking at all the assassins that came after Riko.

But internally? Toji remains Anta. This is weird since Gojo usually just sticks to Omae or some kind of nomer when he doesn't know people's names.

Leading up to this internal monologue, Gojo is not angry. He's extremely zen. So much so that he apologizes to Riko for not being upset she was just murdered. This makes me think the Anta isn’t meant to be disparaging.

Anta has always been less harsh than Omae in comparison. It can imply a distance between the speaker and addressee or it can suggest they're very close.

I can't tell if Gojo is trying to express a unique kinship he feels with Toji or if he's putting Toji on a pedestal of strength he idolizes and considers himself separate from. Perhaps it's both and this confusion is intentional. Gojo is a teenager figuring himself out in the most traumatic way possible here. My point is that this use of Anta indicates Gojo feels some kind of way about Toji he doesn't for anyone else.

Toji is very special to Gojo.

Most people are aware of Gojo picking up certain habits and speech patterns because Geto. Rereading JJK after learning about Gojo's history with Geto turns a lot of his silly quirks into things that are really depressing.

Toji is second to Geto in terms of influencing adult Gojo's behavior I think. Not just in the paranoia he experiences of being made vulnerable again, but some of his speaking mannerisms. Gojo asking for last words before he kills someone started with Toji.

He has that same empty look when he does it each time too. This doesn't seem to be like him mourning Toji in the way he mourns Geto by speaking in the way his beloved suggested. It's like he's reliving trauma. And dear lord did Toji traumatize Gojo. The kind of terror in the faces teenage Gojo makes while being hunted and killed are never made again.

But despite this, Gojo as an adult seems to look back on this awful experience fondly sometimes. When Sukuna starts to make him think he's about to lose, Gojo smiles as he recalls this feeling.

Satisfaction? Being killed by this guy was satisfying? I suppose it makes sense, this temporary death did awaken him to immense power that made him feel amazing. In that sense, Toji was Gojo's greatest teacher. And as a teacher, Gojo molds a philosophy from that experience and tries to imbue it on his students in a less traumatic fashion. (I say tries because this still killed Yuji by accident and caused a lot of unneeded stress for the second years in Vol 0.)

As you can see here, Gojo thinks this way because he did die alone despite having strong allies. And because his death made him stronger, he thinks growth can be triggered in a similar fashion. Geto calls him out on how fudged up this “tough love” is.

Gray morally aside, these beliefs and actions are because of Toji. A lot of what Gojo is as an adult is one giant unhealthy coping mechanism for Toji, fondness included.

When Nanami calls Gojo a Jujutsu Pervert he isn't wrong. Gojo is a freak that gets off to fighting in part due to Toji. It's like this horrible little ball of fear, denial, and horny with him. Thinking about Toji being the last person who satisfied him in that way over Geto isn't out of character. The types of blissed out faces he made during that fight do pop up in the Sukuna fight.

We also have to acknowledge that Toji is at the got dang afterlife airport with everyone else. For some reason, despite all the pain he inflicted, Gojo admires him on a similar level to the people who didn't want him dead.

Toji is a lot of Gojo's firsts. His first fear, his first death, his first awakening, and most importantly his first exposure to revolution. Toji is the first person Gojo met that escaped the bindings of Jujutsu Society and obtained freedom. He defied the Zenins and started a life outside of them. His pride and grief brought him back, but for a few years he was the impossible success story.

Though Geto heavily influenced Gojo’s morality, Toji was the basis for Gojo’s revolutionary ideas. It shows in how he trains his students and values the strength of non-sorcerers. He correctly identifies that Toji only wound up this way because of Jujutsu Society, mainly the higher ups, and vows to do something about it.

Is this to prevent another Toji because of fear? Is this how Gojo honors his memory too? Both, probably. Toji basically asked Gojo to be the godfather to Megumi, his son named Blessing, and prevent him from being raised a Zenin. In other words, he gave Gojo his blessing to do better than him and break that awful generational cycle. Gojo has taken that very seriously.

Megumi knows next to nothing about the Zenins until he's made the head after Naobito dies and Maki massacres them. The fact that Megumi being made the head ultimately triggered Maki's massacre of the Zenin Clan is like Toji getting exactly what he wanted from beyond the grave. A mini revolution made possible with Gojo laying the groundwork by providing a space where Maki can exist without hate.

Geto's Jealousy

As Geto was spiralling, he probably thought back on Gojo’s use of Anta with Toji and got a little jealous. After all, Toji was the reason Gojo grew so much as a sorcerer instead of him.

Can you imagine? The love of your life keeps telling you that together you're The Strongest and that's why he's with you. But he goes off with some dude after calling him something he's never called you and comes back a god. He grew more in those few minutes with this rando than the years he spent with you combined. Inadequate wouldn't even scratch the surface of that feeling.

It was always a one-sided admiration—Toji was a bum who leeched off women as you would expect any straight dude would coming from an immensely misogynistic household. He killed children for money and had beef with an 8 year old after looking at him once. But Geto still might've been envious that a non-sorcerer did more for Gojo’s growth than any sorcerer.

Geto’s Coping

The aftermath of Toji put a strain on their relationship in more ways than one. First and foremost, it made Gojo The Strongest. As I said earlier, this caused Geto to become insecure with his place in Gojo’s life. But what I didn’t mention is that the higher ups exploiting this newfound strength is why this never got addressed until it was way too late.

As shown here Geto’s condition gets worse because not only is he mentally isolated from Gojo, but physically as well. A horrible little detail—changes in weight can be very gradual. If you're with someone all the time, you'll likely never notice it. Gojo was kept separate from Geto for so long that this difference was noticeable.

They fall out of sync because Jujutsu Society has decided that their labor is more valuable apart. The problem here exploitation. Toji made it extremely clear to both Gojo and Geto that was the problem. Geto unfortunately came to the wrong conclusion on how to deal with it.

Tags from @nyan-bynary on this post sum up my feelings on this nicely.

#OK OK I HAVE BEEN THINKING ABOUT HOW GETO GOT RADICALIZED BASICALLY INTO FASCISM BC HE ENDED UP BLAMING THE WRONG CLASS FOR THEIR OPPRESSION #LIKE THIS IS SO VERY MUCH THE CASE WITH LIKE RANDO WHITE LIBERTARIANS AND SHIT IRL TOO LIKE THEY NOTICE SHIT SUCKS #BUT THEY END UP BLAMING THE EVEN MORE OPPRESSED PEOPLE INSTEAD OF TAKING THAT ANGER UPWARDS TOWARDS THE ACTUAL PPL DESTROYING EVERYTHING

#like geto saw a man who was so fucking abused and treated like shit by his clan that he basically ran away and started a new life #where he resents the people who were oppressing him but he still had to work for similar people to make ends meet #and in doing so was made a pawn for the internal power struggles of the higher ups #which hurt the other people lower in the hierarchy as well including gojo and geto #but instead of seeing the hand that guided everything here he blamed the toy in the hand instead #devoting himself to destroy every single toy which unknowingly included himself and the sorcerers he wanted to protect so badly as well

#like in his efforts to gather sorcerers he ended up doing a better more inclusive job of gathering sorceres from EVERYWHERE he could reach #he had the true potential to make real grassroot connections with fellow oppressed people but he was misguided on who the target should be #like it's ironic that the only black sorcerer that we see is in the group of the guy that calls non sorceres 'monkeys' #because it says something about him that his problem actually wasn't racism (against non-sorcerers) #it was the high risk terrible lifestyle forced upon every sorcerer in the name of non-sorcerers #WHO DON'T EVEN KNOW YOU GUYS EXIST AND ARE BEING EXPLOITED LIKE THIS IN THEIR NAME IN THE FIRST PLACE MAYBE TRY TO FIX THAT AT SOME POINT???

#it's all so sad bc the moment he chose the wrong people to blame his fate was sealed and it sucks bc he could've done real good things #gojo was the closest to doing anything remotely revolutionary but he went the too peaceful route and it cost him everything #he didn't organize or protest with enough destruction or maybe he thought he couldn't until it became a last resort

#like I find it funny that despite everything gojo wanted to do bc his form of resistance was so lax he ended up alienating hakari and kirara #and the elders. the divide and conquerers that they were used it to expel them from the school #just ahhhhhhhhh so many thoughts I wish they could've done more I wish I wish I wish

In that post, I joked that Karl Marx could’ve saved Geto, but that wasn’t really a joke. Trying to address exploitation without the theoretical framework to be productive about it is like swimming against an ocean riptide at night. You can recognize that you’re drowning, but not knowing where the shore is or that you need to swim at an angle instead of directly against the current dooms you.

The really sad thing is that Geto never realized that non-sorcerers were exploited just like him. Nanami worked directly alongside them and realized their exploitation was one in the same.

He realized that this exploitation was a systemic issue. Gojo realized that those in power were responsible for enforcing it. Both of them lacked the drive to be aggressive about that in the way Geto was. Together, the 3 of them really could’ve unionized to obtain the work-life balance they desperately needed.

But that was never going to happen. The higher ups isolated them until their communication skills and therefore relationships deteriorated alongside their mental states. (Notice how even outside of Jujustu Nanami has no friends. He's just as alone as those two.)

Geto's Love

I don’t think Geto ever learned how to love properly after Toji in a very similar vein to Gojo. Though he more outwardly shows affection to his family, there’s this sense of distance he has between them as a cult leader. His children call him Master and do not take his last name. He’s worshiped as a figurehead and for his beauty. And no one really understands him in the way Gojo used to.

And it must also be noted that the anguish from his family and daughters at his possession did not cause his body to stir. Only Gojo calling his name did.

It's not that Geto doesn't love his family, he just loves Gojo more despite having spent less time with him. (10 years with his family vs 3 years with Gojo.) Even Geto himself says that his family isn’t enough for him to be truly happy.

A world where sorcerers are not exploited is what he thinks will fix this. He wants this for himself, his family, and Gojo. Especially Gojo.

Their breakup was caused by Gojo being exploited more than anyone else. Geto has always objected to that. A world of only sorcerers hypothetically gets rid of the labor exploitation Geto hates for every sorcerer. And it also creates a world where Gojo doesn't need to be The Strongest. It's a world where instead of being overworked, Gojo will have all the time in the world for Geto.

This love Geto holds for Gojo underlies his actions. Him setting this ridiculous plan into motion on December 24th is a grandiose romantic gesture. You can feel the resentment and the longing. He tried to fill the Gojo hole in his heart with a new family and hatred only to fail.

Gojo reciprocated. He always did. But neither of them realized the love was mutual until both of them were dead because work came first.

So yeah anon, Geto was jealous. Both Toji and Sukuna got to know Gojo in ways he couldn’t because being an enemy of Gojo ironically gives them more direct attention from him since that’s a part of work.

Jujustu Society vs Queerness

Even if Gojo and Geto realized their love before everything went to hell, I'm not sure if they would've acted on it due to societal stigma.

Like @nyan-bynary mentioned, Kiara's transness is something the higher ups no doubt rejected. The type of conservatism modern Japan is under does not embrace the open queerness of the past that was especially prevalent during the Heian Era, you know the Jujutsu Golden Age. In a reflection of these politics, the Zenins embody the type of sexual hierarchy wanted by the elders—men run everything and women have children. Even though Hakari and Kiara are a straight couple, they're unable to have children together which is rebellion in of itself. Why Gojo didn't do more for them is kind of baffling.

To be fair, Gojo kind of sucks at sticking up against injustices like this. Hakari and Kiara aren't the only failed in this way. When Geto is verbally discriminatory towards Maki, Gojo doesn't refute his beliefs, Yuta does.

This is honestly, pretty fudged up. Gojo just lets Geto be horrible and offers a weak "don't do that" as a response instead of arguing for Maki's personhood. And we know for a fact he is strong enough to do something and be taken seriously. After all, he did threaten the elders to protect Yuta's life. He didn't stop Geto until he became a large-scale physical threat. For some reason, that's the only type of discrimination Gojo will act on—violent acts that will result in death.

I think this is because Geto told him he needed a really good reason to kill other humans before he snapped. It took a lot of convincing for Gojo to slaughter the higher ups as the result of this. His inaction here could also stem from Gojo being so used to dehumanization that he hardly recognizes it as a problem. But Gojo did force Nanami to address Yuji as a human child instead of Sukuna's Vessel later, so perhaps he reflected on this exchange and tried to do better. (Despite allowing everyone else from Kyoto to be weird about Yuji.)

Regardless, it's this passive mentality when it comes to non-violent discrimination that makes me think Gojo wouldn't have acted on his feelings for Geto.

There's probably a lot of pressure on Gojo to have progeny of some kind (aka be straight and have babies). I do find it a bit odd we've seen nothing of his Clan to the point that Megumi also knows nothing about it. (Though this was probably to spare him the politics drama for the enjoyment of his youth.) They did spoil Gojo rotten, but that doesn't mean backwards societal expectations weren't thrust on him from birth. He was raised to be a living weapon you know. Suppression of his own queerness was likely a part of that education.

And though Gojo is pretty rebellious when it comes to challenging the status quo, like antagonizing those older than him and letting those younger than him speak freely around him, he still has some toxic ideas from his youth he hasn't let go of. He prioritizes his strength over bonds and allows himself to be exploited while trying to make sure his students don't wind up like him...by having them prioritize strength through pushing their limits.

In other words, Gojo would likely just repress his feelings for Geto if it meant obtaining his goals. A queer relationship would be used against him by the higher ups since it rebels against the expectations of Jujustu Society in a way he hasn't pushed hard against. (I'm so sorry Hakari and Kiara.)

With that being said, it's not all that surprising that a lot of the curse users are openly queer. They've freed themselves of exploitation and expectations. Their genders and sexualities are theirs to control. None of them are shy about it. Larue openly loves Geto, Sukuna will kill you for not respecting his disinterest in romance and sex, Uraume will kill you for not respecting that, Kashimo will hit on a man as he's being killed by him, Kenjaku is Kenjaku.

I don't think it's a coincidence that Gojo is at his horniest when he's fighting other men. It's like the one space where he's allowed to engage that side of himself without fear of repercussion because at the end of the day, one of them is going to be dead anyways. (His flirting with Nanami when they're alone together not included.) Sometimes queer people want their love with violence because it’s the only way they can have their sexuality without guilt. That punishment absolves the sin.

Jujutsu Society as it stands is not compatible with queerness. Gojo has a really fudged up way of expressing his attraction to men as the result of this. And if you ask me, I think Toji is the one who really got his wires crossed.

[raven-at-the-writing-desk]

I don't know if this was addressed already but how many fae types have we seen or heard of so far?

Off the top of my head, the two main classifications of fae seem to be nocturnal fae and diurnal fae, and there are several other kinds of fae that fall under each. Here is what I can recall:

All fae have pointed ears.

Depending on the subspecies of fae, they may have additional traits or powers.

Some fae can make their own magic, as well as absorb magic from nature to use.

Generally, fae govern certain natural elements such as fire or water.

Fae primarily rely on magic for everyday things.

🌙 Nocturnal fae

Nocturnal fae, at least in Briarland, use the phrase “Night’s blessings” as a term for good luck or wishing others well.

Nocturnal fae have many yet-to-be-named subclassifications; for example, both Lilia and Sebek's mother and grandfather are considered nocturnal fae but Lilia resembles a bat/ and Sebek's family resembles crocodiles.

The Zigvolts’ specific subspecies have not yet been formally named to us. Their subspecies is known for having scales and a strong bite.

Lilia says that "his kind" of fae can live up to 1000 years. It is said in book 7 that he is a bat fae, which may explain his weakness to the sunlight.

The language of the nocturnal fae sounds like animalistic snarls, grunts, and growls to the human ear.

Dragon fae (Dragon fae are also most likely a subspecies of nocturnal fae, which are said to be at the “top” of the nocturnal fae hierarchy. Malleus, as well as the Draconia line, are dragon fae; they are descended from actual dragons. Dragona fae are considered babies at 200 years old, teenagers at 500 years old, and adults at 1000 years old.)

Lilia, Malleus, and Sebek demonstrate enhanced senses. Lilia and Malleus also have enhanced physical abilities (strength, speed, etc.)

It is implied that fae in the Briar Valley are nocturnal fae. Additionally, silver hair is more common for nocturnal fae. Blonde hair is not common.

☀️ Diurnal fae

They do not get along with nocturnal fae.

They enjoy flowery things.

Every spring, they hold a fashion show to welcome the season. There is a new theme every year. If the Fairy Gala does not occur smoothly, it could plunge Twisted Wonderland into an extended winter.

The Fairy Queen from Fairy Gala is considered a diurnal fae.

Pixies are a smaller type of fae that fall under the "diurnal" category; they speak in a language which sounds like bell-like tinkling.

Faeland is where small fairies gather.

Faelanders wear white in their infancy.

Pixies use fairy dust to help them fly. They keep themselves coated in the stuff at all times and perceive others covered in fairy dust as fellow fae.

Pixies hold the Fairy Gala in a selected venue. The event ushers in the spring by showing off trendy fashion. There is a different theme every year. If the small fae’s wrath is incurred, spring will never come.

Pixies are usually associated with the various elements of nature so there are fire pixies, water pixies, and flora pixies.

We also see crafting pixies (those are the ones with blonde hair and leafy clothes), which fix items and can make a special bell which translates pixie speech.) The leader of the craft fairies is named Macy.

Silver and his family were blessed by three guardian fairies; it is implied they have golden hair due to a blessing from diurnal fae.

Young Silver mentions that oak tree fairies told him about how acorn charms bless others with a long, healthy life.

An honorable mention goes to dwarves, which were suggested to be a kind of fae. In 5-55 of the main story, Yuu thinks the Seven Dwarves are a type of fae because of their pointed ears:

However, even if you select the bottom option it’s not confirmed that the dwarves are a type of fae until a few chapters later (5-59) by Jamil.

It’s not stated whether dwarves are diurnal, nocturnal, or neither. Based on just aesthetic alone, I’d guess diurnal.

[elliaze]

Weightless

Parring: Joel Miller x fem!reader

Warnings: Joel and reader are neighbors, age gap (Joel is 10 years older), no!outbreak, reader has 23 years old, Sarah is here but only mention, neighbors-to-friends-to-idiots-in-love-trope?, protective!Joel, they are head over hills to each other, but Joel think he's to old for her, mostly fluff but with a little heart-break,

Summary: Joel goes to the bar when Y/N is working and then something happens.

Word Count: +2700

Divider by @cafekitsune

MASTERLIST

Y/N was twenty-three when she fell in love. 

Or had it lasted much longer? 

It was hard to tell, because Joel Miller had been in her life almost from the beginning. First, as an annoying adult neighbour. She loved to play pranks on him when she was a child. He had always threatened to tell her parents, but she knew that had never happened. Later, as she grew up, that same annoying neighbour suddenly became an exceptionally handsome neighbour. It had been a time when she had paid no attention to boys her own age, thinking they were complete idiots. It was also a time when she had gone from being an ordinary girl next door to being Sarah’s babysitter, especially when Joel and his brother couldn’t take care of the little girl. Y/N remembered how she would blush every time she passed Miller, especially when he started talking to her about something other than how his beloved daughter was doing. She thought that her crush on her older neighbour was just a result of her teenage years. She thought that would pass.

A few years later, it didn't. On top of that, everything got more complicated because she and Joel started to be friends. He didn't treat her like a child, although he could, especially since he saw her in every, even the most embarrassing, moment and witnessed her running around the yard with two pigtails and pink tights that always ended up dirty with mud. She knew that she could rely on him, sometimes much more than on her so-called friends. And she wanted it to work both ways, but sometimes she had the impression that there were moments when he looked at her through the prism of the age difference.

“Beer and a hamburger for my favourite customer,” she said cheerfully, placing a plate of food and a bottle of alcohol on the table. Taking advantage of the fact that she finally had a free moment during her shift, she took a seat opposite Joel. “Hard day?”

“Tiring, and I really don't want to go home so soon because…”

“Sarah's staying over at a friend's” she finished for him, recalling her morning conversation with the girl. “She mentioned something to me, that they'll be watching movies and eating sweets. It is quite a pleasant prospect.”

“Maybe you should follow her example and rest yourself.”Joel pointed at her and took a quick sip of his beer. “Which shift is it? Eight? Nine?”

“Ten.”

“Even better. Honey, you're too young to work yourself to death.”

“I guess it's a good thing I have the whole day off tomorrow. And I'm going to lie around and do nothing, but only after our breakfast together. Because I hope it's still relevant?”

“You ask as if you haven't dropped by our house and eaten the fridge in years.”

“Hey!” She laughed and pulled a pen out of her apron. She threw it at the man, who leaned back at the last moment and snorted with laughter. “That's called slander, Miller. Watch out, or I'll tip you twice.”

“I could even pay triple for your company.”

Joel winked at her, and she blushed at his words anyway. She tried to cover it up by fixing her hair, but she still thought he must have noticed. Whatever that meant, she must have forgotten about it, because the door to the bar opened and a drunk man entered. The smile fell from her face as she recognized him as a customer she genuinely hated. He always hit on, even harassed, all the waitresses. Normally she could handle him, but now that she saw that he was clearly drunk, she had a bad feeling.

“What's going on?” Joel asked with concern, then glanced over his shoulder at the new man who had just taken a seat a few tables away. “Who's that? Do you know him?”

“Unfortunately. He's one of our customers who... Let's just say he really likes to pick on all the girls at work. I hate him, but I have to serve him.”

“I'll be here if anything. Just let me know and…”

“Thanks, but take care of your burger. I'm not going to serve him anyway because he's drunk.”

“Just be careful, okay?”

“When I'm not,” Y/N replied teasingly and stood up from her seat.

She slowly made her way to the occupied table. When she turned around for a moment to see if Joel had listened to her, she shook her head in amusement. She could have expected that the only person he listened to was himself and did only and exclusively what he thought was right. At least that's how she preferred to explain his intense gaze on her, so as not to get her hopes up too high. 

However, getting the client turned out to be much more difficult than she thought. The initial texts and comments might have seemed funny, but when his behaviour began to become aggressive and intrusive, she began to lose patience. It wasn't the first time she had been in such a situation, so she knew how to behave. She had learned a long time ago that being a woman, she was doomed to this type of behaviour. She could endure a pat on the butt or other such gestures, but when he started calling her names and raised his hand to hit her, she completely froze in place. Not only that, but she was paralysed and if not for Joel's quick reaction, she would probably have ended up with a mangled face.

Miller pushed her back and grabbed the drunk man by the collar of his shirt. He lifted him up, and as he continued to argue and fight, Joel struck him first. It all happened so quickly that all Y/N could do was watch in shock and fear as the two men exchanged blows, chairs were overturned, and table decorations were smashed. Eventually, however, it all passed, and Joel walked over to her and grabbed her by the arms.

“Hey, talk to me,” he said calmly, as if he hadn't been in the fight just minutes before. “Y/N?”

“Everything's okay,” she assured him, and to confirm her words, she patted his shoulders. It was then that she saw how bloody and raw his hands were. “You're hurt! Oh, my God, Joel!”

“It's nothing,” he waved his hand dismissively. “Are you closing up now? You've got enough to survive for one day.” 

She just nodded.

Their trip was silent. Y/N could feel the fatigue and emotions of the last few events creeping up on her. She longed to go to bed and forget about it, especially since she was going to have to talk to her boss about what had happened when she got back from her day off. She had already informed her about it over the phone, and she was genuinely surprised because she had no complaints.

Joel parked his car in the driveway and turned off the engine. She looked at the windows in her house and saw that the light was on in her parents' room, which meant they were probably getting ready for bed. They had long since stopped waiting for her when she came back from her evening shifts, especially when Joel was the one who came to pick her up.

“Thank you for what you did.” Joel began to shake his head, as if her words were unnecessary, but she turned to him and put her hand on his shoulder. “It's true, Joel. I thought I was doing pretty well with him, but when he raised his hand to hit me, I completely panicked, and if it weren't for you, I would have…”

She didn't even want to think about what would have happened if she had been there alone.

“Any other guy would have done the same thing.”

“Maybe, but you didn't hesitate for a second. Whenever I need your help, you drop almost everything and help me. I hope you know how much that means to me.”

“If you’re trying to get me to make some tearful confessions, you’re doing a pretty good job,” he joked, and she shook her head in amusement. “Go home. Get some rest.”

“Oh no! Joel Miller, you saved me today, so let me repay you.” The man raised an eyebrow at her, and she pointed to his mangled hands. “Now it’s my turn to help you. You know I’ll treat those wounds like a professional nurse.”

“I know, because you’ve done it with Sarah so many times. Fine, but then you’re going straight home for a good night’s sleep.”

“I’m a grown woman and I can take care of myself, you know?”

“It’s hard to tell when you were running around the yard with two pigtails and pink tights just a few years ago.”

She rolled her eyes and got out of the car.

When she entered the Millers’ house, she felt at home. Sometimes she even considered this place her second home, because she spent almost as much time there as she did in her family's house. She didn't know what it had to do with it, but Joel's house had always been an oasis of warmth and love for her. She loved her parents and the fact that they provided her with everything they could, but because she was raised alone, she often felt lonely there. Here, she always knew she would find someone to talk to or watch some stupid movie. Mostly it was Sarah, whom she loved taking care of, but Tommy and Joel would show up just as often. She especially loved the moments when the four of them spent time together. To some, she might have been an outsider to the Miller family, but with them, she never felt that way. 

Y/N quickly found the things she needed and went back to the living room, where Joel was waiting for her on the couch. He was sitting sprawled with his head up, and she stopped for a moment to watch him. She had long thought he was handsome, but she had the impression that with each passing year he looked even better. She could see that he was as tired as she was, but even now she could imagine sitting on his lap, wrapping her arms around his neck and pressing their lips together. Her infatuation was dangerous, and she was fully aware of it. But she wouldn't be able to break what connected her to Joel. She preferred their strange, friendly relationship to nothing.

“Don't fall asleep, old man,” she said jokingly, walking over to the couch he was sitting on. Joel straightened up, making room for her next to him.

“I'm not old enough to be called that.”

“I'll remind you when I see first grey hair.”

“Mine or yours?”

She laughed merrily and then began to bandage his hands. The only sounds in the room were quiet hisses and moans, but Y/N still had the impression that Joel could hear her loudly beating heart. She did everything she could to focus on her task as much as possible, but the man's proximity was definitely distracting for her. She suspected that it might have something to do with what had happened. Emotions still clung to her, even if she had already come to terms with it. 

But now she seemed to feel Joel's presence next to her more strongly. They had been in such situations more than once, but at this moment she was holding back with the last bit of willpower not to do something stupid.

“It's done,” she said after a short while with complete satisfaction. “I hope it heals quickly.”

“After such professional help?” 

“Professional and completely free,” she emphasised, and began to clean up all the things. She wanted to get up, but Joel grabbed her hand and stopped her in her tracks.

“Leave it and sit down. You're exhausted and you just bandaged my wounds. You don't have to clean up yet.”

“Oh, okay,” she sighed quietly. She leaned back against the couch, defeated, and felt a shiver as their shoulders touched. “Are you thinking about something specific?”

“No. What about you?”

“Nothing specific either.”

Joel snorted and looked at her with amusement. She thought she was crazy, because otherwise she couldn't understand how she leaned over Miller and placed a short kiss on his lips. She wasn't even sure if she should call it a kiss, because their lips only touched lightly before she pulled away. But those few seconds allowed her to get to know his taste, and she knew that nothing tasted as intoxicating as his lips. It wasn't her first kiss in her life, but for a moment, that's exactly how she felt.

“I'm sorry, I shouldn't have,” she began with flushed cheeks.

Then something happened that completely surprised her. Joel didn't answer, but grabbed her by the waist and pulled her closer. Then he connected their lips together in a longer and definitely confident kiss. Without thinking, she opened her lips wider, giving him better access and at the same time allowing him to take control of the whole situation. She felt like her ears were buzzing, and her heart wanted to jump out of her chest. The whole world had stopped, and her biggest dream was coming true.

She tangled her fingers in his hair and moaned quietly when he gently bit her lip. Joel grabbed her by the waist and sat her on his lap. Holding her hips tightly, he guided her to where he needed her the most. He growled right into her mouth, and then his hands moved up. Y/N felt a shiver run through her body as she felt his touch on her. But she wanted more and cursed everything that they were still wearing clothes at the moment. When she thought about it, her fingers almost immediately went to the buttons of his shirt. When she unbuttoned the first one, she waited a moment, because as much as she wanted this to continue, she had to be sure that he wanted it too.

Joel didn't push her away, but continued. His hands quickly found their way to her shoulders. He pulled the straps of her tank top to the side, so that the outline of her breasts and the black bra she was wearing were visible from under the material. He kissed her jaw, then her neck, and she gasped loudly as he sucked in the extremely sensitive skin by her ear. At the same time, she unbuttoned the buttons on his shirt, until she could finally feel his warm skin under her fingers. His chest rose and fell, and she traced short patterns on his torso and sides with her fingers. She ran her nails down his back and slowly moved her hips forward and back, feeling the bulge in his pants, which she was sure was starting to bother him more and more. 

“Joel,” she murmured in his ear as she felt him squeeze her breast, then slip his thumb under the material of her bra. “Please…”

She didn't know what exactly she was asking for. She wanted him to finally take off her shirt, so she could feel his touch better. She wanted to feel his hands and lips all over her. She was completely lost for him and didn't think about whether they were doing the right thing or what would happen next.

But the last thing she wanted was for Joel to pull away from her.

“We can't,” he said in a hoarse voice, resting his forehead against hers. He held her around the waist, but not as tightly as before. “We got carried away.”

“What?” she asked, not believing what she was hearing.

Miller smiled and, as if nothing had happened, sat her back down on the couch next to him.

“Go home and rest. We'll talk some other day.”

He kissed her on the cheek, then stood up and headed up the stairs to his bedroom.

She didn't quite know what was going on, and it took her a few good minutes to pull herself together and get things in order. Her ears were still ringing, she could feel his touch on her body, but she couldn't get over the fact that she had been pushed away at the most crucial moment. She clenched her fists tightly and promised herself that tomorrow they would sort it all out. She had to know if this little moment meant as much to him as it did to her.

[randomfoggytiger]

The Scully Family Actors' Thoughts on Their Characters

Found some incredible tidbits.

All quotes taken from this October 1995 interview (which was written before Melissa Scully's death.)

THE CONCEPTION OF BEYOND THE SEA AND ONE BREATH

The conception for “Beyond the Sea” originated with a desire on the part of scripters Glen Morgan and James Wong to write a “Scully episode” with the goal that such a story would both highlight Gillian Anderson’s acting ability, and humanize the dour Scully. They believed the best way to achieve that was to tie the episode’s X-File case to her in a personal way: by introducing her parents and having her father die before the teaser ended, and then linking her need to speak once more with her father to a psychic prisoner on death row.

Morgan recalled that, “In the pilot, Scully mentioned that her parents didn’t want her to become an FBI agent. We found that interesting. So many people want their own lives, and yet need their parents to accept that life, and we thought it seemed to be a common phenomenon around us. So we put it into the story and hoped it would connect with people. And we thought maybe Scully’s parents lived in Washington. And if they live in Washington, what could her father do? It was kind of obvious to us he was in the government and we put him in the military. Then we thought, ‘OK, he has to be a higher rank, a Navy captain’s kind of neat. And we just worked backwards from that.”

“Melissa was someone who had to understand Scully and yet be different to challenge Mulder’s actions,” said Morgan. “Who better than a mother or a sister? Considering where Mulder was at that time, we thought it would be interesting to see Mulder’s reaction to a believer of ‘positive’ ideas. So, again, it was a character that was created from the needs of Mulder and Scully’s characters.

CAPTAIN SCULLY, DON DAVIS

“The character is very similar to Briggs on Twin Peaks,” Davis noted. “William is a military man who, although he loved his child deeply, was unable to verbalize that love until it was too late. ...this was a guy who was at the top of his field and the way he showed his love to his family was to give his children an example to follow and to provide them with great security. That’s kind of where I started off from with the character.”

Although William had died, on The X-Files anything can happen, and he reappeared in “One Breath” to deliver to the comatose Scully the paternal message she had longed for in “Beyond the Sea”. Davi[s] said that director Bob Goodwin’s concern was that his monologue would not “become maudlin. He wanted me to be on the verge of being overcome, but he didn’t want it to happen. He wanted the character to be strong, to be very much the man that had fathered Dana. So what I tried to do was to show a man holding himself in, a man who was filled with emotion but who, as a military man, controlled the emotion. We did a few takes and each time Bob was bringing me down.”

MAGGIE SCULLY, SHEILA LARKIN

Scully’s mother Margaret was portrayed by actress Sheila Larken, and in the X-Files world, where almost everyone has a hidden agenda, Larken’s maternal warmth and sincerity was a bright spot within all the bleakness.

Larken was reluctant to take on the role of Margaret Scully.... Her hesitation stemmed, she said, from her own father’s death the year before from a heart attack.

“It wasn’t really something I really wanted to do or pull up,” she said. “But I did it anyway. I never thought the part would repeat. My interpretation when I did that scene at the funeral was of a woman so involved with her own pain, she couldn’t even react to what her daughter was asking her. And they allowed that, even though the daughter was the lead in the show.”

Larken saw Margaret as “a military wife, married before I graduated college, someone who never gets to finish her college degree or find a career for herself, but mainly gets enmeshed in her family. You know, the Everymother. Part of her emergence in becoming self-sufficient was during the course of this show with Dana. I think Margaret is ever-evolving. ”

Larken’s favorite scene came in “Ascension, ” when Margaret and Mulder meet at a park and talk about the missing Scully. “You explore a scene and try to find what you’re thinking, and what you’re not thinking, and that one just jelled together. There were just so many little itsy-bitsy things that came together and they came together on camera.” She found working with Anderson and Duchovny to be a particular treat. “Their depth is multi-layered. A lot of times you work with actors, and when you look into their eyes, they’re a blank. You’re working alone. But when you get to work with Gillian and David, whatever you send is received and vice versa.”

Larken said that as Margaret she usually does not draw on her own experience as a mother, because “it’s almost too vulnerable to let in. ” She did admit to an exception: “There’s one scene where being a parent did work. In ‘One Breath’ where Margaret says to pull the plug on her daughter, Mulder doesn’t want her to do it. He moved away on me, and I called him his first name. I just went, ‘Fox!’ I could hear that ‘mother’ voice. And David stopped cold, he stopped in his tracks. It was like the voice of every mother; in that sense, the mother did come through.”

MELISSA SCULLY, MELINDA MCGRAW

Coincidentally, McGraw said, she brought up the idea of making Melissa a psychic, and found Morgan and Wong had already had the same thought.

McGraw felt that Melissa “was the black sheep in this family, probably a very difficult teenager, in trouble, very curious. She experimented, I’m sure, with drugs and boys, was very political and was always a bit left of center and always pretty conscious of developing her psychic ability.”

Morgan and Wong had also played around with making Melissa a girlfriend for Mulder, and although that idea was jettisoned, McGraw said she felt the element of attraction was still there, “Certainly from Melissa’s side. We had talked about that, and I think that for various reasons it wasn’t to be. Mulder had just had a romance the week before (in “3 “).

McGraw felt that in the end, it was a good idea that the relationship “didn’t go that far, because that left grounds for something later. I think they wrote Melissa in a neat way, because she wasn’t all pure and light. She had this dark side to her, and this slightly jealous side, of being jealous of Dana.” But, she concluded, there is also a “total love. The bond of sibling love is so intense. It’s an age-old dramatic theme, and it’s one of the greatest loves that human beings have. It’s undeniably bigger than any other connection, because you’ve shared not only the same parents, but the same actual physical experience of being born to that mother.”

CHARLIE SCULLY, a Note

Since McGraw's vision lined up neatly with Morgan and Wong's, I find it interesting that she (indirectly) groups Charlie Scully with the rest of the "normal" Scullys-- as if he, too, were a "God and country" man like Capt. Scully, Maggie, Bill, and Scully herself.

CASTING

Director David Nutter cast Don Davis, familiar to genre viewers as Major Briggs in Twin Peaks, as William Scully, and Sheila Larken as Margaret Scully. “Scully needed to have a father and mother both of real strong qualities and charisma and three dimensions,” he said. “I felt that Don David and Sheila Larken would bring the required weird to the parts.”

Nutter had worked with Davis previously on several shows, including Broken Badges, and called him personally to ask him if he would accept the role of William Scully, despite its brevity.

David Nutter had met Larken when he auditioned her for his 1985 film Cease FIRE, and although he didn’t cast her, she made an impression on the director.

Larken’s husband, X-Files’ co-executive producer Bob Goodwin, mentioned her at one point to Nutter, and Nutter immediately thought of her for Margaret. “She was perfect. She was the one, and I hired her.”

The arrival of Scully’s sister Melissa, in ‘One Breath’ was an unexpected one. Scully’s two brothers, of whom she spoke in ‘Roland,’ were glimpsed in “Beyond the Sea” and were seen as children in a flashback of ‘ One Breath.’ Yet the sibling who turned up in that latter episode was a previously unheard of sister, Melissa, played by Melinda McGraw. 

"Most importantly, we [Morgan and Wong] wanted to write a good part of Melinda McGraw, with whom we shared a frustrating time on The Commish.”

TRIVIA

In between “Beyond the Sea” and “One Breath” Davi[s] made an uncredited, off screen appearance as a dialogue coach for “Miracle Man.” As a native of the Ozark Mountains region, and a former theater professor, he lent his expertise to the guest cast to help them properly pronounce Southern accents.

The New York native [Sheila] had left acting several years ago and had obtained a master’s degree in clinical social work. But after moving to Washington state with her husband, X-Files’ co-executive producer Bob Goodwin, she found herself busy with acting offers.

McGraw enjoyed playing a softer role after several years as a police detective. “It was really great for me to play a different character,” she said.

LASTLY, AN ANECDOTE

From the compiler:

I once had the opportunity to ask what Glen Morgan thought about Chris Carter killing off Melissa Scully.... He told me that most networks have what’s called “character payments”. If a character that a writer created returns in another episode, they get a couple hundred bucks. This doesn’t happen on FOX, so there goes any cash for the Lone Gunmen, Skinner, Tooms, Scully’s Ma…etc. “If we did get character payments, I would have been more bummed that they killed Melissa...."

Thanks for reading~

Enjoy!

[lissa612]

Can someone point me to where in 9-1-1 canon it is shown that Buck thinks of “Evan” as a separate identity or a version of himself he escaped?

Because we’ve got Buck 1.0 that’s been clearly mentioned in the past as a persona he’s outgrown, but I can’t remember him ever saying anything like “That was Evan…This is Buck.” He started going by Buck because it was convenient. He liked it and perhaps considered it a fresh start along with the career he found to finally be his calling, so he kept the nickname…But even the reasoning there is speculation because I can’t recall him ever saying anything more than “Everyone calls me Buck now. I kinda like it.” But there were still people who would call him Evan. His girlfriend, his sister, his best friend when he wanted to make sure he was hearing him, and his therapist (who honestly should be the most mindful of his comfort with mode of address) just off the top of my head. The only time he seems upset when called Evan was when his parents did it after he apparently asked him to call him Buck…That seems to be more about them ignoring his wishes than any sort of visceral rejection of the name itself.

I keep seeing chatter about how it’s disrespectful of Tommy to be calling him Evan. But I can’t find anything in actual canon to back that up. You can head canon that Tommy ignored Buck when he introduced himself like “I’m Evan Buckley - Call me Buck” but that never happened. You can just as easily head canon that Buck blushed and told Tommy that he likes how he says “Evan” when Tommy catches that everyone else calls him Buck and tries to correct himself. I’d argue that one of those head canons fits better with actual canon, but there are arguments for both…Neither is absolutely wrong.

So you can totally head canon that Tommy is someone who ignored Buck’s wishes to be called Buck. But then you also have to head canon that Buck, despite all the progress he has made through the years, is someone who would actively pursue someone who has shown they ignore his wishes - Something we have seen in canon to be a boundary for him. Which is fine if you want to do that…Head canons allow for all kinds of freedom in interpretation. But it’s not canonical fact.

Buck has historically disassociated with parts of his past self with his software upgrades from Buck 1.0, but when was the last time he did that? Buck 3.0 was back in season 4. He’s grown and changed a lot since then without needing to proclaim himself to be Buck 4.0. But beyond that, he’s never proclaimed there to have been an early beta version of the software called “Evan”. Really the only thing we know was upgraded between Buck 1.0 and Buck 2.0 was how Buck handled sex and relationships. Was “Evan” the base code in Buck 1.0? If so, has the code changed so much to have erased that? (Again, there’s nothing explicit in canon, so we can head canon that all day).

Bobby noted at the end of the season how much growth he has seen in Buck. I don’t think anyone who has watched the show could argue against the truth of that statement.

That is canon.

But you can ponder on it and come up with head canon…Perhaps what we are seeing is a more self-actualized version of Buck who doesn’t need to think of any progress he’s made in terms of upgrades because the therapy has finally made him realize he is all of those versions of himself and they are all him - He is the result of everything he has experienced and everything he has done and every decision he has made, and who he is will keep constantly evolving with every new experience and decision.

Regardless, Evan Buckley is Buck. And he is Mr Buckley. And he’s Firefighter Buckley. And he’s Buckley. And he’s Evan.

Unless he’s told someone to NOT refer to him as one of those names and they do anyway, they aren’t showing any disrespect by referring to him in any of those ways. We have examples in canon of that happening. We also have examples of viewers seemingly deciding it happened without canonical basis.

That’s a head canon. Have fun with it but remember to not force it onto others.

[cripplecharacters]

Hello!

I have a character I am considering be OCD (or possibly OCPD) and she is the narrator/POV character for a large portion (1/3) of the book. My issue is, if I decide to give her any condition related to compulsions, intrusive thoughts, etc, how do I get across the severity of the condition while neither pounding the readers over the head to the point of boredom/frustration, nor minimizing/erasing her symptoms by just ignoring them until they are relevant to the story? (The plot's focus is not on her disability, but disability is an underlying current through the whole book.)

I think this would be much easier of a balance to strike if it were a short story, especially since i have written short stories before from the POV of characters with similar issues, but this is going to be a full-length novel, and she'll probably be the narrator for like 60,000 words, and that is a lot longer for a reader to keep interest in her.

To be clear, I'm not asking for a list of symptoms or anything like that. I have been doing research and continue to, for that. I'm just wondering how to strike the balance between those experiences and turning off the reader from repetitiveness.

Hi asker,

What I think is you don't always have to describe all the thoughts in detail. If there's common themes/recurring imagery or the like in her thoughts, you could focus on that to minimize repetitiveness.

For example, if one of her themes is that she worries she might accidentally hurt someone, you could describe it in the first times it happens in-story as something like...

"As I walked next to Michael, I worried i might hurt him without intending to. What if I tripped and fell onto him? We were near the road. I always worried. I focused on counting my steps to make sure nothing would go wrong."

As in, you don't have to specify how exactly she's worried it might happen, or that her brain is giving her thoughts that it could happen in way A and B and C. And then, at some other point, when the triggering situation happens again, you can do something like,

"Michael walked next to me. I counted my steps. He told me about...."

However, you can absolutely embrace that repetitiveness as a narrative style. The more repetitiveness you write in, the more anxiety you are conveying, because you're conveying the thought loop that OCD causes.

You can also focus on the emotions your character feels during thought loops and compulsions to varying degrees. Sometimes she might be more distressed than other times. Sometimes she might just be annoyed. Sometimes she believes the compulsions more, sometimes she tries harder to resist them.

I would actually suggest picking up books with protagonists with OCD, just to see how this repetition is played with in the stories.

Books I can recall off the top of my head that I have read that have a protagonist with OCD are Turtles All The Way Down, The Goldfish Boy, and OCDaniel, and I don't remember myself getting turned off by repetitiveness at any point. I recommend them as interesting reads, but I read them all a while ago and can't go into much detail. They are all also YA or Middle Grade just because I enjoy those types of books, haha.

Hope this helps,

mod sparrow

[princeescaluswords]

Almost Universally Accepted

If you ever wonder why people like me think the Teen Wolf fandom has become fundamentally corrupted by racism, you simply need to recall that there is, as one person on this site remarked recently, an 'almost universally accepted' headcanon among the fandom. Based on a single glance near the end of the first episode of the third season, Tattoo, a large number of people in this fandom believe that Stiles Stilinski helped Derek Hale and his pack look for their kidnapped betas over the summer between Scott's and Stiles's sophomore and junior years. In terms of the television production, this would be the hiatus between Season 2 and Season 3.

At first, it seems a perfectly harmless headcanon, but I believe it's a blatant example of how fandom racism degrades media literacy. Allow me to walk you through my reasoning. To start, most headcanons exist in a neutral state with regards to canon. When you speculate on a character's favorite ice cream flavor or whether they spend Christmases with their grandparents, it is most likely not going to affect how you view the canon. This particular one, however, modifies a crucial canon event, one which establishes both the relationships and a major part of the plot for an entire season. Coincidentally, those relationships and that plot are primary motive forces for the lead protagonist's character arc. Thus, accepting this headcanon requires the viewer to radically reinterpret the starting point of an entire season differently than the production's actual intention. It's such a radical change that any critical thinking requires a person to ask what the goal of this headcanon could possibly be, since it simply cannot fit within the canon itself.

Point One: The headcanon is entirely unsupported. Consider the image at the top of this post. That look on Stiles's face is, as far as I can tell, the sole trigger behind the creation of this suspect headcanon. Stiles makes eye contact with Derek and, apparently, looks guilty to the fandom. From this, Stiles is supposed to be sharing a private moment of remorse with Derek, to which Scott is not privy, about their inability to find Boyd and Erica over the summer.

Even given the possibility that the look on Stiles's face could also be interpreted as genuine concern for the fates of Boyd and Erica, regret that something new is coming for Beacon Hills, or even frustration that Scott is getting involved once more in something dangerous, the headcanon's interpretation does not in any way mesh with the actual lines spoken in the scene.

Derek: A pack of 'em. An Alpha pack. Stiles: All of them? How does that even work? Derek: I hear there's some kind of a leader. He's called Deucalion. We know they have Boyd and Erica. Peter, Isaac, and I have been looking for him for the last four months. Scott: Let's say you find them. How do you deal with an Alpha pack? Derek: With all the help I can get.

If Stiles has been working with Derek all summer to find and rescue Boyd and Erica, this dialogue makes no sense. Wouldn't Stiles already know about the alpha pack and how it works? Why would Derek not list Stiles among the people searching? It would require Stiles and Derek (and later Peter and Isaac) to deliberately decide to exclude Scott. Those who adhere to the headcanon never actually explain why that Stiles and Derek would want to conceal Stiles's participation in the search from Scott, but that's not their point.

Yet, while a conspiracy might explain why they don't reveal the secret here, it doesn't even begin to address while it is never mentioned elsewhere during the season (or any season). It also renders the dialogue between Derek and Stiles and between Peter and Stiles in Chaos Rising (3x02) incongruous. It makes the relationships between Stiles and Isaac and Stiles and Boyd incoherent. It makes the way Stiles treats Derek throughout the rest of the season nonsensical. But that's not all.

Point Two: It shreds characterizations for everyone but Scott. Take Stiles. In the last appearance of Stiles in Season 2, he tells Scott that "you still have me," in an incontrovertible statement of support. Why would a Stiles who made that promise hide this information from Scott; not just in this scene but in every scene about the Alpha Pack to come. If he was trying to keep Scott out of the supernatural things, then he didn't do a very good job; after all, he's the one who tells Scott about the Darach once Stiles discovers it. If he's secretly angry at Scott for something (whether it be not finding him when Gerard kidnapped him or some other fandom-conjured reason such as Scott 'ignoring' him all summer), then why wouldn't he use it when he argues with Scott in Unleashed (3x04), Frayed (3x05), Motel California (3x06) or Currents (3x07)? For this headcanon to be even remotely valid, it has to suppose that Derek and Stiles established a positive working relationship, but Derek is the one person to whom Stiles doesn't bring his ideas about the Darach. Why the sudden and unexplained change in regard?

Take Derek. If Derek trusted Stiles enough to have him help his pack look for Boyd and Erica over the summer, why would Derek so casually and cruelly dismiss Stiles's assistance after the recovery of Isaac ("Not You!"). If Derek is simply trying to keep Scott out of this -- which is actually seen on the screen -- isn't it callous of him to not have tried to keep Stiles out of it? And if Derek is angry enough with Scott not to seek his help over the summer (though this emotions doesn't stop him from accepting and asking for Scott's help visually on the screen), why doesn't Derek ever bring up that he trust Stiles enough to help but not Scott?

Keeping this a secret throughout the entire season doesn't match anyone else's character, either. Why didn't Peter use it to needle Stiles in Chaos Rising or needle Scott in Unleashed? Why does Peter, who is consistently portrayed as manipulative and using other people's misdeeds to excuse his actions ("I'm not the only dysfunctional family member.") not use it to undermine Derek's or Isaac's trust in Scott? For that matter, why doesn't Isaac use it in any of the conflicts he has with Stiles? It simply doesn't fit in with anyone else's behavior or characterizations.

Part Three: It does, however, serve to undermine Scott's role as lead protagonist. This is, at the base, the point. It's not really a starting point for Sterek that they claim it to be; a massive conspiracy doesn't really establish the impetus for their relationship considering how they both canonically treat Scott later. It does, however, serve as a coded way to establish the white male characters in the show as a social group in and of themselves, one from which Scott must be excluded, perhaps because of his inadequacies (he has to go summer school, see, which in Beacon Hill seems to be envisioned as a boot camp-slash-gulag) or his sins (not sacrificing Allison) but there has to be a reason. When you take in the way it doesn't fit into anything happen and doesn't really help what they want to happen, the only logical reason for the creation of this headcanon is that it demonstrates their belief that Scott does not deserve his position as lead protagonist, and that Stiles's professed loyalty is slowly being transferred to a man he had on a list of people responsible for human sacrifices twice.

But it is inevitable that such headcanons go against the themes of the show, the plot of the show, and the established characterizations of the cast, because consistency is not really important to parts of the fandom. What is important is that it suggests the true focus of the story should be where the believe it belongs: any white male character. This ill-fitting whim has become almost universally accepted, to remove a character of color form his position as lead protagonist with a subtext so deep it appears for exactly 2 seconds.

It is indeed racism.

[doin-just-fine]

How it feels to be us.

For questioning systems, specifically those who do not fit the typical DID/OSDD criteria, this will be an in depth dive into how our brain works as we understand it right now!

Bellow is all of us, The Super Fine System. 🛸 DoinFine (23) is on top and from left to right is ☁️ Cloud (~22) , 🌾 Summer (24) and 🧸 Bean (~8).

This is how we "appear in the head space". Technically, we don't have a visual headspace and we don't literally see each other. For us it's kind of like wondering around a space with the light turned off but we all have psychic proximity so we can sense each other when we're in proximity to each other. Even more technically, only DoinFine has psychic proximity in this way and I🛸 don't actually know what everyone else experiences up here.

🛸 I am a front stuck host. It's like I'm plugged in to the front. We call it being stuck in the chair because it's an easy way to explain it but I don't actually feel stuck in a literal chair. I just sort of feel glued in place. I feel like I am the front. Some systems talk about a control panel. I feel like I am the control panel. All I can really do is experience the outside world, sense when someone else is close to the front with my psychic proximity, and imagine what certain events that unfold in my head look like visually to kind of help make sense of it.

🛸 The thing about being front stuck is that I can never leave so we don't have traditional amnesia. What we do have is difficulty with memory recall but usually we'll get there eventually with enough description from an outside party and Emotional Amnesia. The best way to describe Emotional Amnesia is as if you're rewatching a movie but now the movie has no sound and is in black and white. Or like you're watching the movie from way across the room and through really thick glass.

🛸 The other thing about being front stuck in such a permanent way is that no one else can fully front. They all have to through me. This is why I feel like the control panel sometimes is because everyone has to operate and filter through me. This turns Cloud, Summer, and Bean into this:

Here are the originals for comparison.

🛸 Like I said before I can't see anybody nor can I hear anybody. But through the psychic proximity I can feel them and I can feel their vibe, emotions, and if their close enough or "touching" me I can hear them. Example: making these picrews was me making them and doing what I think they'd like and then feeling their reaction. It's genuinely fascinating because I will add something that I think looks good and I'll pause and tune in and feel, especially from Cloud, the vibe of "No, I don't like that." and if I'm really not doing a good job I'll hear a "I would never wear that." I don't actually hear another voice it's more of a passing thought and opinion that very much differs from my own. Thats how we figured out what everyone looks like.

Back to the filtered versions of my head mates. Some systems would describe this as being blurry, blendy, or just co-con. We feel blendy would fit this best. we know for some systems, like our partner system, blended alters can be their own solid individuals with unique names, pronouns, thought, and feelings. However, this is not the case for all systems and definitely not for us. The level of blended changes based on how close the person is to DoinFine.

This was particularly hard to navigate at the beginning of realizing we were a system because everyone talks about switching in and out and we don't do that. This fed our denial spirals for a good long while.

DoinFine has only ever not be in the front maybe twice. Bean seems to be the only one able to boot DoinFine to passenger with ease and has only done it once. The other time Cloud was bonding with his friend in our partner's system and DoinFine consciously decided to try and "look around" the head space (still not sure how to translate that literally) to see if they could learn more info. Cloud is our gatekeeper though so they didn't learn much nor did they full achieve disconnect but Cloud found himself front stuck for a second. We think this only happened because he's never co-fronted before and didn't know how to leave.

After writing that here's some information we may have pieced together. The first level of "fronting": Bleed Over and and Passive Influence is what DoinFine gets from the other head mates on our average day. The second level of "fronting": As someone get close to the front the influence becomes stronger which turns it into being blendy. This when someone sits on the bench with DoinFine or, in Cloud's case, standing just behind it. We don't make it past here very often. This is also where we have to give a heads up to those around us incase unexpected mannerism come through. The third and final level of "fronting": is reaching Co-Fronting where DoinFine stops driving but is still up front and can let the other person "have a turn". Typically it will look like the other person is Fronting on their own. This usually because in these instances who ever is co-fronting usually wants their time to exist as a person.

With Cloud getting front stuck briefly, that was DoinFine consciously and willingly taking "a back seat". Bean still holds the title for being the only one of us to kick DoinFine out of the drivers seat and forcing a co-front without anyone realizing until it was already happening. It wasn't even on Cloud's radar that maybe the 8 year old could be that powerful in the front. He was watching the interaction and suddenly DoinFine and Bean had swapped places and he began to panic only a little bit.

When it comes to our internal communication we don't lol. We communicate by verbally talking out loud to each other. Other things we do is use apps to text to each other. DoinFine, psychic proximity only gets us so far. All though they are developing a new technique where they kind of vaguely think about a question or theorize about an answer and then they try to tune into Cloud who's almost always with in proximity and tries to gage his emotions to tell them the answer or if their theory is correct. We have found that Cloud does not mind revealing information in this way. He still won't reveal everything though. For example we were trying to figure out when everyone first appeared in the headspace, when we got to Cloud he wouldn't tell us obviously but DoinFine noticed that when they would try and guess his vibe and emotions would almost play like a hot and cold game. When we were too far back he would almost boast about how, "i've been here way before that" and when we were too far forward we could feel collectively that it wasn't right. We eventually narrowed it down to early on in our time on this earth but when we were starting to get too close to specifics Cloud stopped the game and wouldn't provide anymore information.

🛸 Though I can tune in to vibes, emotions, and sometimes thoughts I can't access anyone completely. I think It's Cloud and he keeps tight tabs on everyone, I can gather information about people as individuals but nothing about the headspace, how this place works, and if anyone else is around. Though this is frustrating I can feel Cloud and trust that his intentions are good despite his rude way of executing them. I can feel that he is very familiar with me, and he knows what I can handle and when I'm ready for it. He is very much an older brother type. And I do trust that I will learn things when I'm ready for them. I also get the sense that he doesn't know EVERYTHING like he says he does and sometimes he just doesn't have the information and pretends like he's just keeping it from me. As for what everyone else knows I can't get a read on them. Bean is rarely around and it flips back and forth for Summer whether or not she knows things that Cloud knows or is just as clueless as me. Only time will tell I guess. I hope this is helpful or at least interesting to someone.

I’ve been trying to map how we work for a year now and this is where I’m at. I'm sure this will all change as I grow more familiar with my new situation. But for now if anyone has any question feel free to ask them, we are more than happy to answer anything. Questions from other people help us figure stuff out for ourselves.

Remember, you are valid in you're experiences!!!

[writingquestionsanswered]

I'm writing a story where a childhood friend comes back into the protagonist's life after a few years and there are some lingering romantic feelings between them, but the protagonist is in a relationship, although it's a casual relationship that he feels more seriously about than the other person involved. Both relationships are developing through the story, but I'm having trouble showing the contrasts between the two relationships. What are things I could add to show how differently they both know the protagonist?

Illustrating Differences Between Two Relationships

If you haven't already, go ahead and flesh out what both of these relationships were like. What were the strengths of each relationship? What were the weaknesses? What was the most romantic moment? What was the least romantic moment? What was the average date night like? What was the average "time spent together" session like? What three memories would the protagonist highlight as their favorites of the relationship? What three memories would they highlight as their least favorite?

Once you've fleshed out what the relationships were like, you can use the following methods to illustrate them for the reader. You can provide contrast by illustrating them in close proximity. For example, maybe the current love interest does something romantic, which makes the character think of the most romantic thing the previous love interest did.

Ways to illustrate the relationships for the reader:

-- have the protagonist recall past relationship memories either via the narrative or via dialogue; find a way to relate this recollection with something parallel in the current relationship

-- use a current relationship moment/situation to lead into a flashback where the protagonist relives a similar/better/worse moment in the past relationship

-- use internal monologue to have the protagonist mentally process differences in the relationship

-- use dialogue with another character to have the protagonist discuss differences in the relationships. You can also have the other character make observations about differences in the relationships.

-- have the protagonist notice differences triggered by things like photographs, old e-mails or letters, mementos or gifts, etc.

Some other things to keep in mind:

-- illustrate differences in how the love interests reacted to similar situations/moments/events

-- illustrate differences in protagonist's emotional state during similar interactions with each love interest

-- highlight commonalities and differences between the protagonist and the love interests

-- illustrate differences in emotional and physical chemistry

Hopefully this will get you on your way to illustrating and examining key differences between your protagonist and their current/previous love interests. Happy writing!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

♦ Questions that violate my ask policies will be deleted! ♦ Please see my master list of top posts before asking ♦ Learn more about WQA here

[bl00dlight]

So when I said that many green stans lack media literacy, it's crazy how right I was given so many think Aegon is a good father. Again, like? Loving your son because he is an extension of yourself ≠ being a good father. And we see that, as he not only mistakes Jaehaera for being Jaehaerys ( the servants & Helaena react to this ON SCREEN how could you miss it), he doesn't know where Jaehaerys is even educated, Helaena actively tries to keep Aegon AWAY from Jaehaerys, he doesn't spend time with his kids (as shown in S1), he also HAS BASTARD CHILDREN HE WATCHES IN FIGHTING PITS? HUH? Caring only about your heir does not make you a good father. Its almost like 🤔🤔🤔 Viserys did the same thing🤔🤔🤔 he only gave a fuck about his heir 🤔🤔🤔 and everyone thinks he is a bad father because of it 🤔🤔🤔🤔🤔🤔. He has only gained interest in Jaehaerys because he is having fun with the novelty of ruling (as Tom said and even the other characters in show acknowledge this). He also let's his child fuck around in council room just to be a menace. Actively teaching the kid that it's all g to do whatever the fuck you want cause you're gonna be King one day? Is that NOT what people critiqued Rhaneyra for when she was younger lmao? It's like... how can you get "awww he is such an attentive father" from mistaking your son for your daughter LMAO. Like the framing of all the scenes are setting us up for Helaena's reaction during B+C. Not only is she disassociating and traumatised, but she is also very much aware of the in coming doom they are all about to meet on behalf of Aegon's choices as King. Does anyone recall the fact Phia and Tom state multiple times Aegon doesn't really give that much of a fuck about Helaena, on top of how uncomfortable she is being Queen? She knows Jaehaerys will be primarily influenced by Aegon? Remember how she says "What if he does not wish to be King?" that's her trying to sway Aegon from influencing his own son cause Helaena knows Aegon is a TERRIBLE example. Expanding on that, I kinda view her saving Jaehaera as her saving herself? It's also very possibly Jaehaera and Jaehaerys would have been betrothed. Imagine Helaena thinking her daughter might one day have the same fate as her, because she could not prevent otherwise???

Mfs just see Aegon = good father for 1 known interaction. Instead of Helaena being a good mother by literally spending most of her life raising her children alone only for Aegon to suddenly swoop Jaehaerys away from her and steer him wrong. Then being forced to let her son be murdered while his FATHER is drunk (and from leaks presumably at a brothel with Aemond) I'm SORRY? She gave up Jaehaerys so easily because she A) already had insight into something bad happening, B) also knew they'd kill both of her children either way? Would she have been a better mother for sacrificing her daughter because males are valued more? Only then to have both children killed regardless? She saved her daughter as SHE SHOULD HAVE. And anyone who speaks against Helaena's mothering but is pro Aegon as a father is just another example of how misogyny shapes our world as well as in Westeros.

Okay just because yall wanna fuck Ageon doesn't mean you can't be critical of him. Lord knows how I am publicly horny for Aemond and I have stated multiple times how that man is like... categorically the worst.

[russellsppttemplates]

Could you do a Lance one where you're busy in helping your mom and he needs to go to Aston Martin factory to do the seat fitting for the next season car, so he takes Margot and Addalynn with him

"We're going on an adventure, girls!", Lance knocked on the playroom door and balacing himself on it, "but mummy is helping grandma and she won't be back until later", Addalynn reasoned as she recalled what you had told them before you bid goodbye.

"Yes, grandma needed help with some paperwork", Lance confirmed, "but I need to go to the factory and I can't leave you alone here, so let's go get ready to go out, yes?", he urged them into their bedrooms.

"It's cold outside, so can you guys get your coats?", Lance asked as he too got his coat from the closet before he joined them again, "I need to use the bathroom, daddy - don't forget about me!", Margot checked before she walked inside.

"We won't, baby - do you need the bathroom, Addalynn?", Lance asked your oldest daughter, "no, I'm fine", she replied back, "what are you going to do in the factory? Is it a meeting?".

"No, not a meeting. I'm going to do a seat fitting", Lance explained, "I need to put on my suit and then the guys are going to make sure my seat is comfortable and safe for me to race in", he explained as he helped her with her boots.

"I'm here! I'm here!", Margot ran inside her sister's bedroom, "Good, let's go then!", he clapped and ushered them downstairs, putting shoes and coats when in who didn't have them on yet before going to the car and driving to the factory.

"What is daddy doing today? Is it one of those things where we have to sit quietly?", Margot asked, remembering the last she was in one of those and Lance let her sit with him if she kept quiet enough.

"No, they're making daddy's seat for the car, I think we don't need to be too quiet, but we need to behave well", Addalynn responsibly advised her, earning a nod from her little sister.

"Look who it is! Hi, girls!", the young woman at the front desk of the department smiled, waving at them as they waved back, "is it bring your daughters to world day?", she asked Lance.

"It's something like that, yes", Lance smiled as he stepped closer to the rest of the team he would be working with closely today.

"You can play here, okay? I'm just going to change into my suit and then I'll be back", he checked with the girls as one of the mechanics happily played with them, kissing Addalynn's and Margot's cheeks before he excused himself.

"Are you building daddy's seat with a comfy blanket?", Margot asked curiously as she looked at the materials they were starting to lay down inside the shiny green car, "it's a bit of a different material. It's almost spongy but then it goes stiff so we have your daddy's body outline", he explained.

"So like a chocolate egg shell? We did those with mummy yesterday, we had to press two pieces together and then it became the shape of the egg!", she mused, "we could have brought chocolate to share with you, but we ate it all, didn't we Addy?", she looked up at her older sister.

"Yes, we did, we're sorry", the oldest girl offered earnestly, "we'll ask mummy to make some more and then we'll come here to share, okay?", she offered.

"How nice of you, girls, thank you!", he smiled as the click on the door sounded, Lance coming out of the room dressed in his new suit.

"You look beautiful, daddy", Margot complimented, hugging his legs, "thank you, my love", he answered before kissing the top of her head as she let go, going back to her sister and sitting down to watch the whole process.

"In you go", one of the mechanics said as both girls watched curiously.

"I'm not sure I can see with it here", Lance tapped the car and adjusted himself, "I need an example of something or someone", he mused.

"We can go daddy!", Addalynn suggested as she and Margot to up and stood far way from the car so Lance could have all the perspectives he needed, "see what I mean? I know my daughter has a pink bow on her hair because I put it there this morning but I can't see it that well and I should be able to", Lance commented with the mechanics as they ran a few tests, asking the girls to gently move positions every now and again.

"You were great help guys, might hire you for these test days!", the head engineer said, highfiving both girls as the beamed, happy to help.

(Thank you for sending this in ✨️)

[wayfayrr]

Read how the Links would not be ok if you liked a villain. Hm…I don’t like a villain, don’t worry lol. But I have thought about Ganon (totk) and how I feel bad for him. My ex told me (as he’s way more familiar w the games than me) that Ganon is evil bc he’s corrupted by gloom from Demise or something. Therefore it’s not completely his fault, because also I mean, no one is just born evil like that. So I’ve sometimes looked at him in the cut scenes (haven’t finished the game yet so idk the ending) and thought “y do we have to hurt him? If he’s just corrupted by the gloom from demise, then y can’t we find a way to save him? Bc then the three parts of the triangle could work together! So how would Tears feel about that idea floating around my head? Bc I’m not romantically interested in Ganon or anything, just wanna save him.

Also from my last ask, me killing the npcs by accident and laughing like a maniac. Yeah so an example of that would be when you have to save the dude w the horn or whatever (from the band) in the big hole he fell into, and get his wagon out too. So I still only had one battery, so when I attached the hot air balloon and flame emitter, it ate my battery too fast to get out. So the first time I didn’t know that’d happen, so we went up then immediately dropped down and it froze the screen on the dude’s face and his speech bubble said something like “omg I’m gonna die! Put me down!!” And then went black. And that’s where I laughed and my roommate looked at me very concerned 😂

On another side note: yeah no, totally don’t change the camera angle to look at Link’s face, or take pictures, or put him in the Gerudo vai outfit bc I think it’s the cutest thing ever lol. What does Wild think of that outfit? What does he think of me liking that outfit?🙈😂

as for the first bit I think he'd respect the thought behind it - it'd be making his life easier if that would be possible after all, which means more time to fawn over you instead! he also respects how hopeful it is, because honestly ganon is as much a pawn to the games code as he used to be too - he isn't even aware of it either, just a soulless husk for the code to puppet for it's tasks. but don't put too much thought into ganon, else he's going to get jealous. Why are you thinking about him so much when he isn't alive, when he's right here!! if you say too much about ganon without stopping to think about him then it's going to really start getting on his nerves.

sfdgvaesvgadvgga that quest becomes so much easier when you realise you can just recall something back up to the top after pushing it into the hole lmao (definitely not how I solved the quest nuh uh) (also I'm guessing by other ask you mean the one where you used link to calculate hp?) but I can see why your roommate was concerned after the fade to black when you were laughing sdfsdfvdsv

also no never zooming in on his face never ever nuh uh

(only the last one is mine, the others are from pintrest)

I think wild would love the vai outfit - like how tears adores the frostbite one, and it's less the outfit itself and more your reaction to them. even if right now they're just your dressup dolls soon enough they'll be able to show off the outfits for you as more than just pixels on a screen <33

[astra-galaxie]

So...quick question. How would you rank each CC game in terms of character design? I would love to hear your thoughts!

Oh! Good question! Let me get some pictures, and I'll come back with my list!

1st place: Mysteries of The Past

I LOVE the character designs of MotP! It does an amazing job at replicating the style of the late 19th century, which it's supposed to be set in, and while some things aren't entirely period-accurate, I love it regardless! Also, the characters' physical appearances are detailed and unique, creating a large diversity among this season's cast.

Plus, Victorian Steampunk is one of my favourite styles (even if I don't wear it), so that's an added bonus for me!

2nd place: The Conspiracy

This season showcases how much Pretty Simple's character designs have improved since its release, as it brought back many S1 characters. The details in the designs are beautiful, and this is also when PS started trying more facial expressions and poses for the characters. This season is a perfect example of how character designs can be improved with practice, so it earned second place!

3rd place: Travel in Time

S6 gets third place thanks to how many different periods' styles it's replicated. We had Ancient Times, the 1960s, the Renaissance, the future, the Age of Sails (which I love pirates, so bonus!) and Medieval Asia. This season had so many unique styles within it that it's only fair it should be in the top three! I think the only reason it's not higher up is because it's shorter than the other seasons, and while I don't know if I would want it to go for 60-ish cases, it would have been interesting to see what other times we could have visited.

(I still think we should have visited MotP during S6, but that's an idea for another time, so I'll shut up about it for now!)

4th place: Supernatural Investigations

S7 gets fourth place, as I love seeing its take on different supernatural creatures. I am a HUGE fan of the paranormal and magic, so this season is right up my alley! While some designs could use improvements (*cough* the demons *cough*), I still like seeing all the different mythical creatures. Regardless of the things I would choose to change to improve some of the characters' designs, it did an excellent job making characters who are so different than what we see in other seasons.

5th place: Save The World

Save The World is when I feel that Criminal Case really started to branch out with its diversity in character designs. We visit so many countries throughout the seasons that it makes sense for the characters to reflect the differences between nationalities. I won't speak for how accurate some of the designs are for all of the nationalities featured in this season, but I think PS did a good job designing characters to represent each country. You can even see it among the Bureau since few members originate from the same country. Overall, StW has fantastic character designs, even if the following seasons have more details.

6th place: City of Romance

OMG! Who would have thought we'd ever see the day CoR DIDN'T come in last place on a list?! (At least I don't recall them ever not being in last place...)

Even if CoR failed horribly at being the final season of CC, the character designs are good. Some characters I like more than others, but overall, they have plenty of details without being overwhelming. Had CoR gotten the chance to be a full 30-case season, we might have seen more characters come back from past seasons and see the design improvements like we did in S5 and S6. Like I always say, CoR had the potential to be better than it was, but at least the character designs weren't a total flop!

7th place: Pacific Bay

(AnxietyFluffy, please forgive me for putting S2 so low on this list.😭)

While I enjoy PB's plot and characters, unfortunately, I had to put it so low on the list since, compared to other seasons, its character designs aren't as impressive to me. Mainly, it's because it's only the second game, so PS was still working on improving character designs. While I can see an improvement between S1 and S2, it's just not enough for me to put PB higher on the list. But, I still think PB did a good job creating diversity between districts, and while I will always question how the climates of these districts coexist, it was nice to see the differences reflected in the character designs.

8th place: Grimsborough

Last but certainly not least is Grimsborough! While it's nostalgic and the game introduced me to CC, sadly, its character designs showcase the fact that it's the first game. I would never say the designs are bad, but they're not as good as they were in the following seasons. There's something simplistic about the designs compared to feature seasons, but I still enjoy them. However, I am glad that PS started making the characters more detailed and unique in the following seasons, and I wish we could have seen more S1 characters come back in future seasons to see how much their designs could have improved.

I loved seeing how PS's character designs improved over the course of their 8 games while staying true to their CC style. I've always enjoyed the style and characters of this series, and it was fun to pick which ones I liked most! I'm sure others would put the seasons in a different order based on character designs, but I'll stand by my choices.

Thank you for the ask, eggsandmasks! You always send me some fun brain teasers!😁

[draganwhorror]

So I have some fun little tidbits of information to share from my time at Frightmare in the Falls. I had to miss Ted's Q&A panel today because of the timing of my flight, so alas, I do not know what was asked/answered at his panel. However, I did get to chat with him quite a bit this weekend (especially Friday), and I wanted to share what I learned.

I asked Ted about Popsy, the Stephen King dollar baby he was a part of back in 2019. He said he honestly didn't have much to tell me about that, other than he knew there were directors (not the guy who did Popsy) who were abusing their contracts, which is potentially why Stephen King ended the program. He also said he assumes King has some type of claim or rights over the dollar babies, so whether or not it will ever see the light of day is completely unknown.

I asked Ted about Red Light, and he said it's becoming a feature film (full-length) now. Same director, same producers, etc. The only difference is, he won't be starring in it this time. He didn't say anything about the short film, but he did say he will be an executive producer on the full-length version. He also said the reason he's not starring in it is because he doesn't have time/has been super busy with other projects. He did say he's grateful for all the work/projects he's got going on, though. What those are, I can't say. I didn't ask, and he didn't tell me anything more.

I also brought up The Fountain Clowns, mostly out of curiosity, since it was considered "lost" until recently. Ted said he didn't remember the film at all, even after I mentioned it was one from the early 90s he did for a director who was in film school at the time, and that he played a Justice of the Peace named Hayden. He just chuckled and said he didn't recall it.

I did go see Ted before I left today to let him know I was going to miss his panel and see if I could ask him a question at his table instead. He agreed, and so I asked him if he'd ever had a role that he found challenging or difficult, not in terms of stunts or physicality, but more like getting into a character's head or portraying that character (and I used Skinner as an example because of how vicious he is towards prostitutes/women in general). Ted thought about it for a bit, then apologized for not having an answer for me/being evasive. He said making movies is hard, and all of his characters were difficult in some way. He said TV is easier, because if a movie gets behind on schedule, everyone panics, starting at the top and trickling down to even the lowest people on the totem pole (like craft services).

I jokingly brought up Planet Raptor, and he went off on a tangent about that film. Said it was absolute shit, and that none of the people (director, producers, writer, etc) really cared about it. Said they just wanted to rush it and get it out to Syfy Channel as quickly as possible. I told him he was the best part of the film, and that he'd given it his all, doing his best with what he'd been given. He said the whole cast gave it their all, even though there wasn't really any reason to. Then I told him Dr. Tygon was a dick, and he laughed.

Ted also told me he only did Millennium Crisis because he wanted to hang out with friends in New York. Said the movie wasn't very good, but he did it just because it gave him an excuse to be in NY to spend time with friends. I'd say that's pretty valid. 😂

Oh, and Ted apparently (jokingly) feels bad for me because I told him I'd seen like 90% of everything he's been in. He was like, "Most of it sucks." But he loved my cosplay of Pavel. He gushed over it a few times and told me I looked good/just like him. 🫣 According to him, I'm the only person who has ever gone to a con as Pavel, and I guess he got a kick out of it.

I think that's everything. I just wanted to share that with all the Ted fans on here. Hopefully we'll be seeing Ted in a bunch more fun stuff soon! 🤞