#there might be other examples but these are the two that i remembered

[draculasstrawhat]

I can’t remember if I said this last time it came round, but it’s also worth noting that some of these turns of the discourse are a response to (and overcorrection of) the existing ideas against these things, which in themselves are sometimes a response to previous justifications.

For example, the idea that women are soft, fragile, and more morally pure is a reaction against earlier ideas that women were more earthly, lusty “fragile vessels”.

And obviously, these things aren’t always linear - there’s a backing and forthing of discourse around them, while the wider discourse shifts gradually over time.

Like, there has been longstanding discourse over whether homosexuality (particularly male homosexuality) is something that one does, or something that one is. With the justification shifting periodically from “it’s okay if it’s a thing you do sometimes” (“I think there’s no crime in making what use of my body I please,”) to “actually, if you choose it it’s wrong, because the act is a sin/assault/tempting other men.”

To which comes the defence that, well sure, if you choose to do it, it’s wrong - but if it’s an innate urge or problem you have, you can’t help it. (“it seems cruel to punish that defect with death”).

From which, the idea that it’s a “defect” is countered with eugenicist and “moral hygiene” ideas that it’s a mental illness/moral weakness that needs to be removed from society.

Against which comes the idea that, no, it’s generally caused by circumstances, and is often phase (psychodynamic interpretations) and that in itself it’s just a conduit for human tenderness/sexuality (C.S Lewis) - however objectionable one might find the ‘vice’. The idea, that perhaps it shouldn’t be encouraged, but left alone it will probably go away in favour of “more wholesome” pursuits.

From which comes the idea that “encouraging wholesome pursuits” will stop people having “homosexual desires”, that “it’s just a phase”, and that not “growing out of it” is a sign of emotional and psychological immaturity. (The popularity of this interpretation happened to coincide with the AIDS crisis, which gave it a degree of urgency and force in many people’s minds.)

In response to which, we had the “Born this way” movement as a necessary counterbalance to things like conversion therapy, and then idea that one could “turn it off,” which in turn lead to the search for “the gay gene” - presumably to eliminate it.

From which we got the “everyone is a bit bisexual,” and the “love is love,” and other more recent queer history - which I’ll not bore you with right now.

My point being that what, to our ears, might sound like a less progressive position (“they can’t help it. There’s something wrong with them,” or “oh, it’s just a phase, I think, and there’s no harm in it.”) can historically lead to someone being more supportive in practice than someone whose understanding of it aligns more closely with our own - but who draws very different conclusions. (Eg, “that’s two people making a choice to follow their sexual urges with their bodies. Which is disgusting, sinful, and wrong.”)

Genuinely 90% of historical fiction would be so much better if more writers could get more comfortable with the fact that to create a good story set in a different time period you do actually have to give the characters beliefs & values which reflect that time period

[sweetlady555]

Unlocking the hidden power of Mars 12H:

Hi everyone! I apologize for not having been uploading as much but I’m back and writing about Mars 12H because it's so powerful and I rarely EVER see anyone talking about it. As I’ve decided to step fully into my power starting November 2024, I’ve recently realized something powerful about my energy that completely changed my perspective, I will be using Kim Kardashian as my example as she is a Mars 12H native :$

What Is Mars in the 12H? 🤔

Mars represents drive, action and motivation. The 12H is the house of the subconscious, hidden things, spirituality, behind the scenes, hidden strengths, the spiritual realm. When these two energies combine, they create an energy that works below the surface often in ways we aren't fully conscious of. 👁️

One thing you should know is Mars 12H natives makes moves in silence they don't need outside noise or your projections! You'll see how it's done just watch, you don't know need to know how, why or when they're going to do it, but just know they've been multiple steps ahead of you. Its like this divine calling thats always in your ear telling you which move shall be next and its such a strong force that its like if you don’t take action itll make you feel so……… wrong its like a itch. Usually Mars 12H natives do take the action and it leads to blessings I like to call them. Mars 12H natives do not feel the need to force anything, when the thought and feeling comes you do that shit! Mars 12H natives are always mysteriously led to exactly where they need to be.. this is likely why they get their rep for being so mysterious & secretive! Its imporant as a Mars 12H native to listen to your gut and trust that everything will work out as planned, and this doesn’t go for just Mars 12H natives it goes for everyone!

Let's use Kim Kardashian as a famous example on how Mars 12H manifests for the natives, as a Mars in 12H native I feel like I can relate to her ambition and I can understand her doings.

Kim Kardashain always knew she was going to be a star, if you have seen her videos of her younger self she states, "and you're all going to remember me as this beautiful little girl" For both Kim and people with Mars 12th house, the confidence and determination to become a star or successful often comes from a deep subconscious belief in their destiny. Even if they don't know the "how" or the "when," they just FEEL compelled to take action towards their dreams, sometimes in ways that seem hidden or almost effortless to others. In Kim's case, she didn't just fall into success, she actively pursued it through her work, image crafting, and seizing opportunities. Even before she became widely known, she had an innate sense of how to position herself and build her brand. This is the Mars 12H signature, an internal drive that doesn't always need external validation or explanations to succeed. Many people accuse Kim of "destiny swapping" with Paris Hilton but let's be so fo real right now.. Destiny swapping doesn't exist, and I feel like people just can't believe Kim rose above Paris Hilton which seemed so effortlessly, but not enough people credit her for her hard work and perseverance. People have accused her for being a reptellian too 😭 ? because I guess its that hard to understand hard work, dedication and logic actually does pay off! Kim has a vision and she's still actively working hard for her vision behind the scenes, and if its one thing we all know its that Kim will chase her bag regardless!

My experience with Mars in the 12H :

Growing up, I always knew I was going to be something special, I knew I was gonna be influential (I have 10H placements so this might manifest differently) Last year, I had rose to fame very quickly online through my image and the amount of people who were confused af how I did it was flattering not gonna lie! I would hear people tell me things like “did you sell your soul?” or “whats the method?” or “you only got it because you had this and this” . I was always in my own bubble online posting what I feel destined to do no matter what my ego said. I thought with my soul a lot of times even if it was shocking, so honestly I could see how people would accuse me of “selling my soul” or having a certain method to my influential social media fame. There is a lot of pain & passion behind my doings and I logically plan everything out so it kind of flatters me honestly! To me this just shows how Mars 12H natives are skilled in making something out of themselves coming from being a underdog to becoming someone highly admired.

The Energy Of A 12H Mars Native :

Mars in the 12H natives can have this strong powerful magnetic effect on others without them even realizing it but others will feel this on a subconcious level. They truly have a lot of appeal! Its almost like this hidden power or secret magentism that draws people in which could attract a lot of admirers, monitoring spirits, actual spirits even! 😭 The truth is though, Mars 12H natives do really have this strong inner power within them, they tend to be very confident in themselves and this energy reflects on the outside even through the screen. They have this aura around them that can’t be ignored. Mars 12H natives will often be seen as untouchable or enigmatic, just like Kim she knew how to use this energy to use this subtle allure to captivate her audience.

People with Mars 12H have this sexual energy that is more felt, not seen! This can make their presence intoxicating as others may sense their sexual energy without knowing where it’s coming from. Its almost hypnotic! Its a deeply rooted emotional and spiritual sexual energy often rooted in the subconcious. With Kim, she knew how to use this energy in her brand being percieved as seductive, powerful and confident, but it wasnt just about her body — it was about the way she carried herself and commanded attention without saying much.

Despite being more subtle, Mars in the 12H gives the individual an almost unconcious control over their sexual energy. Theres an innate understanding of how to play on emotions and create attraction often with very little effort. This creates an energy that is simultaneously passive and powerful and you can’t deny or ignore it either. Almost like being in the background but still being the force everyone notices.

There is a lot of fantasy and imagination that takes place with Mars 12H natives and how theyre percieved, natives with this placement tend to make others fantasize about them not just by how they look but how they make people feel! Their energy creates a sense of longing, almost like a dream or a fantasy that others want to live in. Kim Kardashian has been able to tap into this fantasy energy by cultivating an image of perfect beauty and luxury, which keeps her in a fantasy world that fans want to be apart of. This fantasy element is key to her sexual appeal, as it makes her seem unreachable and unattainable.

Mars 12H natives, if they aren’t aware of their power makes them a target for insecure people and spirits in the physical and spiritual realm. People will often notice this energy before you even do and project the most they can and throw as much dirt as they can on you because they’re afraid of your power! Its highly advised you take the precautions and make sure you are being careful in who you’re telling your business to, what things you might be opening in the physical and spiritual realm, who you let into your space, who you’re doing business with all of it! Dont let them take advantage of you!

I also had read that Mars 12H often repress their emotions or their anger and although it is that in some cases, Mars 12H natives just tend to strategically move instead of acting out on anger or resentment in the moment to avoid unnecessary conflict and to stay in power and their own peace. Its a silent strength many Mars 12H natives have where you don’t have to scream or shout to prove yourself, you can strategically wait for the right moment, then act with precision. This ability to stay focused and composed on long term goals is what makes Mars 12H natives have this quiet power behind them. People might not realize that this anger comes from a calculated, startegic place, its not random but it could be percieved as out of nowhere. The 12H is often linked to subconcious energies, hidden feelings and things that are not visible to others, so when Mars 12H natives express their anger it can come off as intense, mysterious or even uncontrollable to those around you. People may not fully understand why you do the things you do or whats going on beneath the surface so this often leads to people labeling your anger more extreme.

The Spirtual Realm

Mars in the 12H natives are often deeply connected to the spiritual realm, but they experience it in a unique way. This placement can give them a natural sensitivity to invisible forces or energies like I mentioned earlier a divine force! Whether that may be intuition, sprits or subconcious currents that influence their actions. Mars in the 12H is often described as “Behind the scenes” or operating in the background, which makes these individuals especially attuned to the unseen world—the spiritual, emotional and psychological realm.

Mars, the planet of action, aggression and energy, in the 12h amplifies the natives ability to tap into intuitive and spiritual currents. This placement suggests that instead of being overly action-oriented in a physical way, Mars energy often works in more subtle and intuitive forms. For these individuals, the battle often happens internally-in the subconscious, in dreams, or in their connection to the spirit world.

Mars in the 12th house people often experience a sense of being guided by invisible forces, and they can be highly receptive to messages or signs from the spirit realm. This doesn't always mean they consciously hear or see spirits, but rather that they might feel guided by an internal voice or experience moments of divine timing that feel too precise to be mere coincidence. They may also experience heightened sensitivity to energy, such as a feeling of being watched, sudden shifts in mood or vivid dreams. Its not a common occurrence to hear ringing in your ears when you’re picking and feeling up on certain energies with these natives!

Since Mars 12H is a powerful subtle energy this makes spirits from the spiritual realm more attracted to them, Mars 12H natives are very assertive and felt by these spirits hence why certain spirits like to latch onto them. Its not common either to see spirits, see things move suddenly and even a spirit taking control over your body when you’re asleep. It sounds scary but don’t let this make you afraid, I once fell into this when I was around 8 or 9 when I was sleeping and a spirit had woken me up in the middle of the night and made me literally slam my face into my headboard that made the principal think I was getting hurt at home, i was always targeted by this spirit. I was the only one who could speak to it and make them do certain things like move toys and such. I didnt realize at the time I was connecting with aggresive spirits 😅 and not God. Its highly important for Mars 12H natives to strongly protect themselves when they are asleep because when you are asleep the veil between the spiritual realm and physical realm is very thin!

Mars 12H natives embody this spirtual warrior archetype, they can feel a calling to fight or stand up for spiritual causes or to protect others, but they do this in a way that is not outwardly visible to others. Mars 12H natives might actively avoid conflict when it comes to spiritual warfare or protecting their energy and their peace. They may also engage in energy work, spiritual practices, or rituals in private to protect themselves from unwanted spiritual influence. This is often done subtly or privately, as they don't always like to broadcast their spiritual strength. Their Mars energy in the 12th house can make them exceptionally good at clearing negative energy, transmuting it, and defending themselves from energetic or spiritual attacks, but they may prefer to do so behind the scenes, where others don't see it.

Mars in the 12th house natives may also experience periods of isolation or retreat, where they feel the need to withdraw from the physical world to connect with the unseen world. These moments of solitude allow them to recharge spiritually, process subconscious material, and connect with higher realms of consciousness. During these times, they may feel a deep connection with their higher self or with the spiritual beings guiding them.

When it comes to spiritual practices, these individuals are likely to have a natural talent for healing or working with energy, whether it's through prayer, meditation, crystals, or other metaphysical practices. Mars in the 12th house helps them channel life force energy in a quiet, powerful way, almost like a spiritual warrior operating in the background, quietly shifting energy around them.

Its important to watch out as a Mars 12H native what you are putting your energy into as these things will manifest almost immediately. When you decide to shift your attention to other IMPORTANT things you will often notice your energy was literally the foundation for whatever negative thing that was happening. So be Aware! You know how powerful your energy is.

This was a long post but as a Mars 12H native, I rarely see any accurate or in depth posts of Mars 12H individuals, I had to really dig into my experiences to understand this was Mars 12H influence all along.. In my opinion, Mars 12H natives deserve so much more respect for what they do because a lot of it goes unseen and for multiple reasons lol. I havent wrote in a while but I was getting a huge urge calling to post about this. If any mars 12h individuals relate to any of these experiences please let me know because I’d love to hear from you! and please be careful 💟 may god protect your divine energy, space and you ☮️

[revvethasmythh]

So I went and watched all the possible endings, and it confirmed something I had been thinking, which is that the redemption ending choice is, perhaps, the most immediately regretful one--but that they all come with some form of regret. In the redemption ending, Rook has to knowingly deny themselves the catharsis of retribution (should they desire it, which, at least for me it felt difficult not to) in order to offer Solas one last, painful chance to do the right thing. That willful denial of your own catharsis feels like an immediate regret. Giving Solas the opportunity to pursue atonement might very well be the best choice all around, but it is also incredibly painful to offer that to someone who has done so many terrible things (not a small amount to you personally). Why does he deserve another chance? Especially when so many dead (including a beloved mentor) lie in his wake? Which, I suppose, is the point: he doesn't. But you offer it anyway and it SUCKS ASS, because how could it not?

I don't know how this plays with other story choices (a sacrificed Davrin or a Harding who embraced her anger, for example), but within the context of my own choices, I can imagine an immediate satisfaction to either tricking or fighting him--especially the trick ending, where you can actively name drop Varric--but it feels like the sort of thing that would feel worse as more time passes. Once you've calmed down and are able to ask yourself if that's what the people you've lost really wanted. Varric, in Regret Superhell, didn't want vengeance. He just wanted his friend to walk a better path. And Harding always believed there was another chance for anyone, so long as you kept reaching a hand out for them--even when it sucked ass. So the redemption ending feels like a sort of indignance, an instant regret for not doing worse, for not getting comeuppance, for being forced to eschew satisfaction (related: I wonder if the Inquisitor feels those things as well coming out of this ending, considering how long they've lived under the shadow of Solas' actions). Conversely, the other two endings feel like an immediate satisfaction, because you got to trick the trickster with all the wits Varric taught you, or because you finally got to punch him in the face and it felt really good. But I feel like those endings would come with a creeping regret, something that sneaks up on you later, especially when remembering the fallen and what they would have wanted you to do. Ultimately, because of that, it feels like no ending is devoid of regret. Which I suppose, is rather thematic.

[twomoreseconds]

Arcane theory - The first timeline

Now this might be a bit long so please bear with me. I absolutely loved the ending of Arcane (we win jayvik nation) but there are a few aspects of it that I can’t quite wrap my head around. If anybody has a different perspective than me please do tell I’d love to hear it.

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Now for what I don’t quite understand (I’ve never been good with the logic of time travel)

1. What was the first timeline like? How did the story play out the first time round? Ik time doesn’t work like that and ik about the bootstrap paradox but I’m still so curious. And how did Viktor know Jayce would be the one to save him?

2. How did Viktor know that he was giving Jayce a different rune each time? Is there like some history tab in the Arcane??

—————————————————————

I’ll now try to answer these questions but again it’s all purely my speculation:

—————————————————————

1. What was the first timeline like? How did the story play out the first time round? How did Viktor know Jayce would be the one to save him?

We learn that each time Viktor ends up destroying the world he goes back in time in an attempt to stop himself. He says to Jayce “In all timelines, in all possibilities, only you can show me this (this being the fault of his ideology).” This means he is certain that Jayce is the key to stopping him.

Now as to how he knows it’s Jayce and only Jayce that can free him from his false ideas. I have two theories.

A) He’s literally gone trough ALL other possibilities.

He’s nudged all people in and around Zaun and Piltover in the direction of developing hextech and through trial and error he finds that Jayce is the one. - This has many faults and is more of an idea than a theory

B) In the first timeline that started their loop he had already met Jayce.

If he had already in some capacity come into contact with Jayce and seen his desire to prove himself, his drive and kindness. He would know that that’s the person who’s to be his conquests undoing. - This theory sounds more plausible to me and thus is what I’ll be going with

With this established we can move on to what the first time line was like.

Since Viktor wasn’t there to save his mother, Jayce grows up to be an orphan (I can’t remember anyone ever mentioning his dad). I believe he would still gravitate to becoming an inventor/ scientist, but with no funding he would probably be someone’s assistant or some such.

Viktor wouldn’t have met Jayce so early so he would still be Heimerdingers assistant. Eventually though his illness would start showing and in my mind, Viktor wouldn’t want to die without his life meaning something, without helping the people of Zaun.

I believe he would go see Singed just like he did in our timeline. Singed wouldn’t have the support from Silco like he does in our timeline since there would be no explosion in Piltover, thus no arrest of Vander, thus no death of Vander, thus no Silco leader (presumably).

This would mean that Singed would seek more drastic measures for example hextech. I believe he would have given Viktor some hextech crystals and shimmer, maybe as a part of a deal maybe out of the goodness of his own heart.

I think Viktor would start researching hextech which would perhaps catch the attention of Jayce, leading to them working together on hextech in secret.

As his illness would progress Viktor would again corrupt the core and enhance his leg. This time though since there is no funding for their illegal study there would be no Sky, meaning there would be no accident (don’t even dare to tell me it would kill Jayce I don’t want to even think about that).

If there is no accident then maybe Viktor would use the core on himself sooner. Become the machine herald as he would have no guilt (Sky) making him hold on to his humanity.

If he becomes the machine herald so soon Jayce wouldn’t have much time to talk him out of everything. Not only would there not be enough time to talk, since they met so late their connection wouldn’t quite be what it becomes in our time line.

Jayce would get pretty close though since after Viktor achieves his salvation of the human race and realizes its faults, it’s Jayce who he trusts to save everyone.

Now he would come up with the plan to inspire Jayce sooner, so he develops hextech sooner, so they meet sooner, so Jayce has more time to stop him.

This only eventually works when Ekko buys him more time, otherwise he still wouldn’t have enough time to convince Viktor. (Ekko is the goat fr)

—————————————————————

Now for with the one that makes the least amount of sense to me.

2. How did Viktor know he was giving Jayce a different rune each time?

In episode 9 we are explicitly shown and told that Viktor went and tried all kinds of different runes in hopes that one will give Jayce enough time to save him.

Let’s say he starts with rune A, it doesn’t work so when he’s in the “world rid of humanity’s imperfections” he decides to give him rune B.

Now if it doesn’t work, the Viktor in the past who meets Jayce with rune B becomes the Viktor in the present.

Only problem is new Viktor is here for the first time. He presumably doesn’t have the memories of old Viktor, so how could he know that the rune he decides to try this time isn’t one he’s already tried for example rune A.

How does he know that he’s not already in an endless cycle of going between A and B. Never even trying C.

I believe the only explanation would be that the Arcane is somehow giving him access to all his “past” memories from his past timelines.

Although time doesn’t really work like that. Time is a loop a cycle it doesn’t have an end or a beginning who’s to say that it wouldn’t give him memories of the acceleration rune working.

But I digress since I can’t think of a better solution.

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If anyone actually read it to the end thank you and sorry that it lowkey read more like fanfiction than a theory.

If anybody has literally any other ideas please comment I wanna hear them so bad you don’t even know.

In conclusion going by my theory Jayvik are truly meant to meet in every timeline and Viktor is the direct downfall of Vander and Vanders Zaun. (What a silly guy am I right or am I right)

[descendintorantness]

least argumentative mal stan… (JOKE. JOKING THIS IS A JOKE I PROMISE.)

you got me!!! i’m actually an evil anti-feminist who hates women :( /sar

No defense for excusing the love spell, I see…

"it truly makes ME sick that you can be so hateful towards a teenage girl!” I’m a teenager. I spent most of my teenage years as a teenage girl, and a a victim of many of the forms of abuse that Mal employs. Hating Mal is a coping mechanism for me, and she is not real. Directing my anger onto her doesn’t harm anyone and I find it fun to critically engage with the media in this way. It’s funny to me that you’re trying to take some moral high-ground by calling me out for hating on a fictional teenage girl (Mal) when you also hate on a fictional teenage girl (Audrey).

"A teenage girl who grew up abused and was morally taught to do all the wrong things for her mother's attention and affection.” You know who’s also a teenage girl who grew up emotionally abused and taught to do morally questionable things as a way to get her caretaker (Queen Leah’s) attention and affection? Audrey.

"She didn't know any better.” Didn’t know any better is crazy because Mal's intentions were actively malicious. She was trying to hurt Ben and Auradon and take over the kingdom. “Not knowing any better” implies that the harm caused by her actions wasn’t intentional, when it explicitly was.

"Furthermore, Mal exhausted every other option before turning to the love spell.” Really? From what I saw, the love spell was not a very thought out decision. There was no real reason that Mal had to spell Ben. She tried, from your examples, three things before turning to the love spell? How does that make the love spell the last option (/gen question)? In my opinion, their attempt to break into the museum barely counted as an attempt to steal the wand given how poorly thought out it was. Her attempts to get the wand through Jane didn’t really go much farther than that one conversation in the bathroom from what I remember. While drugging Ben might be the 'easiest' option, that doesn't mean that it's not an awful thing to do. Spelling Ben was truly awful, and Mal decided to do it about two seconds after she learned that Ben's girlfriend gets to sit in the front row during the coronation (which didn't even help her much, since Jane, who wasn’t sitting next to Ben, managed to get the wand before Mal did). And to be honest, I don’t give a shit even if it was her only possible course of action. It was horrible to completely strip him of his autonomy in that way, and I can’t stand attempts to forgive or justify it. Ben deserves the truth about why she really cast the spell (to get the wand), he deserves a real apology, and he deserves to be recognized as a victim.

"What, did you think Maleficent would just take them failing in her plan lightly?” Maleficent was trapped on the Isle, with no feasible way of getting off besides the Core Four’s plan to get the wand. Her escape was purely based upon their actions.

"As well, Mal willingly and knowingly of the possible repercussions gave Ben the antidote, giving him back his choice.” Okay forgive me this is kind of off topic, but honestly, one of the things I’m most curious about is the mechanics of the love spell and its antidote within the Descendants canon. We really don’t know anything about it, and it’s kind of fascinating to me! The antidote seemed to be made with some of the same ingredients as the love spell itself in the movie (tear of human sadness), even though in Mal’s spellbook the process of the “anti-love spell” wasn’t described that way. If the spell hadn’t washed off in the Enchanted Lake and Ben just ate the brownie, would he even know he had been spelled at all? We know the spell causes emotional instability and irrational behavior, but does romantic contact with the caster negate the effects?

I really want to know how it works.

"Mal gave him that option, knowing that she'd most likely die for it, if Ben sent her back to the Isle and she didn't have the wand."

Alright, I think that “most likely die” is quite a stretch. Even though Mal gave him the brownie, she did not plan on him eating it before the Coronation (which was absolutely horrible planning on her part to give it to him before the Coronation started). She had every intention of stealing the wand with Ben still under her spell, and only after she had Maleficent taken over, reversing it. As Ben shows, he is immediately willing to forgive her for the love spell. Maybe Mal didn’t know he would do this, but she goes along with his excuse for her pretty easily. And even if she were sent back to the Isle, what would pose a threat to her? Maleficent, or the other villains, perhaps? The other villains wouldn’t pose a threat to Mal because of her status on the Isle, and given the context of their relationship, I strongly believe that Maleficent would never hurt Mal.

Despite the opinion of the majority of the fandom, I do not believe that their relationship was abusive (at least not to the extent that many people seem to think it is). Maleficent’s behavior has not affected Mal’s self-worth or emotional development in any negative way, nor did it impact her psychological capacity or emotional stability. While Maleficent was quick to criticize Mal in the beginning of the movie, she was also quick to praise her once Mal clarified the situation (“That’s my nasty little girl”). This criticism (the only criticism that we see Maleficent give), seemed to be given in a slightly teasing manner, intending to teach, not degrade. Maleficent never threatens Mal (neither with physical violence nor rejection), and shows affection/love (verbal commendation/praise). She shows her daughter support and guidance, as well as belief in her abilities. She has a whole song dedicated to giving Mal support and guidance about going to Auradon (to fulfill Maleficent’s plan of breaking the barrier, but still). Not that these are the only ways to spot abuse, but Mal also never showed the usual signs of psychological or emotional distress that come from abuse such as anxiety, depression, withdrawal, or aggression (one could argue that her “evil” exploits were signs of aggression, but those were all planned/controlled acts of “malice/evil,” and not lashing out against people she cared about or risking harm to herself). Maleficent could be considered manipulative (in the sense that she raised her daughter within her own belief system about the world) and forceful towards Mal, but there is canon evidence that their relationship wasn’t as terrible as many people would like to think. Maleficent truly believed that the best way to be successful in the world was to be “evil”. She believes she is right, and that she is teaching her daughter how to best find her way in the world. She does love Mal, and she wants her to have a good life. Not that Maleficent doesn’t have any selfish intentions with teaching her daughter evil and sending her to Auradon, but she never wanted to cause her daughter harm. She truly believed that the best thing for herself, and Mal secondarily, was to break the barrier and take over Auradon. Even if Maleficent’s moralities are not the best values to teach your child, she thought that they were. Maleficent is not a “good parent” by any means, but having her as a mother was not detrimental to Mal’s emotional well-being or development as a person in any way that could possibly excuse her actions and overall behavior.

In one of the final scenes in Descendants, where Maleficent crashes the Coronation, Mal tells Maleficent to go away and actively fights against her (throwing the wand to Fairy Godmother) with no consequences, not even a reprimand. In fact, Maleficent laughs it off and proceeds to show understanding (“You’ll get there”) and offer advice for what she believes to be Mal’s dilemma- Maleficent believes that Mal is confused about what she wants, and that she is only faltering from an “evil path” because she is unsure of herself. To be clear, I am not trying to defend Maleficent here, she is being controlling, manipulative, and a bad parent, but she never intentionally tried to harm Mal, nor did she ever threaten to. She did proceed to yell at Mal later in the scene, but she does so out of annoyance (“this is tedious and very immature”) and desire to control, not intent to harm. When Mal takes the wand from her, she just asks for it back. Forcefully, yes, but with no threats of violence or even withholding affection. She doesn’t harm or threaten to harm Mal’s friends either, she simply puts Dude back onto the floor, and when Jay tries to take her scepter she just knocks him away. And though she does turn into a dragon and breathe fire at Jay, I believe this was done as a show of power and a warning rather than actually trying to hurt him. She very easily could have killed him, Carlos, Evie, or Mal in this form, and had many opportunities, but does not make any real attempts to do so. Maleficent did not want to hurt Mal or her friends even when they actively sabotaged her. Therefore, while she would have been upset that Mal had failed, she would never have hurt her if she were sent back to the Isle, let alone have killed her. She would have protected and controlled her as she had always done. 

There is the argument that this supposed “abuse” could have happened off screen, but when examining an on-screen relationship in a movie series, it holds little to no weight. This is a movie, and the portrayal of character relationships on screen is deliberate. What we see is how the characters were written to interact, and how that relationship was meant to be perceived; the characters interacted on screen how their relationship was written within for the movie, and therefore how it is within that movie. What we can glean from Mal’s scenes with Maleficent is limited, of course, but if the writers really wanted to imply that Mal was suffering from abuse at the hands of her mother, they would have made that much clearer to us, the audience.

One again, I am not trying to excuse Maleficent’s actions or defend her as a character. I am simply trying to thoroughly explain why the Isle was never and would never be a dangerous place for Mal, especially when Maleficent was there.

Point One: "Flat out KISSING another guy not even a minute after Ben had broken up with her DOES NOT really scream genuine/deep feelings for him.” I disagree. The fact that Audrey kissed Chad does not necessarily mean that she didn’t care for Ben. As I mentioned, the situation was most definitely heartbreaking and humiliating for her, so within the context her actions make more sense as an attempt to “save face” in front of her friends and peers. Her actions of randomly grabbing a boy and kissing him in front of a crowd of people speaks to emotional instability and deep hurt.

"And please do not give me the 'but it up to Ben to talk to her!' line.” Ben has no autonomy at this point in the story. The fault is on Mal completely. I will agree that Audrey’s lack of communication was immature and indicative/causatory of problems in their relationship, but the blame cannot be placed entirely on her either. Both Ben and Audrey had poor communication and did bad things to each other throughout the movie. Audrey should have talked to Ben, and Ben should have talked to Audrey. Both are to blame, both deserved better closure when it comes to their relationship.

Point Two: I agree with your response here, well said. /gen

Point 3: If you thought I was annoying before, just wait and see what happens when you try and come for my girl Uma. /lh

I will admit that I oversimplified the “drowning” incident, but I believe you are doing the same thing.

"However, an attempt to prank the especially mean Cruella De Vil leads Mal to seemingly falling off the docks and into the water. Uma laughs at her instead of saving her, only for Mal to surprise her and dump a bucket of shrimp on Uma in return. No matter how much Uma tried to wash her hair, the disgusting smell never left her locks.”

"One day, Uma thought Mal was drowning and went in to save her, but when she realized Mal wasn't drowning, Mal dropped a bucket of shrimp on her head before calling her "Shrimpy". Mal was threatened by Uma's evilness and felt that she needed to take out the competition."

These are quotes from the Descendants wikis (I unfortunately don’t have access to the book itself to check). As I stated, Mal wasn’t actually drowning. At least with my recollection of the book, what happened is that Uma laughed at what she thought was Mal falling in the water and then went into save her once she thought Mal was actually in danger of drowning. It is hard to say whether Uma’s initial reaction was due to genuine malice and wish to see Mal harmed, if she didn’t know Mal couldn’t swim (this interpreation makes the most sense to me, as I don’t think Mal would want to share that weakness), or if she (at least at first) realized that it was a prank. However, if Uma did have truly malicious intentions, I do not believe she would have gone in to save Mal.

"Mal could not afford to be "soft.”” Neither could Uma, due to the same expectations put on her by Ursula. And yet, despite this, she showed Mal genuined kindness and put herself in harm’s way to try to save Mal, and was assaulted and harrassed for it; by Mal, her former best friend who had decided to betray her.

"Furthermore, Uma gave as good as she got in the rivalry between them.” This is just my interpretation of the canon events, but I honestly don’t think that anything Uma did had quite the emotional devastation that Mal’s actions had. Threatening to kill Ben would be the highest on the list of Uma’s “evil deeds”, in my opinion, and that was not done just to hurt Mal.

"She went after Ben and turned up to cotillion deliberately and with malice just to hurt Mal.” OOF. Tell me you missed the point of the second movie without telling me you missed the point of the second movie (/hj).

Uma’s main intentions in kidnapping Ben were not just “to get back at Mal”. That’s an insanely reductive, blatant misinterpretation of her motivations and character. She went after Ben with the expressed intention of getting the wand- the same goal that Mal had just a movie before, and the very same context you used to justify her love spell, remember?

Mal cast a love spell on Ben while he was dating someone else. Ben had explicitly told Uma that he and Mal weren't together anymore.

Uma had no illusions about what she was doing. She knew that she was doing a pretty awful thing, but she really had no other choice. Mal, however, had a bunch of other options for how to steal the wand that she never bothered to look into, as well as no real time limit to come up with a plan, but she decided to just drug someone after barely even thinking about it.

Ben knew exactly why Uma spelled him. He still believes that Mal spelled him because she liked him. He doesn't have any idea that Mal spelled him for the exact same reason Uma did: to get the wand.

Uma had reason to hate Mal, unlike Mal to Audrey. Mal bullied Uma for years in a toxic friendship and then threw her to the sharks. Audrey was a little rude to Mal and that's it. And again, Mal and Ben were not dating at the time Uma cast the spell on him. But my point is, Uma was completely justified in taking a little pleasure in the fact that Mal was upset by her showing up at Cotillion.

Although their ultimate motives for spelling Ben were the same, the way they went about it was a little different. Mal cast a spell to make herself Ben's girlfriend. Her goal was to be in a relationship with Ben. She magically forced him into being in a relationship with her, and that was her motive the entire time. Uma wanted Ben to listen to her so that he would take down the barrier. She never wanted to be in a relationship with Ben or force him to be in a relationship with her. She only wanted him to listen to her and take down the barrier. Although the end result of both Mal and Uma's spells were the same, Ben "falling in love" with each of them, their thought process about it was entirely different.

Uma didn’t catch feelings for a person she had complete control over. Mal “fell for” Ben while she believed that he was under her love spell and therefore had no emotional autonomy and no control over what he did in response to those emotions that she created for him without his consent.

And finally, both Mal and Uma spelled Ben in an attempt to get the wand, but they wanted it for different reasons. Mal wanted the wand for her mother so that she and Maleficent could take over Auradon. Uma wanted the wand to free all the kids on the Isle from poverty. Uma's goal was never selfish or with bad intentions. She genuinely wanted a better life for every kid on the Isle.

"Uma may have been the original victim of the shrimp, yes, but she quickly lost 'victim' status with her actions afterwards.” No she didn’t. No matter what she did, she remained the victim of wrongful imprisonment from Auradon and bullying from Mal.

One thing that a lot of people don't seem to get about why Uma is a much better person than Mal is that Uma isn't selfish. Sure, sometimes she has a bad attitude, yes, sometimes she is mean. But she is never selfish like Mal is. Mal couldn't care less about helping any of the other kids get off the Isle, or even getting them aid or help. Uma did. Uma truly believed that other people should have the opportunities that both people in Auradon and the Core Four got, and she was so angry because she knew that the worst kid on the Isle, Mal, got the opportunity compared to all the other kids who were actually good people. Mal just did not care about anyone on the Isle after she got to Auradon.

Uma didn't go about her goal "the right way", but since when was that ever an option to her? Kids on the Isle don't get to, say, meet with royalty and negotiate getting themselves off prison. Uma saw one chance to do something for her people, and she took it. She was skewed as the villain for thinking it was unfair that Mal, her old bully, got to be the ruler of paradise while Uma and all the other Isle kids were left to suffer.

In defence of Mal getting her 'karma' by the love spell in D2, and the people smirking, 'now she knows how it feels!'

It. Is. Different! 1 Unlike Audrey, Mal has genuine feelings for Ben at that point. (and think about the context of that. This is a girl who has never truly romantically loved someone in her life. And now that she has the person she let have her heart is getting taken away) 2. Mal has just come off months of putting herself through hell/Tartarus trying to be what she thought Ben needed. So that she wouldn't cause him issues with being a VK and on the night it was all supposed to pay off, Ben turns up with another girl. 3 Even if it's unknown to Ben and Uma Mal knows that that's not just any girl taking Ben. It's her cousin, her family that's just a deeper level of low/hurt!

So no, you cannot compare Mal and Audrey's feelings in that moment because the context of the two situations was not the same.

[rainhadaenerys]

There's an interesting example of Dany misremembering things, which shows how GRRM cares to write how people's memories can be fallible. Quaithe's prophecy to Dany is this:

Dany's wrist still tingled where Quaithe had touched her. "Where would you have me go?" she asked.

"To go north, you must journey south. To reach the west, you must go east. To go forward you must go back, and to touch the light you must pass beneath the shadow." - Daenerys III ACOK

But in ADWD, Dany remembers it wrong:

"I remember the way. I go north to go south, east to go west, back to go forward. And to touch the light I have to pass beneath the shadow." She squeezed the water from her silvery hair. "I am half-sick of riddling. In Qarth I was a beggar, but here I am a queen. I command you—" - Daenerys II ADWD

Though later she is reminded again of the correct prophecy in her dreams:

She dreamed. All her cares fell away from her, and all her pains as well, and she seemed to float upward into the sky. She was flying once again, spinning, laughing, dancing, as the stars wheeled around her and whispered secrets in her ear. "To go north, you must journey south. To reach the west, you must go east. To go forward, you must go back. To touch the light you must pass beneath the shadow." - Daenerys X ADWD

We also have another example of this with Arya misremembering the name of Joffrey's sword:

"You're safe with me." Joffrey drew his Lion's Tooth from its sheath. The sound of steel on leather made her tremble. "This way," he said, riding through a stand of trees. - Sansa I AGOT

~

"That's a lie!" Arya squirmed in Harwin's grip. "It was me. I hit Joffrey and threw Lion's Paw in the river. Mycah just ran away, like I told him." - Arya VI ASOS

[ra-vio]

I miss nier. I have to watch the automata anime

[wingfooted]

Hi! Do you accept gif requests?

Sure! But I guess with the caveat that there's no guarantees if I can't get my hands on the clips needed, etc, etc. Other than that, I'm generally happy to make sets for people when I'm not super busy. ^_^

I would need the name of the show or movie, the episode number and approximate time stamps + a description of what you want giffed. If it's a game, a link to a longplay with timestamps would be the best. If it's something else (like a music video or something), a link to the video and time stamps. (If you aren't sure about timestamps or whatever you can still ask and I'll see what I can do.)

EDIT: I should also say I can only make kind of simple gifs. I can do subtitles and stuff, but any fancy layering or stuff like that is outside of my wheelhouse. I do my best to edit the lighting and colors to make them look nice, though!

[jellyloveru]

ough. little known book series. ough

[whirlybirbs]

— CAN'T WE BE SEVENTEEN? ; shoto todoroki ; 焦凍

summary: he's loved you since he was seventeen. pairing: f!reader x pro hero!shoto ; reader was a 1-A student tags: mutual pining, heavy make-out, thinly veiled sugar daddy shoto, reader does not go pro, touya might be a dick but he's a hero now, shoto is bad at feelings wordcount: 5.6k a/n: i do not fucking know what came over me, enjoy your food my little todorokinas. yes the title is what you think it is. no i will not elaborate.

You never did go pro.

Truthfully, you thought there would be more pushback when, in your senior year, you announced your plan to pursue a degree in early childhood education with a focus on non-conforming quirk development. 

The War changed a lot. It changed you, your classmates, and the world. But, through it all one thing stuck with you:

What if someone helped Tenko Shimura?

How different would his life have been? How different would history have spun? 

You graduated at the top of your class and joined the faculty at Chiba Prefectural Preparatory School for Quirk Specialties two years ago. 

Chiba Prep was opened eight years ago in response to a societal cry for more infrastructure around what was dubbed "non-conforming quirks": a nice way to say quirks that can injure, maim, or kill. Maybe even all three on a bad day. Some parents still see their child being labeled as a non-conforming quirk user in the national database as akin to social suicide. 

You see it differently.

Your quirk allows you to manipulate emotions — anger, sadness, betrayal, love, hatred. If you can feel it, you can sink it into another's psyche deep enough to drive them to act. You can even imbue things with feelings. For example, a cup of warm milk can transform into more than just a simple comfort, now it can hold the feeling of home and safety, or even exhaustion strong enough to put even the biggest foe to rest. 

You could easily use your quirk with nefarious intent. 

You could steep hatred in someone's bone so deep it drives them to harm themselves. You could sew fury so solid into someone's mind it drives them to violence. 

Just a touch and you can control others with something so intrinsically personal it only exists within themselves: their feelings.

What makes you any different from little Asuke, a shy little girl with a quirk that allows her to see people's greatest fears, and then manifest and control them? You're convinced she can use this for good, if only with practice. In your mind, her future is bright and glimmering. Perhaps she will become a therapist, focusing on exposure therapy? Or, maybe the most prolific horror novelist in their time? 

Or, bright and sunny Tao — a transplant whose parents sought out Chiba Prep's specialized education — whose heteromorphic quirk makes his bodily fluids, namely saliva, eat through nearly anything but his own biologics. A sneeze is quickly the most dangerous thing in the world for the cheery, lizard-bodied class clown. 

He's just a boy given a quirk that needs more care. 

He isn't a villain-in-training. 

None of them are.

It's important to teach them that young — and as their teacher for Year 3 of their elementary schooling, you aim to hammer that in as much as possible. They deserve to feel normal. To feel loved and supported. They aren't scary, they're children. 

So, you take it upon yourself to insist on pushing for privileges like field trips. There aren't many public spaces that welcome the classes of Chiba Prep with open arms. Over the years, there have been plenty of incidents. But, a day trip into the city to visit Tokyo's Hall of Heroes is green-lit with bubbling excitement from both faculty, the children, and their parents. 

You usually keep your history as a graduated member of Class 1-A quiet. 

After all, you never did go pro.

And even still, Shoto Todoroki never stopped thinking about you.

He remembers that weekend everyone moved back in for their last year before graduation. He remembers you smiling at him, and helping him drag up a duffel of luggage from the common room to his dorm. You made a joke about how you're sure he got taller over the summer, and how his hair is longer now. You said you liked it. 

It was the beginning of the end, then.

His crush was a silent, smothering thing. It made it hard to think. Shoto had enough on his plate thanks to Touya's acceptance into the Villain Rehabilitation Program and his father's insistence on staving off retirement. Not to mention his parent's divorce — no matter how amicable, it was still a separation. Add on training, tests, studying, finals, and j-term classes... And a desperate, writhing, burning crush on the nicest girl in class? 

Touya's elbow digs into Shoto's side.

It drags him back to reality — to the stifled quiet of the historical Hall of Heroes. 

Suddenly, the doors to the wing squeak open, and a tour guide ushers in the elementary school class. The buzzing excitement and wonder are visible on each of their faces as the attendant — one of the HoH's lead tour guides — excitedly explains the newest, in-progress addition to the Hall:

Endeavor's wing. 

There's a whisper of awe that ripples through the children as their teacher and co-teacher follow, and as the class moves through the large, open space. They're staring up eagerly at the gilded statue in the center of the room. It's larger than life and intimidating. Years ago, Shoto might have had to fight the odd tremble in his knees at the reminder it brings: to be small in his father's shadow again. But, things are different now. 

Very different.

Touya scoffs. "I thought this wing wasn't open to the public yet."

"They're just children," Shoto hums, turning his back on the gaggle across the way to inspect the large mural winding along the back end of the installation, "I'm sure it's—"

"Oh, ho, no way!"

Shoto quirks his brow at his brother's outburst. His elbow digs into Shoto's ribs again. 

"Ain't that the pretty girl you never got the balls to ask out your senior year?" comes the rasped drawl of his older brother's voice. Touya is clearly amused, his white hair hanging in his eyes as he leans forward to squint, "She is cute, Sho'—"

"Shut up," Shoto grits, turning his head over his shoulder; he tries to bite back the flurry of nerves that ignite in his gut, "Stop talking."

It is you.

You look... good. 

Happy. 

You're crouched by a small, timid girl in the back of the crowd. Your hand is in hers, and you're pointing upwards at the large paneled screens replaying Endeavor's most historic fights. You're explaining something to her, your knees bent as you squat. You look... the same. As if in the six years since they graduated, you sat still in time. 

For a second, it's like he's seventeen again.

It's his senior year, and he's stuck at the corner of the gym's edge with a half-empty glass of punch in his hand. The lights are low, and there's slow music playing. His tie feels too tight. Bakugo keeps telling him to 'ask her to dance already', and Kirishima is considering bashing his head through the wall. Even Midorya is trying to persuade Shoto. 

"It's prom, man! C'mon, this could be your last chance—"

Touya is about to be a real pain in the ass — his favorite pastime — and make some comment about your ass, but when he turns to lob the one-liner at his baby brother, Shoto's gone.

Shoto is on the move.

The crescendo of gasps draws your attention first.

Then, the cry of "WOAH, IT'S SHOTO!" leaves you dumbfounded. The rippling murmur of excitement bleeds into the children as their eyes — and the eyes of the tour guide — widen at the sight of the approaching Pro Hero. 

Shoto Todoroki.

He looks... good. 

Really good.

He's a bit older, and a bit more filled out than when you were both teenagers. You can see the strength in his arms and shoulders — it's a distant echo of his father's physique, though Shoto is so much more elegant and much... prettier. He's always been.

For a second, you're seventeen again.

It's your senior year, and you're sprawled across Momo Yaoyorozu's bed.

They had finally wrangled out of you who your crush was: something they hadn't been able to do in all their years as classmates.

There's a sticky, Miss Midnight-themed face mask clinging to your expression as you try to flip through the large magazine in your hands as nonchalantly as possible. Mina's voice, as she paints Ochaco's nails a bright pink on the floor, is sweet and saccharine as she looks up at you.

"I think you and Shoto would be, like, the cutest couple ever." 

You're still crouched when the tour guide nervously — like she was caught doing something naughty — introduces The Pro Hero Shoto to the already-aware crowd of elementary school students and their teachers. It's like igniting a match; the uproar of excitement leaves you laughing as three of your boys push forward to bombard him with questions about his quirk. 

Asuke is smiling shyly, now. That's a small win. She's intrigued by the appearance of a real hero, not the "scary statues" — and her big, fat tears stopped rolling the moment you laid a gentle hand on her to quell her anxiety over the new environment with a push of comfort through your quirk. She unhooks her pinkie finger from yours as you guide her towards your co-teacher. 

"Boys," you call with a crisp air of authority as you stand and lead Asuke toward the bulk of the field trip group, "What have we learned about personal space?"

"It's fine, really, Insight," comes Shoto's voice; as warm and placid as you remember. 

"Insight?" mutters your co-teacher at the presumed hero-name; a look of confusion plasters itself on her face, and her big, feline ears perk up. She leans in to whisper in a way that borders on conspiratory, "Do you two know one another?"

"Old classmates," you confirm, not daring to get into the finer details.

Shoto's attention is entirely rooted in the way you manage the kids. There's something beautiful about the ease with which you handle the bouquet of students; you quell the excitement into a manageable decibel like it's as easy as breathing. 

"Shoto," you start as you gesture to him, "Has a very special quirk — Toyamai, he has ice like you. And, fire like Tojiro. He can regulate his temperature. Can anyone tell me what that means?"

There's a wave of hands shooting up, a few me, me, me's rise from the gaggle. 

You're using him as a teaching moment.

Shoto's smile is soft.

You nod at Ogomi, excitedly nodding as the reserved child speaks up. Normally, he hates public speaking. But, recently, he's started working with the speech pathologist during lunch. The boy bounces a little as he answers. "He doesn't g-get too hot, or too c-cold."

"Exactly! Isn't that cool?" you grin at the lazy attempt at a pun, "This is why it's important to learn about our quirks as much as we can!"

Touya thinks this whole thing is just too cute. 

You're different than he remembers — but, granted, things were sorta different last time he saw you. He was a little too busy tryna kill his old man and lil' Shoto. He's different now, too. A changed man! A real licensed hero. Support items and all. 

He hangs back. 

He... I mean, he is a jack-ass but he isn't gonna ruin this for Shoto. 

...It's kinda cute.

Just about as cute as Fuyumi said it was. 

Apparently, Shoto had opened up to her and Natsuo about his feelings after graduation — about how he regretted not doing anything about it. Fuyumi then told their mum, who then off-handedly mentioned it to Touya... and well Touya dug in because, duh, he is a whore for good gossip. He might be the family's black sheep, but Shoto is the glue that binds. 

And he deserves to be happy.

Your co-teacher is ushering the kids to the next installation — a viewing of All Might's Legacy, a new documentary following the retired pro's teaching career. It will be a good wind down for them, in comfy seats and the dark. It's hardly the sort of content an elementary school student would find riveting, but it is All Might. And they love him.

You hang back. 

Shoto's heart is hammering in his chest.

"Hey."

"Hi," you greet back, closing the door to the theater and stepping forward as you weave your arms around you, "Long time no see."

"Yea," Shoto breathes, his hands in his pockets as he meets you halfway across the museum's marble floors, "I... I see you're teaching."

His eyes are as pretty as they were back then. Slate grey and piercing turquoise. "I'm in my second year," you confirm softly, fiddling with the material of your sweater, "Congrats to your old man."

You gesture up at the statue, then wave around to the rest of the installation.

Shoto inhales, then nods; he's staring at your face, blissfully realizing you're just the way you were all those years ago. Kind. "I'll pass it along."

"How's he handling it?" you ask, your eyes raking across his expression and trying not to stick to the sharp slope of his jaw, or the bob of his Adam's apple, "Retirement, I mean."

"He's happy, I think. Touya and I are working together and... things are...  good."

Last month, Endeavor finally retired. He cited his age, and his dedication to passing his legacy to his two sons: Shoto and Touya. Shoto has planted himself firmly within the Top Ten in the last year or so, and shockingly, Touya isn't far behind. People love an underdog's redemption story, you suppose. 

And the underdog in question can read a room. 

This is getting a little too sexually tense for even him.

"Heeeeey, girl," he rasps out, staggering backward with a thumb over his shoulder, "Nice t' see ya. I'll let you two catch up, yea? I'm gonna go pop my head into the theater, see how the kids are handling the snooze fest on screen—"

You jump.

How long has he even been there?

"Hi, D— Touya," you strain, wincing a little; the rehab'd villain doesn't seem to mind.

"Hi, teach'. That cool with you?" he asks, wobbling his thumb and quirking a pierced eyebrow; it's comical, like he's trying to disarm you with humor, "Don't want you thinkin' I'm corrupting your youths—"

"It's fine," you breathe, ignoring the sting of age-old mistrust. You know better. Shoto wouldn't be here, with him, if Touya Todoroki hadn't changed. Endeavor wouldn't be entrusting his legacy to the ex-League of Villain member if he didn't believe in his capacity for good, "Just don't be disruptive."

Casting judgment on someone whose life was nearly destroyed by his own non-conforming quirk would go against everything you taught the kids anyway.

"Touya's whole thing is being disruptive," Shoto grits as his oldest brother slips silently through the doors, "I apologize for him—"

"No," you wave him off, laughing a little, "Don't. It's... nice to see you two together."

Shoto's expression is soft as he wanders a little closer. "It took time — and a lot of therapy — but we've all managed to come out the other side."

"That's great to hear, Shoto," you breathe, your eyes flitting across his face, "I'm really happy for you."

There's a long silence, then — and you can't help but ignore the roil of butterflies in your stomach. The eye contact is heavy with some unspoken thing, and both of your tongues are weighted by secrets-never-turned-confessions. 

It's like finally this dance you've been doing around one another for years breaks — and the two of you throw caution to the wind at the exact same moment. 

"Would you like to—"

"Are you free—"

Hesitant, slow grins bloom on both your faces.

"Dinner?" is all he manages after a sweet moment of soaking up your soft smile, "If you're available...?"

You make yourself available.

Yaoyorozu almost dies when you call her that night — winded from tearing through your entire wardrobe. You explained you had nothing to wear a-and you needed something nice, and you only have an hour to get ready, because Todoroki — yes, stop screaming, Todoroki — is picking you up at 8pm.

Little bro is nervous. Touya can tell. 

From his spot on the sofa, the white-haired ex-degenerate scoffs. Natsuo is digging around for some cufflinks in Shoto's dresser.

"Seriously, Sho'? A suit?" 

"It's a nice restaurant," his brother says tightly, adjusting the collar of the black button-down, "I booked the upstairs dining room for privacy." 

"Who the hell told you t' do that?" Touya quirks a skeptical brow.

"Father was the one who suggested it."

"...That old dog." 

Natsuo rolls his eyes at the exchange before throwing his hands as he emerges from the closet. "Do you have any links that aren't emblazoned with U.A. High School's crest?"

The ones in Natsuo's hands have his graduation year on them.

Shoto winces.

"Want me to ask dear ol' dog of a dad?" Touya snarks from the corner, his posture becoming less and less upright as he scrolls on his phone.

"Already did," comes the soft voice of Fuyumi; she's smiling, padding into Shoto's room with a velvet box, "He offered up his nicest pair. He also says not to screw it up with Insight. He likes her."

Of course, he likes her. You worked under Endeavor for a brief work-study period during your third year. Shoto remembers hearing grumbled praise over dinner one night about your talent for de-escalation.

"You told him who I was seeing?" Shoto asks incredulously, taking the box and working the cufflinks on. He's starting to feel exasperated.

Fuyumi nods, popping down beside Touya. 

"He asked. I'm not gonna lie to him."

"Did y' tell ma?" Touya rasps, peeking up over his phone to inspect Shoto's outfit. Not half bad, honestly. He looks good in all black. A man after his own heart, "M'sure she's gonna be real excited—"

"Yes," Shoto grumbles, "I called her earlier—"

"Chiba Prep is a really good school, y'know," Natsuo buts in as he tries to find a tie that matches Shoto's outfit. Ultimately, though, the middle brother decides against it and tosses the options over his shoulder, "They're, like, on the leading edge for quirk therapies."

"Hey, nerd? Quiet down. The big kids are gossiping," Touya shirks, turning back to Shoto, "What did mum say?" 

"She wants me to call her after—"

"One, you're gonna call mum the morning after," Touya raises a finger, "Because if you don't get laid, I'll be so fuckin' disap—"

Fuyumi slaps Touya's chest. He lets out a pained yelp at the solid smack.

"Uh, ow," he rubs his sternum. "An' two, take a deep breath. You look like you're gonna shit yourself. Those are my pants and they're expensive."

Shoto lets out a long breath. 

Fuyumi's smile is sweet like honey. "Aw, Sho'! It's gonna go great. You two have known each other for such a long time, and catching up is going to be amazing. Just be yourself! Confident and kind—"

"—Hold the door open for her, and pull her chair out," Natsuo adds as he adjusts Shoto's collar for him, "Car door, too—"

It's Touya's turn. He's dead serious. "—And do not chicken out on kissing her at the end of the night. I swear to god."

Easier said than done.

You never did go pro.

Those years of hardened battle instincts have lost their edge. You try to remind yourself this is just Shoto, not The Shoto — but you're a little lost in the whole celebrity of it all when he picks you up in a very nice, sporty little car with ENDVRplates. 

You answer the door and he forgets how to breathe.

He has flowers for you. They're blue and blooming and beautiful. 

Fuyumi's contribution. 

You settled then you were going to kiss him at the end of the night.

The restaurant is... nice. Really nice. The sort of nice you could never aspire to experience on your teacher's salary. Even the valet is a concept that has your head spinning. But, Shoto handles it all with cool ease. The entire time, his hand is settled on your lower back. 

It feels like you've been lit on fire.

You're glad Momo was able to create a dress fitting for the occasion. It's sleek and black. Comfortable, too. Not much can be said for your heels on that front, but it's fine. 

Somehow, Shoto managed to book the entire upper floor of this place in all its glimmering glory — it's just the two of you alone in a sea of tables. 

The waiter is pouring you a glass of the chef's suggested pairing of sake.

You thank him, smile, and take a sip as Shoto unbuttons his suit jacket and watches you. 

For a second, you're seventeen again.

Sero and Kirishima were always in cahoots when it came to parties back then — somehow, between the two of them, they always managed to smuggle enough booze onto campus to obliterate any semblance of promised sobriety from even the most stoic members of 1-A. 

You remember one night, after a lot of hounding, you finally gave in and joined a few of your classmates on the back lawn for a few drinks. 

A few beers turned into a cup or two of wine, and then another big gulp of whatever deranged jungle juice concoction Kaminiari managed to cook up. It tasted terrible, but you were too drunk to really care. Shoto was no better. He was nursing his fourth drink of the night — a rarity he was even drinking at all — and seemed completely fine with the way your arms brushed as the two of you sat close in the grass. 

He was always so nervous around you. Now, he just seemed... happy. 

"I can't believe there is only one week left until graduation."

Graduation day was the last time you saw him. 

Until this morning, that is. 

You smile into your drink. 

"What?" you ask when his eyes never leave your face.

His fingers twitch towards his own glass. Shoto blinks, then rolls his jaw. He was caught staring. He clears his throat, looking a bit shy. "Nothing."

"Nothing?" you press playfully, cocking your head to the side.

"You..." he starts, then bawks. You're stunning, and it's making it hard to even think straight. He thought these feelings might have mellowed out over the years but seeing you again has just reignited everything. He feels like a hormonal teenager again, "You look beautiful."

Your expression falters into something lovesick. You chew your lip. "You're not so bad yourself, Todoroki."

He manages a half-smile. "Touya had me worried the suit was a bit much."

The idea of Touya offering him advice on his outfit strikes a chord in your heart. It makes you smile even bigger than before. "Well, you can tell Touya that I like it. A lot."

You rake your eyes up and down him. On purpose.

He notices.

Shoto's face feels hot. 

He tries to shake the bone-deep want that has swept his entire body up in its grip, but it's difficult when every single word out of your mouth reminds him just how in love he was with you back in school. You explain, excitedly, why you chose to teach at Chiba Prefectural Prep and catch him up on where you've been living since graduating. He's pleased to learn you're still in the area, living in the city, and decidedly in love with the commute to the school. 

Shoto's always been a good listener — but you can see how much he's changed when he begins to speak about his career. He seems so much more sure of himself than he was all those years ago. It wasn't that he was... unsure... but, no. He was shy. Quiet.

Now, less so. 

It's adorable. 

Dinner comes and goes with conversation over sushi that is far too good for you to even process. It's easy talking to him. It was easy talking to Shoto back, then, too but... Things are different. You're both different. Not in a bad way, but in a way that feels like coming home. 

While you both wait outside for the valet, Shoto shrugs his jacket off and puts it over your shoulders without a single word. Suddenly, you're cradled in a warmth that's very Shoto — his cologne clings to the collar and you bury yourself a little deeper into it. 

Shyly, you step closer and steal his hand. It's calloused and warm. He laced his fingers with yours as if practiced. You bite back a grin. You give his hand a little squeeze when you spot the car coming around the corner.

His silence is calming — and he squeezes your hand back. When you look up at him, you realize he's already looking at you. 

His face is close. It's so... intimate. Very. Nearly better than a kiss. 

But, you've wanted to kiss Shoto Todoroki since you were seventeen. 

The valet driver interrupts the moment with a respectful call of Shoto's name and offers the keys with a shake of the hand. With a little bit of hesitancy, Shoto remembers the thing Natsuo said — the car door, too — and moves around the passenger side to open the door for you. 

It's sweet.

Really sweet. 

The car ride back to your apartment is punctuated with easy conversation — you ask him about Bakugo and Midorya, and you're pleased to hear they're both doing well. He asks about Momo, and if you still keep in touch with Mina and Ochaco. He smiles to himself when you admit you did call Momo for help with an outfit. 

"She did a beautiful job," Shoto breathes, a palm moving from the gear shift to brush over the dress' fabric on your thigh.

His hand settles there. 

Your stomach does a flip. 

You chew your lip, swallow down a sudden burst of nerves, and let your hand rest over his. You squeeze it. Shoto tries to focus on the road. His gaze drifts for a moment at a red light, his heterochromatic eyes dancing across your figure. 

Keep it together. 

He isn't seventeen.

He's twenty-five. He's a Professional Hero. One of the Top Ten in all of Japan. He's more than capable of keeping it together in the face of physical touch from the woman he's dreamed about for years. 

...Right?

Green light.

His hand is still on your thigh when he pulls up to your apartment. 

The touch is relinquished in favor of putting the sports car in park. 

It makes your chest ache.

Shoto swallows thickly.

Do not chicken out on kissing her at the end of the night.

He'll never forgive himself. But, admittedly, he's bad at this. He's not good at reading body language, or even knowing himself enough to realize he looks mildly terrified as you blink up at him in the passenger's seat. His heart is hammering a mile a minute.

What if you don't want to kiss him?

When would he even kiss you? Now? Or at the door?

Why does he feel like he's going to die?

"This was really... Shoto, are you okay?" you ask as you unbuckle your seatbelt; you pause, your brows knitting tightly. 

"What?" he asks, blinking back to the present moment. The look of fear disappears, "Sorry. Yes. I'm fine."

You're working his jacket off your shoulders, gently leaning to fold it neatly in your lap. Your voice dips low, into something playful. "You didn't look fine..."

"I—" Shoto clamps his mouth shut as he leans an elbow on the center console, "Sorry. I suppose I'm just nervous."

"Nervous?" you grin, a little giggle punctuating your words as you wriggle in the red, leather seat, "Why?"

Your expression makes his expression crack. He ducks his head as he huffs out a laugh. You continue to egg him on via expression alone. "I... Stop it."

"Stop what?" you push some more, your back pressed to the door as you face him in the car, "You're the one being weird—"

"I'm not being weird—"

"Then what's wrong, Shoto?" you tease in a sing-song voice.

"I'm nervous because I want to kiss you."

His words are punctuated by a slow look that takes in every inch of your face. Butterfly wings kiss your stomach walls. And your knees. You feel a little tremble in your chest. 

It feels like someone has sucker punched you square in the sternum. Shoto's no better. He isn't entirely sure what the expression on your face means. Is that... good? Are you happy?

Your voice is a little quieter now. You duck your head and fiddle with his suit jacket as you lean back against the seat, a little closer now. 

"You don't need to be."

Shoto's breath catches at that.

So, he makes his move.

His hand comes first — his calloused palm settles nicely against your face, his thumb brushing your cheekbone as his pointer finger brushes the underside of your jaw. Shoto is slow. Methodical. It's like he's trying to ground himself in the moment. 

Truth be told, he thinks he might be blacking out.

Your eyes flit up his wrist — a dark leather band around his wrist with an expensive watch face, a dark dress shirt with glimmering cufflinks, strong arms and a broad chest, and you can see the dip of his collarbone where the top two buttons of his shirt remain undone. 

He looks so damn handsome with his sharp jaw, pretty eyes, and his trademark white and crimson hair. Even his scar is beautiful. 

The touch pulls you in like he's got his own personal orbit.  

Your elbows are braced along the center console, your eyes flicking across his face as his fingers continue to brush along the soft expanse of your cheek. You wring your fingers together. 

Then, his eyes stick to your lips.

"Can I kiss you?" he whispers, his breath fanning across your face. 

You never did go pro.

But, Shoto did. 

It shows. 

Because, at this moment, all you can do is nod feebly before you're swept into the sort of kiss people go to war for. It's the sort of kiss that sticks to your ribs, that feels like warm, fresh food. It's the sort of kiss that would drive you to the brink, that would make you nod and agree sure, let's get married and have three kids, let's name one after your father, and paint the house blue like your mother's favorite flower—

His mouth is eager, but not in an overbearing way. It's gentle. Slow. As if he needs to remind himself this is real and not some midnight fiction that leaves him aching and alone. Shoto reminds himself to be tepid, pliable, and easy, which is easier said than done when somewhere deep inside of him there's a seventeen-year-old screaming in victory. 

It's better than anything he could have ever imagined. 

And then you whimper. 

It's a sound tied between bliss and relief and it's muttered against his mouth as you lean in and let your fingers brush the fabric of his dress shirt. The tips of your fingers brush his abdomen and he flexes, the feeling foreign and warm. It warrants his other hand to drift to your face and you break for a breath; he doesn't care that there's lipstick smeared across his mouth. He's kissing you again — this time a little bit more feverish, a little bit more aching. 

You melt against him, this time your hands trembling to grip his wrists.

He needs to slow down.

He is not having sex with you in his father's car.

That's shameless.

He needs to slow down.

He has to, or he'll lose himself in this and he refuses to fuck this up. 

Shoto's breath is ragged when he finally peels himself away, his lip parted and eyes half-lidded. His grip on your face is still so soft, so gentle. It's very him. 

You're glad you didn't do this when you were seventeen.

It would have permanently altered your brain chemistry, you're sure of it. How could you ever kiss someone else again after that? 

He's rubbing your cheek with his thumb. You swallow, and try to level out your breathing. It's hard when he's still so close, when he's so... perfect. 

"I've wanted to do that," he murmurs against your cheek, "Since our last year at Yuei."

A well-kissed smile breaks across your face. You reel back, your nose wrinkling as you shake your head in disbelief. Shoto is smiling. A real smile. The sort that's so rare you can count on one hand the amount of times you've ever seen it in person. 

"Are you serious?"

"Very," he says, chastely pressing another to your other cheek as he leans back.

"Me too," you admit shyly, "Can we... do it again sometime?"

Shoto's eyes widen incrementally. Then, his smile eases back onto his face. 

"Are you free this weekend?"

"I can be," you reply easily with a honeyed look, "And I will be. For you."

"I get off patrol on Saturday around seven," he explains before asking timidly, "We could... do dinner again?"

"Works for me," you breathe as you move for the handle of the car door, "After all, I never went Pro. Weekends are free."

Shoto scoffs. 

Then, as you open the door and swing a leg out:

"Oh, and tell Touya I thought the suit sexy."

Shoto's laugh is dry. You leave his jacket on the seat and scurry into your apartment with a lovesick wave. He swears he sees the silhouette of a familiar ponytail greet you at the door, but he doesn't dwell on it. He waits until you're inside and the lights to the front door are shut off.

Then it hits him. He has another date with you this weekend. 

Not so seventeen anymore, Shoto Todoroki. 

[physalian]

How to make your writing sound less stiff

Just a few suggestions. You shouldn’t have to compromise your writing style and voice with any of these, and some situations and scenes might demand some stiff or jerky writing to better convey emotion and immersion. I am not the first to come up with these, just circulating them again.

1. Vary sentence structure.

This is an example paragraph. You might see this generated from AI. I can’t help but read this in a robotic voice. It’s very flat and undynamic. No matter what the words are, it will be boring. It’s boring because you don’t think in stiff sentences. Comedians don’t tell jokes in stiff sentences. We don’t tell campfire stories in stiff sentences. These often lack flow between points, too.

So funnily enough, I had to sit through 87k words of a “romance” written just like this. It was stiff, janky, and very unpoetic. Which is fine, the author didn’t tell me it was erotica. It just felt like an old lady narrator, like Old Rose from Titanic telling the audience decades after the fact instead of living it right in the moment. It was in first person pov, too, which just made it worse. To be able to write something so explicit and yet so un-titillating was a talent. Like, beginner fanfic smut writers at least do it with enthusiasm.

2. Vary dialogue tag placement

You got three options, pre-, mid-, and post-tags.

Leader said, “this is a pre-dialogue tag.”

“This,” Lancer said, “is a mid-dialogue tag.”

“This is a post-dialogue tag,” Heart said.

Pre and Post have about the same effect but mid-tags do a lot of heavy lifting.

They help break up long paragraphs of dialogue that are jank to look at

They give you pauses for ~dramatic effect~

They prompt you to provide some other action, introspection, or scene descriptor with the tag. *don't forget that if you're continuing the sentence as if the tag wasn't there, not to capitalize the first word after the tag. Capitalize if the tag breaks up two complete sentences, not if it interrupts a single sentence.

It also looks better along the lefthand margin when you don’t start every paragraph with either the same character name, the same pronouns, or the same “ as it reads more natural and organic.

3. When the scene demands, get dynamic

General rule of thumb is that action scenes demand quick exchanges, short paragraphs, and very lean descriptors. Action scenes are where you put your juicy verbs to use and cut as many adverbs as you can. But regardless of if you’re in first person, second person, or third person limited, you can let the mood of the narrator bleed out into their narration.

Like, in horror, you can use a lot of onomatopoeia.

Drip Drip Drip

Or let the narration become jerky and unfocused and less strict in punctuation and maybe even a couple run-on sentences as your character struggles to think or catch their breath and is getting very overwhelmed.

You can toss out some grammar rules, too and get more poetic.

Warm breath tickles the back of her neck. It rattles, a quiet, soggy, rasp. She shivers. If she doesn’t look, it’s not there. If she doesn’t look, it’s not there. Sweat beads at her temple. Her heart thunders in her chest. Ba-bump-ba-bump-ba-bump-ba- It moves on, leaving a void of cold behind. She uncurls her fists, fingers achy and palms stinging from her nails. It’s gone.

4. Remember to balance dialogue, monologue, introspection, action, and descriptors.

The amount of times I have been faced with giant blocks of dialogue with zero tags, zero emotions, just speech on a page like they’re notecards to be read on a stage is higher than I expected. Don’t forget that though you may know exactly how your dialogue sounds in your head, your readers don’t. They need dialogue tags to pick up on things like tone, specifically for sarcasm and sincerity, whether a character is joking or hurt or happy.

If you’ve written a block of text (usually exposition or backstory stuff) that’s longer than 50 words, figure out a way to trim it. No matter what, break it up into multiple sections and fill in those breaks with important narrative that reflects the narrator’s feelings on what they’re saying and whoever they’re speaking to’s reaction to the words being said. Otherwise it’s meaningless.

—

Hope this helps anyone struggling! Now get writing.

[anexperimentallife]

Project 2025 would ban anything the far right considers pornography. The far right considers anything queer-positive to be pornography, and they WILL encode that into law if given just a TINY bit more power.

Have queer fanfic (or trad published literature) or pics of your transition, or of two men kissing, saved to your hard drive? If the GOP get their way, you'd be guilty of possession of pornography. Did you share any of it? You'd be guilty of distribution of pornography. Have a sweet coming of age story with a queer protagonist? That'd be child pornography.

Even now, states are trying to make it a crime to be openly queer in public (by, among other things, classifying dressing as the "wrong gender" anyplace kids might see as a sex crime against children). Oh, and Florida tried (and thankfully failed) to impose the death penalty for the above.

This is just one example of the horrors awaiting us if the project comes to fruition.

And the far right is already screaming that any adult who mentions around kids that queer people exist is "grooming" children. Wear your Pride shirt past a playground? You're now a child groomer. Think they won't put that into law if allowed? You're naive.

The GOP currently controls the Supreme Court (which is how they overturned Roe v. Wade) and has a majority in one branch of congress. Imagine what will happen nationwide with the GOP controlling every branch of government, including supermajoroties in both houses of Congress.

Oh, and top GOP officials have also announced their desire to NUKE Gaza, so don't come at me with, "but I can't vote blue because Biden..." Or tell me how you think Gaza would somehow be better off with Trump and the GOP.

In France, the left and center joined together--even though they disagree vehemently on many issues (get two leftists together and they'll have three positions on any issue)--to stop the far right from totally taking over, because the one thing they ALL agree on is that fascists dictatorships are BAD.

Much the same with the UK finally kicking out their own neo-fascist party, the Torries, to install 400 Labour MPs. Not everyone loves Labour's policies, but virtually everyone with a brain cell recognizes that the Torries are fascists, and that FASCISM BAD.

"Every election, they tell us this is the most important election if our lives!" Yeah, because each election over the past several decades has been more important than the one before, until we are now at a tipping point between remaining a fucked up oligarchy with SOME resemblance to freedom, and an outright neo-fascist military dictatorship.

Trump has literally stated publicly his intent to criminalize dissent, use US armed forces against protesters (Kent State, but multiply it by thousands), purge all agencies and stuff them with those personally loyal to him, and use the DOJ to go after anyone he perceives as a threat to his political power, among other things.

And remember the things he did in office, like pulling the teeth of federal workplace protections for queer folks (which Biden reatored).

I don't care if you don't like Biden or Harris. Neither do I. But the alternative is Trump, and anyone telling you not to vote in 2024, or to vote third party, is rooting for Trump, and for Project 2025. Anyone telling you not to vote does not give one single solitary flying fuck about vulnerable populations in the US or anywhere else in the world.

"You're just being an alarmist!" Right. Like I was being alarmist when I predicted the failed Jan 6 coup attempt. Like I was being alarmist when I said the GOP would try to use control over SCOTUS to overturn Roe v. Wade.

Fucking vote.

[tender-rosiey]

smack, smack — gojo satoru x f!reader

a/n: special thanks to the beautiful @stinkyme for inspiring me to actually write this and for fangirling over the idea with me <3

gojo satoru, like any dad, got his fair share of ‘bullying’ from his daughter, his 5 months old baby.

some dads get peed on, others get their hair pulled, and others get their nose bitten on the daily. it's a little something to make them suffer a bit like the mothers had to during the pregnancy.

your husband, however, is always getting smacked in the face whenever he has his blindfold on, and I mean harshly smacked in the face and unforgiving scratching.

the first time it happened was when he was going to school. he was ready, uniform on and everything, but he simply had to say goodbye to his two girls.

skipping to your shared bedroom, he placed two big smooches on your face. then, after much of pulling him off you, he went to smooch his little girl. a big unmatched grin was on his face as he looked down at her in her crib.

he picked her up, cooing softly at her, “what a pretty girl, just as pretty as your mama, huh?”

satoru then laid her gently against his chest and started rocking her softly, while humming. after a while, he felt her stir a little in his arms. she sleepily looks up at him, and he smiles down at her, “good morning, baby—“

now, your daughter was used to seeing her dad without the blindfold. she was used to getting met by her dad's bright blue eyes.

so when a strange unknown man was holding her up instead of her papa, she started wailing and screaming, repeatedly smacking him in the face.

whenever her little—strong—hand landed on the blindfold, she would try to pull it off with all her baby might. you scrambled out of your bed at the loud screeches and screams of both your husband and your daughter.

you saw how satoru was desperately trying to, as gently as possible, make her release her grip. you stumbled on your words, before yelling, “your blindfold! take off your blindfold off!”

“I! am! trying!” he yelps as she continues slapping the hell out of his face.

you hurry and take his blindfold off, swiftly throwing it to the side. he started rocking her, smiling despite the red marks and scratches all over his handsome face, “it’s me, daddy! you see me?”

almost magically, your daughter calmed down in an instant with the occasional hiccup from her previous crying. he smiled, “there you go; that’s my girl.”

she gently made grabby hands at him, and he quickly pulled her back into his chest. your daughter instantly snuggled into his shoulder and hid her face in his neck.

you stared at him for a moment, “well, at least we know that she bloody hates that blindfold.”

it honestly kind of adds up.

you remember the many times that your daughter was generally distressed or fussy and instantly calmed down when she saw her dad’s eyes. you also remember that one time your daughter was actually zoning out while looking at satoru’s eyes, her own safe place.

satoru chuckles with a shrug, “I have you as my savior, anyway.”

“you can’t always count on me to be the one to save you from our daughter’s monstrously strong grip.”

and he can’t.

no one is brave enough to try and to fight back a baby, let alone the strongest sorcerer’s baby.

that attack happens way more than satoru would like. for example, whenever you’re busy, he takes his little princess to the school with him. in general, everyone helps in taking care of the little angel (devil in some cases).

however, god forbid she sees satoru coming back from a mission with his blindfold on.

it took some time for your husband to learn his lesson and immediately take his blindfold off before he entered the school. until then, he was prone to his daughter’s crazy strong hand smacking his face till his entire face is painted red and not the cute kind.

satoru never believed in his students to save him, except for yuuji. the first time it happened around the students, most of them were either laughing or speechless.

yuuji did try to save his sensei from his smacking machine of a daughter, but ended up getting smacked himself.

your husband did hope that, maybe, nanami’s heart would soften, and he would finally help him.

nanami’s heart did soften, just not for satoru. instead, your daughter now has a special soft spot in nanami’s heart, as he did in hers, but that isn’t our topic for today.

the amount of times you would enter the room to find nanami chuckling or smiling at your husband getting beaten to a pulp by your baby. satoru could be sobbing, “nanami, please! save me!”

and nanami would simply smile—sadistically—and hum, “I don’t think I will.”

you’re pretty sure that nanami believes this is god’s way of punishing your husband for all the mischief he caused.

ignoring that, it grips your heart how satoru’s face would brighten up the moment he saw you. he would run up to you, giving you the baby to calm her down while he gives his face a rest.

and your little girl was smiling and giving you her version of cheek kisses.

your husband recovered quickly though, and took her back, his blindfold finally off. he doesn’t do it without pecking your lips though, “my savior.”     

then he gets lost in his own world with his little girl, and their laughs and giggles filled the room. her hands were gently holding her dad’s face as she squeals, and satoru’s heart soars as he forgets about his beating from a moment ago.

now, that doesn’t mean that his dear students don’t make fun of him for always losing against his little girl. during one of the recent teasings, he simply huffed, “you never tried the grip of a baby! tell them, yuuji!”

yuuji shudders as he remembers how long the slap mark lasted, “she is one hell of a strong baby.”

it’s one thing for panda and nobara to laugh, it’s another for megumi and maki to do so as well. your husband’s ego simply couldn’t take it anymore. he took his baby in his arms and gathered the baby bags, sparing one last glance at his ‘bullies’.

and so your husband dramatically exits the room, “I need my wife! I can’t with you people anymore!”

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[3hks]

How to Write REALISTIC and SMOOTH Dialogue

In a story, dialogue is quite important, it helps the readers paint a picture of what's happening and the characters themselves. However, it can be difficult to avoid the unnaturalness and choppiness that comes with a lack of experience. But luckily, I have put together A LOT of advice on how you can get over that rockiness and improve!

*** KEEPING YOUR DIALOGUE REALISTIC, AND PACING ***

>> Keep your characters in character:

Dialogue is a remarkably quick way for readers to determine your character's personality. Thus, you want their speech patterns to remain fairly consistent so the audience won't get confused. If your character is more serious, then they will use less slang and perhaps a more impressive vocabulary. If your character is more relaxed, they will use more slang and compress the words. (such as "dunno," "kay," "y'know," etc.)

Basically, you want their tone to match their traits so the way that they talk is more realistic and personlized to themselves. If the way all your characters speak is the same, there's something wrong. A strong tip is to put yourself in your character's shoes and imagine how they would respond!

>> Take the situation into consideration:

This is another part of keeping your characters in, well, character. Different emotional situations will have a different effect on separate people, so make sure that you have an idea of how your character will act during stressful, irritating, and sad times.

If your character is normally cold, they will struggle if it comes to comforting other people because they have less experience in that field.

>> Don't take too long with their words:

Unlike when narrating something, most people talk just to get the idea across. They will be more specific and quicker with what they say. (This excludes any character who likes to talk a lot.) Unless it's on purpose, they won't dance around the topic. Think of when you casually chat with your friends; you're pretty unlikely to use certain words and/or phrases that might be common to use while narrating.

If you want to explain something complicated, instead of writing out a paragraph of just one person talking, use a question-and-answer prompt! This is where another character continuously asks related questions that get answered by another person, so you can indirectly reveal your explanation.

*** HOW TO WRITE A SMOOTHER CONVERSATION AND DIALOGUE TAGS***

>> Having a variety of dialogue tags:

This is a pretty basic thing to look out for if you're new to writing conversations. Using words like "said," every other sentence can easily make it feel choppy and robotic. Instead, use words like "murmured," "smirked," etc. to paint some emotion into their words. Additionally, vary the location of the dialogue tags! They don't all have to go after the statement, you can include something in the beginning or even the middle, too!

Examples:

Beginning - She tilted her head, "What are you talking about?"

Middle - "Oh," he blinked, "I actually never thought about that."

End - "Wait up!" She exclaimed loudly, waving her hands around.

>> Using no dialogue tags to create a smooth conversation:

Having too many tags can also overwhelm your reader--remember, sentence variety is a crucial part of writing--so you can always drop them if they're unneeded. This applies when your characters (two is the suggested amount) are talking back and forth in a pattern straightforward enough for the reader to understand who's talking without it having to be labeled.

Dropping dialogue tags in these moments can create a smoother atmosphere during the conversation because the reader only has to focus on the talking present.

*** USING SLANG, STUTTERS, FILLER WORDS, AND PAUSES ***

Human speech is often not perfect; when talking, we often make mistakes such as filler words, grammatically incorrect phrases, etc. Hence, for more natural-sounding dialogue, it's important to incorporate some of these.

>> Pauses and stutters:

When reading dialogue, we read it at a steady pace unless it's written otherwise. However, that steady pace can soon get too robotic and too smooth. Luckily, there are several ways to change this! You can use dialogue tags, (ex: she quickly spoke) commas, and ellipsis (...). These are often integrated when the character is hesitant, nervous, answering something, or when they need to admit something. The same idea applies to stutters--they're mainly used to demonstrate anxiousness, which can be found in varying situations.

>> Filler words and slang:

Filler words can really just be used where you see fit. They may be used in the situations I previously mentioned (because it shows someone stumbling over their words) but it's ultimately up to you!

Slang, just like everything else, should not be used too often, or it will seem forced and exaggerated. The point is to sound natural, and increasing amounts of repetitiveness can ruin it. It's also important to remember that in real life, our conversations move slower; when someone speaks, another person usually doesn't respond quite literally, right after. However, in writing, dialogue can actually often seem that way, which is why using tags and these imperfections of speech is pivotal for building a realistic conversation!

*** CONCLUSION ***

Lastly, a key point when writing dialogue is to ALWAYS read the conversations! Whether it be in your head or out loud, it can often help you catch anything that seems off! Additionally, like I mentioned at the very beginning, write dialogue from your character's perspective! Imagine yourself as them and how they/you would talk. Try to keep your dialogue tags, sentences, and word use varied to create a natural conversation!

If you were struggling before, I hope that this (extra) long guide was able to really offer you some insight and useful tips! If you read this far, thank you!

Happy writing~

3hks <3

[alpaca-clouds]

Why the media CEOs will always learn the wrong lessons

Yesterday a friend and I talked about how the entire (AAA) game industrie looked at BG3 being as popular as it is and going: "Oh, we need to produce 100+ hour games, I guess! Those sell!" Which... obviously is not why it is popular. The game is not popular because it has 100+ hours of gameplay, but because it has engaging characters, that are well-acted and that work as good hooks for the players. Like, let's face it: The reason why I so far have sunken 160 hours into this game is, because I wanna spend time with these characters - and because I wanna give them their happy endings.

But the same has happened too, just a bit earlier this year, right? When Barbie broke the 1 billion and every Hollywood CEO went: "Oh, so the people want movies based on toy franchises! Got it!" To which the internet at large replied: "... How is that the lesson you learned from this?"

Well, let me explain to you, why this is the lesson they learn: It is because the CEOs and the boards of directors at large are not artists or even engaged with the medium they produce. They mostly are economists. And their dry little hearts do not understand stuff more complex than numbers and spread sheets.

That sounds evil, I know, but... It is sadly the truth. When they look at a successful movie/series/game/book/comic, they look at it as a product, not a piece of art or narrative. It is just a product that has very clear metrics.

To them Barbie is not a movie with interesting stylistic choices that stand out from the majority of high budget action blockbusters. It is a toy movie with mildly feminist themes.

Or Oppenheimer is not a movie to them with a strong visual language and good acting direction. No, it is a historical blockbuster.

And this is true for basically every form of media. I mean, books are actually a fairly good example. In my life I do remember the big book fads that happened. When Harry Potter was a success, there was at least a dozen other "magical school" book series being released. When Twilight was a big success there was suddenly an endless number of "teen girl falls in love with bad boy, who is [magical creature]" YA. When the Hunger Games was a success, there were hundreds of "YA dystopia" books. Meanwhile in adult reading, we had the big "next Game of Throne" fad.

Of course, the irony is, that within each of those fads there might have been one or two somewhat successful series - but never even one that came even close to whatever started the fad.

Or with movies, we have seen it, too. When Avengers broke the 1 billion (which up to this point only few movies did) the studios went: "Ooooooh, so we need shared universe film series" - and then all went to try and fail to create their own cinematic universe.

Because the people, who call the shots, are just immensely desinterested in the thing they are selling. They do not really care about the content. All they care about is having a supposedly easy avenue of selling it. Just as they do not care about the consumer. All they care about is that the consumer buys it. Why he buys it... Well, they do not care. They could not care less, in fact.

So, yeah, get ready for a 20 overproduced games with a bloated 100+ hours of empty gameplay, but without the engaging characters. And for like at least 15 more moves based on some toy franchise, that nobody actually cares about.

And then get ready for all the CEOs to do the surprised Pikachu face, when all of that ends up not financially successful.

Really, I read some interviews yesterday from some AAA-studio CEOs and their blatant shock and missing understanding on why BG3 works for so many people.

Because, yeah... capitalism does not appreciate art. Capitalism does not understand art. It only understands spread sheets.

[howtofightwrite]

So. There is no safe place (in the body) to be shot. There are places that are slightly safer than others to be stabbed (i.e. being stabbed in the meat of your calf is less likely to be lethal than your torso). For the purposes of an arrow wound, which feels like a combination of shot+stab for a swords n sorcery world, is there a “less lethal” place to take an arrow? My character is traveling with companions and gets into a fun little goblin skirmish. I need her to catch an arrow somewhere that will be concerning, but not immediately fatal. Magic Bullshit™️ will keep the wound from healing properly for a few days, but I’ve accounted for field wound care (cleaning and bandaging and such) as she’s being taken on horseback to get proper treatment.

Not deeply.

So, the problem with all of these is tissue disruption. If the injury gets deep enough, the chances that it will hit something vital (especially on the torso) increase dramatically. So, getting stabbed and having the blade catch bone, instead of getting in deeper is “relatively” safe. Similarly, getting stabbed (or shot) in the hand or foot is unlikely to kill you (though, those injuries are likely to result in permanent damage impairing the use of injured appendage.)

Arrows are a little different, in a couple of ways. First, if you get shot, you do not want to pull that off (nor break it off and push it through.) That will increase the risk of bleeding out. Arrows make fairly large holes in people, but if the arrow sticks in the wound (which, it should) it will actually limit the amount of bleeding. Effectively the wound has a partial plug in it. Pulling out the arrow means that plug is no longer there, and they can happily bleed to death on the spot.

The second thing about arrows is that they actually pin muscle together. Think of it a bit like holding two pieces of meat together with a toothpick. If the toothpick isn't there, the pieces can slide across each other without issue, but that's not possible when there's a wooden shaft running through them. Your muscles are a complex web of meat, that slide over each other as you move. Pinning those together means that part of your body will actually lock up. For example, if you're shot in the shoulder, you won't be able to adjust the position of your arm. It's been toothpicked, and it's not going anywhere.

Arrowheads can get wedged in bone. If it's a broad head, or hunting tip, that will be obnoxious to get out.

At the risk of reading too much into your setting, goblins often means poisons, or other nastiness. Though, really, even just getting a tetanus infection (it used to be called “lock jaw”) from their blades is a pretty horrific potential fate. Even if the wounds themselves were relatively minor (cuts and scrapes, maybe a graze or two), a couple days might still result in some pretty horrific harm after the fact.

Also, remember, it's unlikely that bacteria will be understood by the medical science of your setting. So, first aid would still run a real risk of secondary infections.

Depending on their skill in first aid, anything outside of a severed artery or catastrophic organ damage should be (technically) survivable, though the wounds could easily result in permanent impairments, depending on exactly what was hit. A punctured lung might not kill her, but it could result in permanent respiratory issues, such as a cough, and chronic pain while breathing heavily from then on. It could also result in pneumonia and death, which is also, usually, pretty permanent.

Some of this depends more on where you want to land on a spectrum between dark fantasy and swords & sorcery. The genres are similar (and potentially overlapping), but can scatter out into dramatically different works. But, you do have some options on how you want to proceed.

-Starke

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