#they do what they need to in the narrative

[tiffany-loves-broadway]

While I do think that the Watsonian/Doylist distinction is important to keep in mind as a very basic theory-of-fiction-criticism framework thing, I think that there's a very important point missing from this discourse, a point which is often missing from this discourse. (The popular but godawful "Thermian Argument" is emblematic of this framing; it's just more condescending about it.)

Oftentimes, when there are two sides of a discourse, one offering a Watsonian explanation and one offering a Doylist explanation, the side framing their point in a Doylist way is actually incorrect. Not "correct but a stick in the mud about it" - simply wrong. They're prone to assuming that they're correct because they're using the Doylist lens, and they'll try to pattern-match the discourse to "one side is being frivolously charitable to the text, and the other is seriously analyzing it in realistic terms" because that narrative is flattering to them, but it doesn't actually mean that they're right.

If you want to know why a character did something, and Tumblr user #1 says "the text actually already explained why they did that", and provides sensible citations, and Tumblr user #2 says "they were acting out of character because the author was a moron with evil politics and hated his readers" and their case is just kind of incoherent, then Tumblr user #1 is acting as the Watsonian, and Tumblr user #2 is acting as the Doylist, but the former is certainly making a better argument. A correct Doylist explanation here would need to understand what the author even intended to convey on the Watsonian level.

Now, that said, Watsonian explanations that disregard the likelihood that the author actually intended them can certainly be lots of fun; I've spent a lot of time on them just as creative exercises. But I don't think that that means that a Watsonian lens is inherently less respectable than a Doylist one; if anything I think that the lower stakes of the Watsonian lens actually favor it. It takes a Doylist to have something banned as subversive literature.

I feel like we need a refresher on Watsonian vs Doylist perspectives in media analysis. When you have a question about a piece of media - about a potential plot hole or error, about a dubious costuming decision, about a character suddenly acting out of character -

A Watsonian answer is one that positions itself within the fictional world.

A Doylist answer is one that positions itself within the real world.

Meaning: if Watson says something that isn't true, one explanation is that Watson made a mistake. Another explanation is that Sir Arthur Conan Doyle made a mistake.

Watsonian explanations are implicitly charitable. You are implicitly buying into the notion that there is a good in-world reason for what you're seeing on screen or on the page. ("The bunny girls in Final Fantasy wear lingerie all the time because they're from a desert culture!")

Doylist explanations are pragmatic. You are acknowledging that the fiction is shaped by real-world forces, like the creators' personal taste, their biases, the pressures they might be under from managers or editors, or the limits of their expertise. ("The bunny girls in Final Fantasy wear lingerie because somebody thought they'd sell more units that way.")

Watsonian explanations tend to be imaginative but naive. Seeking a Watsonian explanation for a problem within a narrative is inherently pleasure-seeking: you don't want your suspension of disbelief to be broken, and you're willing to put in the leg work to prevent it. Looking for a Watsonian answer can make for a fun game! But it can quickly stray into making excuses for lazy or biased storytelling, or cynical and greedy executives.

Doylist explanations are very often accurate, but they're not much fun. They should supersede efforts to provide a Watsonian explanation where actual harm is being done: "This character is being depicted in a racist way because the creators have a racist bias.'" Or: "The lore changed because management fired all of the writers from last season because they didn't want to pay then residuals."

Doylism also runs the risk of becoming trite, when applied to lower stakes discrepancies. Yes, it's possible that this character acted strangely in this episode because this episode had a different writer, but that isn't interesting, and it terminates conversation.

I think a lot of conversations about media would go a lot more smoothly, and everyone would have a lot more fun, if people were just clearer about whether they are looking to engage in Watsonian or Doylist analysis. How many arguments could be prevented by just saying, "No, Doylist you're probably right, but it's more fun to imagine there's a Watsonian reason for this, so that's what I'm doing." Or, "From a Watsonian POV that explanation makes sense, but I'm going with the Doylist view here because the creator's intentions leave a bad taste in my mouth that I can't ignore."

Idk, just keep those terms in your pocket? And if you start to get mad at somebody for their analysis, take a second to see if what they're saying makes more sense from the other side of the Watsonian/Doylist divide.

[dksfml]

scripted - yjw

pairing: yang jungwon x reader x nishimura riki genre: ULTRA fluff, tiny angst, unrequited love, jealousy, love triangle (if you squint) word count: 10.3k summary: where you wrote a screenplay for your theater project about your sweet daydreams about jungwon, which got chosen for your class to present to the entire school. with him cast as the male lead while you, as the director, watch another girl play your own life story.

'Cause I, I don't wanna say what's scripted Whether you aren't with it I know what I need

The rumors about your crush on Jungwon weren’t just whispers—they were facts etched into the walls of the school. Everyone knew. Your friends, your classmates, even the juniors who only knew you by name. You had always been comfortable with it. Why wouldn’t you be? Jungwon was, by all standards, crush-worthy.

He was the type of guy people noticed instantly. Good looks, a quick wit, and a confidence that bordered on cocky but never quite crossed the line. He was friendly with everyone, not a single person immune to his easy charm. And you? You were no exception.

It was almost comical how blatant your admiration for him was. You didn’t try to hide it, laughing along with your friends when they teased you for staring at him during lunch or lingering too long by his desk. For the longest time, you were fine being the girl with the obvious crush. It was harmless fun.

But then the school retreat happened.

It had been a late-night campfire activity, the kind designed to foster trust and openness. Under the flickering firelight, with everyone’s attention pinned on you, someone dared you to confess your feelings to Jungwon.

At first, you laughed it off. “Why should I? Everyone already knows.”

But the chant started: “Do it! Do it!” Your friends joined in, and even Jungwon—sitting across from you, grinning in that infuriatingly charming way—raised an eyebrow as if daring you to go through with it.

So, you did. You stood up, brushed the dirt off your hands, and announced, “Jungwon, I like you. I’ve liked you for a long time.”

It was meant to be bold, confident, a way of taking control of the narrative that had always surrounded you. But as the laughter and applause erupted, you noticed the way Jungwon’s smile faltered. He chuckled, scratched the back of his head, and said, “Thanks, Y/N. That’s… flattering.”

Flattering. That was it. No reciprocation, no playful banter to ease the sting. Just a polite brush-off in front of everyone.

You didn’t let it show, of course. You sat back down, forced a smile, and played along with the jokes that followed. But something inside you shifted that night.

Since then, the teasing felt different—less like harmless fun and more like salt in a wound.

Weeks later, when your media studies professor announced that your play had been chosen for the class project, the room erupted into chaos.

Gasps of excitement rippled through the room, followed quickly by hushed murmurs. Your classmates exchanged knowing glances, the kind that made your stomach churn.

“Of course, her script won,” someone whispered, loud enough for you to catch. The words were casual, almost dismissive, as if your victory was inevitable—not because of your skill, but because of the ever-present rumors surrounding you.

“She’s good at this stuff,” another voice chimed in, but it was tinged with something less kind, as though your talents were overshadowed by something else entirely.

And then it came: “I bet Jungwon’s the inspiration for her male lead.”

That one landed like a punch.

You stiffened slightly, forcing your expression to remain neutral. Showing any reaction would only fuel the fire. Instead, you stood and walked to the front of the classroom with measured steps, pretending not to notice the smirks or the pointed glances being exchanged.

“It’s a well-written piece,” your professor said warmly, handing you back your script. Her genuine praise should have felt like a balm, but the weight of your classmates’ stares made it hard to savor the moment. “You’ll be the director, too, so start preparing.”

You nodded, managing a polite smile. “Thank you, ma’am.”

As you turned to return to your seat, you could feel the whispers start up again, quieter now but no less cutting.

“Did you hear about the retreat?” one voice said. “Yeah. She confessed to him in front of everyone.” “And he didn’t say anything back.” “Awkward…”

The words followed you like a shadow as you sat down, gripping the edges of the script.

This was supposed to be a win—a moment of pride for your writing—but instead, all you could think about was how the story you’d poured your heart into was about to be dissected by the very people who had watched you get rejected.

You’d spent countless nights drafting this play, pouring your soul into the characters, crafting a story that felt raw and honest. But now, all you could hear was the echo of your own confession, the way Jungwon had smiled politely, like he didn’t want to hurt your feelings but didn’t know what else to say.

Flattering. That’s what he had called it.

The memory burned, and for a fleeting moment, you considered pulling your script from the project entirely. But no—that would only make things worse. The last thing you wanted was to give anyone more ammunition to use against you.

So instead, you forced yourself to meet the professor’s eyes again as she moved on to announce the rest of the assignments. You sat there, quiet and composed, as if the whispers didn’t bother you.

The first group meeting for the play began in a chaotic hum of chatter and excitement. Despite your nerves, you stood at the front of the room, gripping the script like it was the only solid thing in your world. As the director, you knew you had to project confidence, even as the weight of everyone’s expectations pressed down on you.

“Alright, let’s get started,” you began, forcing your voice to sound steady. “We’ll need strong actors for the leads. There’s the rich male lead and the pauper female lead, they need to have believable chemistry.”

You barely got the words out before someone shouted from the back, “Jungwon should be the male lead!”

The room exploded with agreement, your classmates’ voices blending into a whirlwind of approval.

“Yeah, he’s perfect for it!” “Jungwon’s already the campus heartthrob—he basically is the rich boy.” “And he’s a natural actor!”

The noise rang in your ears, but you managed to nod as though the suggestion didn’t bother you. Inside, your chest felt tight. This was inevitable, wasn’t it? Of course, they’d choose him.

You raised a hand to quiet the room. “Jungwon, are you okay with that?” you asked, keeping your tone carefully neutral, professional, like this was any other task.

All eyes turned to him as he leaned back in his chair, the corners of his lips tugging into that easy grin that made your stomach twist.

“Sure, why not?” he replied casually, like it was no big deal.

The ease with which he accepted stung more than it should have, and you hated yourself for letting it bother you. But that smile—the same one that had made your heart flutter countless times—felt sharper now, like a blade.

“Great,” you said briskly, moving on as though you weren’t fighting to keep your composure. “For the female lead…”

“How about Minji?” someone chimed in before you could finish.

The room buzzed again with approval. Minji, with her long, glossy hair and angelic features, was undeniably beautiful. She was talented, too—her voice could silence a room, and her presence commanded attention. And then there was the one thing that made your stomach churn: her closeness to Jungwon.

“She’d be perfect,” another classmate added enthusiastically. “She and Jungwon already have great chemistry.”

You clenched your jaw, forcing the muscles in your face to stay neutral. This was your moment to speak up, to push for a different choice, but what could you say? Everyone already assumed you’d written the male lead with Jungwon in mind. Picking anyone else now would only make it more obvious.

You turned to Minji, who was practically glowing under the attention. “Minji, are you in?” you asked, your voice sounding distant even to your own ears.

She flashed a dazzling smile, flipping her hair over her shoulder as if the decision had been made long before you even asked. “Of course!” she chirped, casting a playful glance at Jungwon.

It was a glance that made the whispers of their rumored closeness feel all too real.

“Perfect,” you said tightly, moving on to assign the rest of the roles. Your pen hovered over your notebook as your classmates debated the supporting cast, their voices buzzing around you like static.

The session ended quickly after that, with everyone chattering excitedly about their parts. You remained at the front, collecting stray papers and reminding everyone to bring their scripts for the first reading.

As the room cleared, you caught sight of Jungwon and Minji walking out together, their laughter echoing in the hallway.

You let out a slow breath, willing yourself not to dwell on it. This was your project, your story—and you’d see it through, no matter how much it stung.

The following afternoon, the cast gathered in a loose circle in the auditorium, scripts in hand, buzzing with the kind of energy that only came with new beginnings. You stood at the front, clipboard clutched tightly, feeling the weight of their eyes on you. As the director, you had to guide them through this. You had to remain composed, professional, and in control.

“Alright, let’s start from the top,” you said, your voice steady despite the anxious flutter in your chest. “We’ll read through the entire script first. Blocking and staging will come later.”

The hum of voices quieted as everyone found their places. The reading began smoothly, with the cast slipping into their roles as if they’d been made for them.

Jungwon, sitting with a relaxed posture, leaned forward slightly as he read his lines. His voice carried the same effortless charm he exuded in real life, drawing the attention of everyone in the room. Each word felt natural, as if he wasn’t acting at all.

Minji was just as polished, her voice flowing with practiced ease. She smiled at the right moments, added depth to her lines, and cast Jungwon occasional glances that made their chemistry undeniable. The rest of the cast followed suit, and as much as you hated to admit it, the characters truly were coming to life.

But when you reached page 37, something inside you twisted.

Your eyes scanned the dialogue—the words you had written from a place of quiet vulnerability. It was a simple scene, one you thought would go unnoticed by everyone except you. But now, it felt like a spotlight was shining directly on your heart.

“We’ll skip this part,” you said quickly, your voice sharp enough to cut through the room’s focus.

There was a brief pause as everyone flipped to the page in question.

“Why skip it?” Jungwon’s voice broke the silence. His tone was curious but calm, the faintest hint of confusion in his furrowed brow as he studied you.

You met his gaze briefly, forcing a shrug. “It’s unnecessary,” you replied, injecting as much nonchalance into your tone as you could. “The pacing is better without it.”

Jungwon didn’t let it go. His eyes dropped to the script, scanning the scene you were trying to erase.

It was a quiet moment between the male and the female lead, walking side by side on their way to class. She teased him about skipping gym, and he promised, half-jokingly, that he’d join her next time.

Your chest tightened. The scene wasn’t just any scene. It was yours. A memory you cherished more than you wanted to admit; walking to gym class with Jungwon, just the two of you, back when things were simpler. Back when you could still let yourself enjoy the small moments without the weight of rejection looming over you.

Jungwon’s expression shifted as he read, his casual curiosity giving way to something softer. He looked up at you, his eyes searching yours with an almost cautious understanding.

“This…” he started, his voice quieter now, as though the realization struck him mid-sentence.

You turned your face away, refusing to let him see the crack in your armor. “It’s just a filler scene,” you said briskly, cutting him off. “Let’s move on.”

Minji, oblivious to the tension, glanced around before launching into her next line, breaking the heavy silence that had settled over the group. The script reading resumed, but the energy in the room had shifted.

Jungwon’s usual ease and confidence seemed muted, his responses more measured and subdued. You could feel his eyes on you occasionally, as if he wanted to say something but couldn’t find the right words.

As the session wore on, your focus remained on the script, your voice steady as you guided the cast. But deep down, you couldn’t shake the weight of his lingering gaze or the way your carefully guarded secret had come dangerously close to being exposed.

As the cast dispersed after the reading session, you stayed at the front, scanning your notes to look busy. Jungwon approached, the script dangling loosely in his hand, his expression unreadable.

“You’re good at this,” he said, his voice steady but quieter than usual.

“Thanks,” you replied without looking up, pretending to focus on the clipboard in your hands.

“You really wrote the screenplay very well,” he added after a beat, his tone careful, deliberate. “The school will really enjoy our performance, thanks to you.”

Your grip on the clipboard tightened for the briefest moment before you forced yourself to relax. You glanced up, keeping your face neutral. “Thanks, Jungwon. The story… I know that it’s a bit…”

He seemed to study you as he waits for you to finish your sentence, searching for something in your face, but you didn’t find the right word to say under his gaze. After your long pause, he nodded and turned to walk away.

But as his footsteps receded, you felt the weight of his gaze lingering, as though he wasn’t fully convinced.

The heavy sound of the auditorium doors creaking open snapped you out of your thoughts. A tall figure strolled in with an air of nonchalance—Riki, the ever-late and often-absent classmate.

“Wow, look who finally showed up,” someone from the remaining group called out, half-joking.

Riki grinned, unfazed by the attention. “What can I say? The world doesn’t stop turning without me.”

The teasing quickly shifted, and someone shouted, “All the roles are taken, dude! You’ll have to beg the director for a spot now.”

Riki’s eyes flicked to you instantly, his grin widening. He made his way over with a confidence that clashed with the fact he was perpetually absent.

You raised an eyebrow as he stopped in front of you, completely ignoring the clipboard in your hands or the seriousness in your posture.

“So, boss,” he began, crossing his arms. “What’s my role?”

“We’ve already assigned roles,” you replied flatly, not missing a beat. “You’re too late. You should’ve been here on time.”

Riki didn’t look even remotely deterred. Instead, he tilted his head, feigning a thoughtful look before shrugging. “Guess I’ll create my own role, then. Can I handle the choreography for the play?”

“What?” you asked, more baffled than angry.

“Relax,” he said with a wink. “It’s what I’m good at. You don’t want me acting anyway—I’d outshine everyone.”

You opened your mouth to protest, but Riki raised a finger, cutting you off. “Trust me. I’ll do it right.”

There was something so audacious yet oddly reassuring in his tone that you found yourself momentarily speechless.

But then you snapped out of it. “Fine,” you relented. “But if you’re taking this seriously, you can’t skip practices anymore.”

Riki placed a hand on his chest in mock offense. “Do I look like the kind of guy who slacks off?”

“Yes,” you deadpanned.

He laughed, the sound echoing across the emptying auditorium. “Fair enough. See you at practice, boss.”

And just like that, he turned and strolled off, his bag slung over his shoulder as if he’d just secured the role of a lifetime.

You exhaled sharply, watching him leave. Jungwon, still standing at a distance, hadn’t said a word throughout the entire exchange. But you felt his gaze, quiet and observant, as if he were trying to piece together the dynamic between you and this latecomer who had confidently claimed a place in your play.

Shaking off the thought, you turned back to your notes, already bracing yourself for the chaos that Riki would undoubtedly bring to your carefully planned production

As the weeks of rehearsals progressed, one thing became undeniably clear—Riki was no longer the unreliable absentee everyone had pegged him to be.

“Is it just me, or has Riki been showing up every day?” one of your classmates whispered loudly during a break, eyeing him as he adjusted a prop onstage.

Another chimed in, “Yeah, and he’s actually… working. Who knew?”

You caught snippets of their conversation but chose not to engage. It was true, though. Ever since Riki had taken up the choreography, he’d been showing up not just on time but with energy and enthusiasm that sometimes even rivaled yours. His movements were precise, and he had a knack for motivating others to step up their game.

Still, you were wary. “Don’t let it get to your head,” you told him after one practice when he was lingering by the stage.

Riki only smirked, leaning against the edge of the stage. “Admit it—you’re impressed.”

You rolled your eyes, but his confidence was disarming.

One evening, during rehearsals, the cast gathered to practice a particularly intense scene between the leads. Jungwon and Minji were center stage, the script in Jungwon’s hand as he delivered his lines.

“I can’t let you leave,” he said, his tone calm but firm. His hand hovered awkwardly near Minji’s face, his fingers twitching slightly as if unsure where to place them.

“Jungwon, you’re supposed to grab her chin,” you reminded him, keeping your tone neutral as you pointed at the script. “It’s a pivotal moment of the play—it shows how desperate he is to get her to listen.”

Jungwon hesitated, scratching the back of his neck. “Yeah, I get that. I just… don’t want to make it awkward.”

Minji, ever professional, smiled encouragingly. “It’s fine, Jungwon. Just go for it.”

But as he nodded and turned back to her, his shoulders tensed, and his grip on the script tightened. His hand moved forward again but stopped short, hovering in mid-air as though weighed down by an invisible force.

You frowned, watching him closely. Something about his hesitation seemed deeper than stage fright. His gaze darted toward the ground, avoiding Minji’s eyes entirely. His other hand, clenched at his side, betrayed the nerves he was trying to hide.

“Jungwon,” you said, your voice softer this time. “What’s holding you back?”

He didn’t respond immediately, his jaw tightening as if he were biting back words. When he finally spoke, his voice was low. “I just… don’t want to mess it up.”

The murmurs of impatience from the cast grew louder, and before you could say more, Riki stood up from where he’d been sitting near the edge of the stage.

Suddenly, Riki, who had been sitting cross-legged near the edge of the stage, stood up. “Let me show you how it’s done,” he said, a mischievous grin playing on his lips.

The group fell silent, curious to see what he would do.

You blinked, caught off guard when Riki gestured toward you. “Come here,” he said.

“What? No,” you replied, instinctively taking a step back.

“C’mon, boss,” he teased, his tone light but his gaze steady. “You’re the director. Let’s give them a proper demonstration.”

You hesitated, but the expectant stares of your classmates left you with no choice. Reluctantly, you stepped onto the stage, your palms clammy as you stood opposite him.

“Okay,” Riki said, his voice dropping an octave. He reached out, his fingers brushing lightly against your chin before tilting it up, so your eyes met his.

The intensity of his stare made your breath hitch. His grip wasn’t too tight, but it was firm enough to command attention. For a moment, it felt like the world had narrowed to just the two of you, the warmth of his touch sending a shiver down your spine.

The room erupted in whistles and laughter.

“Wow, you guys look natural!” someone shouted, breaking the spell.

Another teased, “Riki, are you sure you’re not auditioning for the male lead?”

Your face burned as you quickly pulled back, avoiding everyone’s amused stares. “That’s enough,” you said, trying to sound authoritative. “Let’s get back to the scene.”

But as you walked offstage, you couldn’t shake the feeling of his eyes lingering on you—or the way your heart had skipped a beat during those few seconds.

From the corner of the room, Jungwon sat silently, the script still in his hands. He hadn’t said a word during the exchange between you and Riki, but his expression was thoughtful, his eyes narrowing slightly as he watched the interaction unfold.

When rehearsal resumed, he seemed quieter than usual, delivering his lines with less enthusiasm.

By now, the whispers about Riki’s sudden dedication were impossible to ignore.

“Seriously, who is this guy?” one of your classmates joked as they watched him adjust the blocking for a scene.

“He’s even showing up to classes he doesn’t need to be at,” another added.

Riki overheard and grinned as he walked past. “Guess I’m a changed man,” he quipped, winking in your direction.

You shook your head, hiding a smile. “Don’t push your luck.”

“I think I’m your star player, boss,” he shot back, his tone playful but self-assured.

Despite your best efforts to keep things professional, you couldn’t help but feel that the dynamic between you and Riki had shifted. Whether it was his newfound confidence or the easy camaraderie you had developed, he was no longer just the absentee classmate.

And though you tried to focus on the play, you couldn’t ignore the growing sense that he was slowly stealing the spotlight—both on and off the stage.

The last bell of the day had already rung, and most of your classmates were already packing up for the gymnasium, where the final recital practices were scheduled. You, however, were asked to go to your professor's office to give her an update on the progress of your play.

"How are things going?" she asked, sitting behind her desk as you entered.

You took a seat across from her, straightening the stack of papers in your hands. "Everything's on track," you said confidently. "The cast is showing great improvement, and we’re refining the blocking. The choreography is coming along well, too."

Your professor nodded, clearly pleased with your professionalism. "Good. I'm glad to hear it. Keep it up."

Then, she handed you a pile of scripts. "These are your classmates' plays. I accidentally forgot to return them, so I need you to give them back personally when you can."

You took the scripts, nodding, and tucked them under your arm. "Of course, I’ll make sure they get them."

"Great," your professor said, standing up. "You’re doing well with the play. Just make sure you keep the momentum going. Let me know if you need anything."

With a quick smile and a polite nod, you left her office. The hallways were deserted, the school echoing with the sound of your footsteps as you walked back to your classroom to drop off your things before heading to the gym.

Once you returned to the empty classroom, you placed the pile of scripts on your desk and started organizing them. The last thing you wanted was to carry a mess of papers with you to the gymnasium.

But just as you were about to finish, something slipped from the pile, falling to the floor with a soft thud. You crouched down, trying to grab it quickly, but in the process, the rest of the scripts followed, scattering in every direction.

"Great," you muttered under your breath, crouching down again to gather them all.

As you reached for the scattered pages, your eyes landed on one particular script—Jungwon’s. Your heart skipped a beat as you recognized the familiar handwriting on the cover.

Curious and, admittedly, a little nervous, you opened the script, flipping through the pages.

You froze.

The pages before you were filled with intimate details—details you never expected to see written down in such a way. It was his play, sure, but it was more than just a story—it was a record of everything you had ever experienced together, from his perspective.

The first scene you came across made your stomach flip. It was about the time you’d first noticed Jungwon at the vending machine—the way you both had awkwardly brushed past each other without ever speaking a word, and how, despite that, you felt something stir within you. Then, it was followed by a scene that took your breath away:

“He watched her, unsure how to approach her. His heart raced, but he was too afraid to speak. Would she even notice him?”

“She had no idea, but he had been quietly in love with her for a while now. He watched her with admiration from afar, unsure how to close the distance between them, afraid she wouldn’t feel the same.”

Your hands trembled as you read. It was about your confession to him, the moment you had told him how you felt, how he had turned you down, and how you had felt a part of you break. But what stopped your heart in its tracks was the next part:

“His chest tightened as he saw her face when she confessed. He didn’t know why he couldn’t just say the words back. He had wanted to, so badly. But the moment felt all wrong, the timing was off. He imagined confessing to her in a more intimate, personal space—just the two of them. He wanted to give her his best self when he said it, not under the scrutiny of friends. Not when she was the one taking the first step. That thought held him back."

"In that moment, seeing the hurt in her eyes, he understood just how much he had been lying to himself. He had always loved her, more than he had let on. But it was too late now. He had failed her."

You couldn’t breathe. The room spun around you as you tried to make sense of the words in front of you. His play—it wasn’t just about the story of two characters. It was about you. About him. About everything that had happened between the two of you.

And there it was, in black and white—his feelings for you, all these years, something he had never said aloud.

You were so caught up in the revelation that you didn’t hear the door open.

"Hey," a voice broke through your thoughts. Jungwon stood in the doorway, looking a bit concerned. "Everyone’s waiting for you. We’re about to start the practice."

You quickly snapped the script shut, your hands still trembling. Jungwon’s eyes flickered to the pile of papers you had spilled, his expression shifting when he saw the one you were holding.

Before you could say anything, he crossed the room quickly, reaching for the script you had been reading. "Give that to me," he said, his voice unusually serious.

You tried to pull it back instinctively, but Jungwon’s grip was firm. Without another word, he yanked it from your hands and tucked it under his arm.

"Jungwon—" you started, but he cut you off.

"Don’t," he said quietly, glancing at you with a flicker of something in his eyes—regret?

He quickly helped you gather the other scattered scripts, his movements swift but oddly gentle, as though trying to avoid causing any more tension. When everything was back in order, he straightened up, looking at you with an unreadable expression.

You nodded, still reeling from what you had just discovered. Without another word, you both left the classroom, walking side by side down the hall to the gymnasium.

The silence between you was thick, filled with unspoken words. You wanted to say something—anything—but you couldn’t find the right words.

And Jungwon? He didn’t say anything either. He simply walked beside you, his footsteps steady, his presence a quiet, unspoken reminder of everything that had just shifted between you.

As you approached the gymnasium, the muffled chatter and sounds of rehearsals filtered through the door. It was a stark contrast to the heavy silence between you and Jungwon. He paused briefly, glancing at you as if he wanted to say something but ultimately stayed silent. With a slight nod, he opened the door and stepped aside to let you enter first.

The cast was already bustling about, running lines and adjusting props. Riki, as usual, was at the center of the activity, demonstrating a dance sequence with a playful flair that drew laughter and cheers from everyone around him.

“Finally!” Riki called out when he spotted you. “Thought you’d abandoned us, boss.”

You forced a smile, but your mind was still stuck on Jungwon’s script. Riki must have noticed something off, because his grin faltered slightly as his eyes flicked between you and Jungwon.

“You good?” he asked, tilting his head. His voice was softer, more private, as he stepped closer.

“Yeah, just... long day,” you replied quickly, waving him off. The last thing you needed was more attention on whatever turmoil you were feeling.

Riki studied you for a moment longer before smirking. “Well, you’re here now. That’s all that matters.” He clapped his hands together, effectively pulling everyone’s focus back to the rehearsal. “Alright, people, let’s nail this!”

The next few hours passed in a blur, each moment charged with a mix of anticipation and tension. Jungwon, usually the calm and collected actor, was delivering his lines with an intensity that was hard to ignore.

His voice held a restrained urgency, as though every word carried more weight than it should. His eyes, too, were different today: dark, focused, and filled with an emotion that couldn’t quite be placed. It wasn’t anger or frustration, but something deeper—something unspoken.

Minji, always perceptive, noticed the change immediately. During one of the breaks, as the rest of the cast gathered around the table, she leaned in, a small but knowing smile on her lips.

“Jungwon, that was incredible! Whatever you’re channeling, keep it up.” Her voice was playful, teasing, but there was a certain depth in her eyes that suggested she wasn’t just complimenting his acting. She was recognizing something more—something raw, something between them.

Jungwon looked at her, his usual smile absent, replaced by a flicker of something complicated. For a brief moment, his gaze lingered on her, searching her face, as if weighing her words.

His lips parted slightly, but he didn’t respond immediately. Instead, he gave a slow nod, as though acknowledging her comment, but not quite willing to let go of the emotion he was carrying.

The chemistry between them was undeniable—electric, yet unspoken. It hung in the air like a tension neither was willing to address.

Minji noticed the pause, her expression softening as she regarded him. She wasn’t bothered by his silence; she was used to the layers beneath his exterior. But something in the way he looked at her—intense, almost vulnerable—made her heart skip a beat.

Something about the way their dynamic had shifted was undeniable, and Minji couldn’t help but wonder if Jungwon felt it too.

You, standing off to the side, watched the exchange with a quiet unease. You had become accustomed to their interactions during rehearsals—how they worked seamlessly together, how there was an unspoken rhythm between them.

But today, it felt different. There was a new level of intimacy in their shared glances, a quiet understanding that seemed to transcend the script.

Deciding to focus elsewhere, you turned your attention to Riki, who had the entire cast engaged in an impromptu choreography session. His infectious energy pulled everyone in, and even though you knew you had your own parts to direct, you couldn’t help but be distracted by the undercurrent of tension between Jungwon and Minji.

The way they stood near each other, their bodies close but not touching, was enough to make the air around them thick with unspoken words. Jungwon’s eyes would flicker toward Minji every so often, as though he couldn’t help himself, even as he pretended to focus on his lines. Minji, ever the professional, matched his energy, but there was something different in her demeanor too—an openness that seemed to invite his silent attention.

At one point, Minji laughed at something one of the other actors said, and Jungwon’s gaze followed her laugh, softening for a fraction of a second. He was caught in the moment, his usual composure slipping as he watched her.

For just a moment, it seemed like the world outside of them ceased to exist. Their chemistry was undeniable, a magnetic pull that neither could easily escape from.

As rehearsals continued, the dynamic between the two only grew more intense. Minji’s confidence fed off Jungwon’s intensity, and Jungwon seemed to find something in her presence that grounded him, making his performance richer, more layered.

The unspoken connection between them wasn’t just visible to the actors on stage, it was palpable to everyone in the room. The cast couldn’t help but notice the way they seemed to mirror each other’s movements, the way their eyes would meet at the most unexpected moments.

In your eyes, what they have was more than just good acting, it was something real. And you couldn’t ignore the weight of it—the way their relationship, both on and off stage, was evolving. The lines between performance and reality were blurring, and you couldn’t help but feel the emotional toll it was taking on all of you.

By the time rehearsal ended, you were exhausted, both physically and emotionally. As the cast began packing up, you lingered near the stage, tidying up stray props and papers.

“You’re still here?” Riki’s voice came from behind you. Turning, you found him leaning casually against a pillar, his bag slung over one shoulder.

“Just finishing up,” you replied.

He tilted his head, his playful grin returning. “Need help?”

You hesitated but shook your head. “It’s fine. Go ahead.”

Riki didn’t budge. Instead, he stepped closer, his expression softening. “Hey,” he said, his voice low. “You seem... distracted tonight. Did something happen?”

You opened your mouth to deny it, but the concern in his eyes stopped you. Riki’s usual teasing demeanor was gone, replaced by a sincerity that caught you off guard.

“It’s nothing,” you said after a pause. “Just... personal stuff.”

He didn’t press further, simply nodding as if to say he understood. “Well, if you need to talk—or vent—I’m around.” Then, with a wink, he added, “Can’t have my star director burning out before opening night.”

Despite everything, you couldn’t help but smile faintly. “Thanks, Riki.”

He gave you a mock salute before heading out, leaving you alone once more.

As you turned back to finish cleaning, you heard soft footsteps approaching. Glancing over your shoulder, you found Jungwon standing there, his hands shoved into his pockets. His gaze was cautious, almost apologetic.

“Can we talk?” he asked quietly.

Your heart skipped a beat, but you nodded, setting down the props you were holding. Jungwon stepped closer, the distance between you shrinking as he lowered his voice.

“About the script…” Jungwon began, his voice tight, as though each word had to be pulled from him. He hesitated, running a hand through his hair, his expression flickering with something deeper—something he wasn't ready to reveal. “I didn’t mean for you to see it. It wasn’t... ready.”

You stood frozen, heart pounding in your chest, overwhelmed by the weight of the moment. The sudden shift in Jungwon, the vulnerability in his voice—it caught you off guard. “It’s not just a story, is it?” you asked, your voice barely above a whisper, afraid of the answer but unable to hold back the question.

Jungwon’s gaze met yours, dark and intense, as if he were trying to carve his soul into the air between you. For a brief second, you saw it—the raw emotion swirling beneath the composed surface, something so fragile and real that it made your chest tighten. His lips parted as though he was about to say something, but then his eyes flickered away, as if he couldn’t bear to meet yours any longer.

“No,” he whispered, his voice trembling with the weight of the secret he could no longer keep, like a confession he’d been holding back for far too long. “It’s not…” His words hung in the air, a razor-thin thread between you that neither of you could escape.

The tension in the space between you was suffocating, thick with the unspoken things that had been festering for weeks, months, maybe even years. You could feel your breath catch in your throat as you stepped forward, your heart racing in your chest.

“Why didn’t you ever tell me?” Your voice cracked, the question more painful than anything you’d expected. The confusion, the hurt, the feeling of betrayal—everything you had bottled up finally erupted, sharp and raw. “Why wait until now, Jungwon? Why couldn’t you just... say it?”

His eyes were closed for a moment, his jaw clenched as if he was fighting something fierce inside himself. When he opened them again, the depth of the emotion there nearly broke you. He exhaled sharply, a shaky breath that made the air between you both feel like it was thickening, suffocating you both.

“Because I’m scared,” he admitted, the words spilling out in a rush, as if he couldn’t hold them in any longer. He stepped closer, but the space between you felt like miles. His voice cracked, raw with vulnerability. “Scared that if I told you, if I showed you what I really feel… it would ruin everything. I’m scared that when you graduate, when you leave for college… you won’t need me anymore. That I’ll be just some fading memory, and you’ll walk away from me without a second thought. And I… I can’t bear that.”

His words cut through you, deep and jagged, breaking something inside you. Your chest tightened, the world spinning as his confession sank in. His voice trembled with emotion, and for a moment, you didn’t know whether to cry or scream, the weight of everything you’d ever wanted from him crashing down in waves.

“I...” You swallowed, your voice unsteady as your heart hammered in your chest. “You... you really think that? You think I would forget you? That just because you’re going away, I wouldn’t still need you? You really believe that, Jungwon?” You stepped even closer now, the words pouring out of you faster than you could catch them. “You could’ve told me before. You should’ve told me before. You know how much I like you. Hell, everyone on campus knows. You said you’re going out of town for college? Do you really think that would change how I feel? It doesn’t. It never would’ve.”

Your voice broke as the last words slipped from your mouth, the emotion that had been simmering under the surface for so long finally breaking free. You weren’t sure when you had taken the step forward, but now, there was nothing between you but the distance of his unspoken words.

Jungwon’s face was tortured, like he was carrying the weight of something too heavy to bear. He bit his lip, his eyes filled with regret and something else—something deeper. And then, as if he couldn’t take the space between you any longer, he closed the distance, his breath warm against your skin.

But just as the tension reached its breaking point, the world seemed to shift. A loud crash, followed by a piercing scream from the far side of the auditorium, shattered the moment. The entire room fell into stunned silence.

You whipped your head around to see Minji sprawled on the floor, clutching her ankle, her face twisted in shock and pain.

The chaos erupted in an instant—cries of panic, footsteps scrambling toward her. But as you stood there, frozen, your heart still racing, all you could feel was the sting of everything unsaid, the weight of Jungwon’s confession hanging in the air, unfinished.

He hadn’t meant to pull away. Neither of you had. But in the next breath, everything had changed.

The commotion had taken everyone by surprise. Minji had been practicing a particularly complicated scene when she slipped, falling awkwardly and injuring her ankle badly. The room fell into chaos, the cast members rushing to her side, their faces filled with panic as she clutched her leg in pain.

“Someone get the nurse!” you shouted, but you were already on your way over, kneeling beside Minji, trying to calm her down. Jungwon was right beside you, his usual composed expression slipping into something much more concerned.

The moment the news came through, it felt like the entire world stopped. The hospital had confirmed that Minji had severely sprained her ankle—no one could have anticipated how badly she’d hurt herself, and now, there was no way she would be able to perform for at least two weeks, maybe more. The timing couldn’t have been worse. The performance was just days away, and without Minji, the play might not go on.

The cast gathered in the rehearsal room, tension thick in the air. You could feel the weight of everyone’s eyes on you, the silent expectation building with every passing second. The murmurs began almost immediately as they discussed who could possibly fill in for Minji at the last minute.

“We could call in an understudy,” one member suggested, clearly grasping at straws.

“None of the understudies know the part as well as Minji does,” another replied, shaking their head. “We don’t have time for that.”

“We’ll figure something out. We’ll find someone who can—” Riki cut himself off, his face drawn with concern as he glanced at the empty space where Minji usually stood.

The silence that followed felt deafening. It was clear to everyone that there was no one else who could take over the role in such a short time. That’s when one of the cast members, a girl who had always been pragmatic to the point of bluntness, turned toward you. Her gaze was unwavering.

“Well... if we’re being realistic,” she began, the words hanging heavy in the air, “you know the lines, right?”

You froze, your heart suddenly pounding in your chest. “I—what?” you stammered, your stomach sinking as her eyes bored into you. The thought of stepping into Minji’s shoes, even for a moment, felt like an impossible task.

“You’ve been working with her the whole time and directed this whole play,” she continued, a hint of impatience in her voice. “You’re the only one who knows her part well enough to do this. Plus, you’re the one who wrote the play.”

“I—” You faltered, panic creeping into your throat. “I don’t know if I can...”

“You don’t have a choice,” another voice cut in sharply. It was Riki. He leaned forward, his eyes narrowed. “It’s you or no one. We don’t have time for hesitation. The play is in a week.”

The other cast members exchanged uneasy glances. Some of them, like Riki, seemed convinced that you were the only viable option, but others looked skeptical, unconvinced that you could actually pull it off.

“It’s not just about knowing the lines,” someone else muttered, crossing their arms. “It’s about embodying the role. You’re the director, sure, but stepping in for Minji? That’s a whole different challenge.”

The room fell into a tense silence, and you could feel the weight of the decision bearing down on you. Your palms were sweating, your mind racing. You glanced around, meeting Jungwon’s gaze for a brief moment. He was standing a few paces away, his expression unreadable, his eyes fixed on you. There was a softness in his gaze, but he didn’t speak up. He didn’t offer his support, not even a hint of reassurance. It was as though he was waiting for you to make the call on your own.

"I’m... I’m not sure I can do it," you said, your voice trembling as you shook your head. The words felt like an admission of failure even as they left your lips. The pressure was mounting, thick and suffocating. You could feel the anxious tension in the room, swirling around you.

Then another voice broke the silence, a supporting actress, her tone firm. “We don’t have time to find anyone else. You’re going to have to take the role, Y/N. There’s no other option.”

You hesitated, your heart thudding painfully in your chest, but the weight of the situation settled over you like a blanket. The others weren’t happy, and you weren’t sure you were either, but there was no room for second-guessing.

“Fine,” you muttered, almost too quietly for anyone to hear. “I’ll do it.”

Riki gave a brief nod, signaling that the decision was made. The cast moved forward, but there was no sense of triumph, only a shared understanding that the next few days would be exhausting and grueling. You weren’t sure what you had just agreed to, but it was clear that everyone was relying on you to make it work.

The first rehearsal in your new role was a mess. You stumbled through the lines, your tongue tripping over words that should’ve felt familiar. Every gesture that Minji had made with grace now felt awkward and forced. You felt like you were drowning, each second slipping away from you as you tried desperately to remember the blocking, the expressions, the emotions you needed to convey. The cast’s frustration was palpable.

“This isn’t how we rehearsed it,” one of the actors muttered under their breath, throwing you an annoyed glance as you fumbled with the choreography.

“Yeah,” another added, crossing his arms and clearly skeptical. “It’s going to take a lot more than this.”

You felt yourself shrink under their judgment, the weight of their eyes pressing on you. It wasn’t that they were outright cruel—it was more the fact that they were impatient. They didn’t think you could pull it off, and frankly, neither did you.

As the days passed, the rehearsals didn’t improve much. By the second day, you were losing confidence. You couldn’t stop comparing yourself to Minji, her effortless performance a constant reminder of how far you had to go. The tension between the cast members grew, and you could feel it in the air. Every practice session felt like a battle—one where you weren’t sure you were going to win.

Jungwon, as usual, was quiet during the rehearsals. He didn’t say much, but you could feel him watching you, always standing just a little further away than you would’ve liked. His eyes never left you, but he said nothing. His silence was both comforting and unnerving.

“Y/N, you’ve got to work harder,” one of your classmates said, his tone sharp as the cast took a break. “We don’t have time for mistakes. We know you have a lot on your plate, considering you’re still our director. Thankfully Riki’s now co-directing though. You just need to be better, we know you’re capable.”

His words stung more than they should’ve, especially when it wasn’t your fault that Minji had gotten hurt. But the pressure was unbearable. You were carrying the weight of the play on your shoulders, and it felt like the world was watching, waiting for you to fail.

It was during one particularly frustrating rehearsal that Jungwon finally spoke to you. You had just stumbled over another line and had nearly given up in frustration when you felt a hand on your shoulder.

“You’re doing your best,” Jungwon said quietly, his voice a gentle balm against the harshness of the rehearsal room. You looked up at him, surprised by the softness in his words. His gaze was steady, unwavering. “I know it’s hard... but just trust yourself. You’re stronger than you think.”

His words—simple, calm—pierced through the storm of anxiety inside you. Something in his tone made you pause, made you take a breath. For the first time in days, you felt a flicker of reassurance.

“Thanks, Jungwon,” you murmured, the weight of his support grounding you. In that moment, despite everything, you felt like you could at least keep going. Maybe you couldn’t do it perfectly, but you could keep trying.

The performance day arrived in a blur of last-minute adjustments. Everyone was exhausted, nerves frayed, but despite the tension, there was a sense of collective determination. The theater was packed with an eager audience, and as you stood backstage, the reality of it all hit you.

You were about to step out onto the stage, alone in a role you hadn’t fully prepared for, a role that belonged to someone else. But then you looked at Jungwon—he was standing at the edge of the stage, watching you with a quiet intensity.

Your heart skipped a beat as your eyes met his, and in that moment, you found the strength you needed. He gave you a small, encouraging smile, and it was as though he was silently telling you that everything was going to be okay.

The stage was set. The audience’s murmurs faded as the play began, and the atmosphere shifted from anticipation to pure focus. The first few lines came out smoothly, and with each passing moment, the tension you had felt in the rehearsals started to melt away. The natural rhythm of the play flowed effortlessly between you and the other actors. But what you hadn’t expected—what you hadn’t anticipated—was how easy it felt to perform alongside Jungwon.

Every movement, every word, every glance felt effortless. As soon as you shared the first scene with him, there was an unspoken connection. His presence on stage was magnetic—his voice strong, yet soft, filled with depth. And his eyes—those eyes—spoke volumes without him having to utter a single word. You hadn’t expected to feel so at ease, so in sync with him, but it was as though you were breathing in rhythm, your performances becoming one.

Lila: (Her voice laced with doubt, her eyes searching his for reassurance.) “You... you really think you could want me? I’m nothing like the women you’re used to, Lawrence. I don’t belong in your world.”

Lawrence (Jungwon): (His voice calm, unwavering, as he looks at her with a sincerity that catches her off guard.) “I’ve always wanted you, Lila. You. Not the world you think I live in. Not the money or status. Just you.”

The way his words lingered in the air made your heart flutter. His gaze softened, and in that fleeting moment, it felt as if the entire world faded away. The audience, the stage, the lights—they all disappeared, leaving only the connection between your characters.

In this scene, Lila was supposed to be uncertain, lost in her own doubts, but Adrian’s unwavering confidence made it feel like she could do anything. He gave her the strength to believe in herself, just by being there.

Lawrence (Jungwon): (His voice deepens, a subtle warmth behind his words as he steps closer.) “You’re not alone in this, Lila. Not anymore. I’m here. I’ll always be here.”

For a split second, it felt as though the scene had stopped being fiction, as if Jungwon himself wasn’t just acting but revealing a deeper part of himself. His sincerity was unmistakable. The chemistry between you was undeniable, and for a moment, you almost forgot that you were acting. Your heart skipped a beat, and you had to remind yourself to stay in character.

Lila: (Her voice trembling just enough to make it feel real, her eyes searching his face.) “I... I’m scared, Lawrence. What if I’m not enough for you? What if I’m just some joke to you?”

He took a step closer, closing the distance between you, his eyes never leaving yours. The intensity of his gaze was enough to make your breath hitch in your throat.

Lawrence (Jungwon): (His voice firm, a promise in his words.) “Then I’ll be enough for both of us.” (He reaches out, gently cupping her cheek.) “This isn’t a game, Lila. I’m not here for some joke. I’m here for you.”

The line was so simple, so full of promise. And yet, in that moment, it felt like the most powerful declaration you had ever heard. The tension between the two characters—no, between you and Jungwon—was growing stronger with every passing second.

Lila: (Her heart racing, her voice a whisper.) “Are you sure? This... all of this feels too good to be true.”

Lawrence (Jungwon): (Stepping closer, his breath almost mingling with hers, his voice tender and serious.) “I’m sure, Lila. I’ve never been more sure of anything.”

The scene continued, each word flowing naturally, each touch, each exchange building the emotion. But nothing could have prepared you for what happened next.

As the final scene began to unfold, your characters stood face to face, the final lines lingering in the air. The tension had shifted. It wasn’t just the chemistry of the characters anymore—it was the undeniable pull between the two of you. Your heart pounded as you spoke the last few lines, your voice quiet, almost hesitant.

Lila: (Softly, her voice trembling.) “Is this... is this really goodbye?”

Lawrence (Jungwon): (His expression a mix of sadness and longing as he steps closer.) “No. Not if you don’t want it to be.”

And in that split second, just as the final words should have left your mouth, Jungwon did something unexpected. He didn’t wait for the cue. Instead, without a word, he leaned in toward you, closing the space between you until his face was mere inches from yours. The audience gasped as he pressed a gentle kiss to your cheek—soft, fleeting, but full of emotion.

You froze. The script hadn’t called for it. No one had prepared you for this. Your breath caught in your throat, and for a moment, it felt as though time itself had stopped. The kiss—completely unplanned—was full of unspoken meaning. It was a promise. A confession. It was everything he hadn’t said on stage, but everything his eyes had been telling you all along.

When Jungwon pulled back slightly, he met your gaze with a softness you had never seen before. His eyes were vulnerable, as though he had just exposed something deep within himself that he wasn’t ready to share with anyone else. Then he adjusted his lavalier microphone slightly away from his mouth as he leans into you again.

“This wasn’t on your script... but it was on mine,” he whispered to your ear. It was barely inaudible that you wouldn’t believe he said that.

The words settled over you like a spark, igniting something inside your chest. You couldn’t speak. The world had shifted in that single moment. The play—everything—had suddenly become something so much more. The chemistry between you was undeniable, and the connection between your characters now felt so real.

The audience had fallen silent, their eyes wide in shock, but you didn’t notice them. You didn’t hear the applause. All that mattered was Jungwon, standing there before you. The final scene had ended, but in that moment, it felt like the true beginning of something neither of you had expected.

As the curtain began to close, you stood side by side with him, your heart racing. The play was over, but it didn’t feel like an ending. Not to you. Not to Jungwon. Not anymore. You both knew, without saying another word, that this wasn’t just a performance. It was real. This connection, this feeling, this chemistry—it was something that had always been there, hidden beneath the surface. And now, you were finally seeing it for what it was.

As you walked off stage, the weight of the moment seemed to cling to you, like the lingering echo of a song that you couldn't forget. The applause rang in your ears, distant and muted, as if you were in another world, separated from the reality that had once felt so familiar. The connection you shared with Jungwon—it was no longer just a performance. It was something raw, something real. And as your footsteps echoed through the backstage corridor, you couldn't shake the feeling that this moment was just the beginning.

Jungwon slowed his pace beside you, his steps in perfect sync with yours, and for a moment, the world seemed to still. The smile he gave you was soft, almost hesitant, but his eyes—they were full of something you hadn’t seen before. There was no pretension, no calculated charm. Just a quiet sincerity that spoke volumes.

"I didn't mean for it to be like this," he said, his voice low, but it carried with it the weight of everything unsaid. “I should’ve told you sooner. All the things I was too scared to say before, all the things that kept me from being honest with you...”

You turned to face him, your heart pounding in your chest, unsure of what to say. But Jungwon didn’t wait for your response. His hand reached out, brushing lightly against your arm, his fingers grazing your skin like a question that hadn’t been answered.

“I don’t want to leave things unfinished,” he continued, his voice now firm, but his gaze vulnerable. “And I don’t want to go on pretending that I don’t feel this... whatever this is between us. I know I’ve been an idiot. I didn’t want to mess this up... But I can’t keep pretending anymore.” He took a breath, stepping even closer. “I like you. I’ve liked you for a long time. And not just as some role in a play or as some unspoken dream. I... I like you. All of you.”

Your breath caught in your throat, and for a moment, the world seemed to hold its breath with you. His words, raw and unguarded, hit you in a way you never expected. It was more than just the confession—it was the vulnerability, the sincerity in his eyes. He wasn’t hiding anymore.

And then, as if that wasn’t enough, he stepped closer, his voice softening as he leaned in again, this time closer than before. “You deserve to know the truth. Not just as an actor, not just as someone I worked with, but as someone who means something more than I ever let on. I never wanted to hurt you, and I’m sorry for making you feel like you didn’t matter.”

The silence between you stretched out for what felt like an eternity, and in that moment, everything else—everything that had once mattered—faded away. You took a shaky breath, the words finally bubbling to the surface. “Jungwon,” you whispered, your voice trembling with emotion. “I... I didn’t know what to think, what to believe. But hearing you say this now, I—”

Before you could finish, he gently cupped your face, his touch warm and steady. He smiled, that familiar, charming smile you’d seen a thousand times before, but now it felt like it carried a weight of meaning that it never had.

“You don’t have to say anything right now,” he said, his thumb brushing over your cheek. “Just know that I’m here, and I’m not going anywhere… for now.”

Your heart was racing, and you nodded slowly, your chest swelling with emotions you had kept hidden for far too long.

Just as the moment felt like it was about to crescendo into something you couldn’t quite grasp, a voice interrupted from the shadows of the backstage.

“Hey, you two!” Riki’s voice was loud, teasing, and unmistakable as he stepped into the light, a grin plastered on his face. He caught the glance between you and Jungwon and immediately raised an eyebrow. “What’s all this tension about, huh? You guys didn’t think the play was over, did you?”

Jungwon stepped back slightly, a small chuckle escaping him as he ran a hand through his hair, though his gaze never left yours. "We were just wrapping up... some things."

Riki’s grin softened, his playful expression giving way to something more sincere as he crossed his arms over his chest. “You two…” he said, glancing between you and Jungwon, his eyes knowing. “You don’t have to explain. It’s about time.”

The weight of Riki’s words settled between the three of you, and in that moment, everything clicked into place. Riki wasn’t just the supportive friend. He was the one who understood—who had always known, even when the two of you hadn’t. It was a relief, in a way, to have that acknowledgment, that understanding.

“I guess we’ll see where this goes then,” Jungwon said, his voice soft but confident, his gaze returning to you, full of meaning.

Riki gave a playful roll of his eyes before clapping Jungwon on the shoulder. “Yeah, yeah. Just don’t mess this up, alright?” he teased, but there was warmth in his words, a reassurance that everything was going to be fine.

"See you around, boss."

You couldn’t help but smile, a weight lifting off your shoulders. It was clear now. No more games, no more pretending. This was real. And as the three of you stood there, a sense of closure washed over you—the play was over, but this new chapter? It was just beginning.

And maybe, just maybe, it was going to be everything you had always wanted.

permanent taglist: @tinycatharsis @han-to-my-minho @1starqi @wensurr @yjwonsgf @lovestruck-moonlight @leah-rose03 @kanonjji @kyunlov @somuchdard @seongiewon @luumiinaa @enhaverse713586 @lynanist @cakuqe @hhyvsstuff @gardenwons @frankenstein852 @firstclassjaylee @lamin143 @serenadehera @elove2047

hello guys! i haven't had the chance to reply to each of you under my paramedic jungwon fic. but this taglist will be the one I'll be using for the series! lmk if you want to be removed from the permanent taglist, I'll still add you to the paramedic jungwon taglist nonetheless <3

send me an ask or reply if you wanna be part of the tl! love youuu! happy holidays <333

[artbyblastweave]

I’ve been vaguely following TF2 comics (I’ve read 6 and 7 and know a few plot beats and the general storyline) and from the outside it seems like Engineer and Pyro have gotten way less “screen time” than anyone else

Pyro makes sense, there’s only so much you can do with them but Engineer feels way to engaging to be left out like that

so am i wrong or is Engie just not shown to much, and if so why?

Engineer is noticeably out of focus in the comics, and there are two important throughlines in his characterization contributing to this.

The first is that out of the nine mercenaries he's always been the most plugged in to the backstory- the comic where we learned his real name is the one that introduced the backstory, he's the only one of the mercenaries to have actually canonically met one the Mann brothers, the only one who for sure knows what the gravel wars are ostensibly being fought over- and that level of involvement with the background plot, coupled with his genius, level-headedness and comparatively high empathy, makes him difficult to position front-and-center as a protagonist without breaking a bunch of things.

The second thing setting him apart from the rest of the mercenaries is that while he's enough of an eccentric to rise to the challenge of the setting's gonzo insanity, he's almost never the instigator of any of it. His Meet the Team video consists of him sitting and relaxing while his sentry guns mow down waves of assailants, monologuing about the measured practicality of his escalating response. His response to the teleporter tumor problem in Expiration Date is a grounded and practical approach to a ridiculous situation (that's exacerbated by Soldier.) He's minding his own business when a rocket full of space guns lands on his back acre on Christmas Eve, he spends the entirety of Loose Canon flummoxed by Blutarch's amoral insanity (though importantly, he's nonetheless willing to take the man's money for services rendered.) He's a fantastic straight man when the narrative needs such a figure, but his isn't a flashy insanity. He's not Soldier, he's not Medic, he's not even Heavy as far as out-of-pocket gag behavior goes. Almost all humor involving the Engineer has to do with his reaction (or lack thereof) to the bizarre carnage around him.

These factors are reflected in the role he ends up playing in TF comics 6 and 7. He's kept in the background of the plot in a reactive role, doing his professional best as an Engineer to maintain the Administrator's life extender- a frustated care-provider to a deeply unwell patient who doesn't always take his advice, a grounded, practical facilitator of what ultimately turns out to be the most deranged behavior of the entire story, seeing his contract out to the bitter end. And this is the way in which his apparent groundedness wraps back around into a distinct brand of crazy, no better than anyone else. The Administrator's real plan is something he's a reasonable enough person to disapprove of in the abstract. He's clearly aware something is rotten at the core of all this- he describes Miss Pauling actually managing to recover more Australium as her having created a problem rather than having solved one, he was on some level relieved to realize this was all drawing to a close. But none of this was something he was willing to break his professional obligations over and thus something he (and two generations of his family before him) deliberately kept themselves in the dark about so that they wouldn't have to reckon with it or make that call.

This passivity and level-headedness allow him to play an extremely important narrative role once everything is out in the open- he's the only member of the main cast who can present Miss Pauling with her Road-to-Damascus moment over what to do with the remaining Australium with any credible gravity. He's the only character left in the main cast besides Pauling herself who's plugged in enough that his analysis of her situation carries any weight. He's the only one of the Mercenaries from whom "If you keep it, I won't help you" means anything at all or is even a believable ultimatum- the rest of the mercs might have been freaked out by The Administrator specifically, but do you really think they wouldn't have just kept following their friend Miss Pauling if she kept signing their checks? He does what he's always done- he examines the situation, lays out the available options, and leaves the final call up to others. The only thing that changes- and, to some extent, a sign of his off-screen character development- is this time is that he finally draws a line in the sand as to what course of action he'll lend his expertise to. He threatens to finally, finally remove himself from the situation unless Pauling decides that she wants him to help her finally, finally solve the problem once and for all.

[apoemaday]

Quince Tree

by Louise Glück

We had, in the end, only the weather for a subject. Luckily, we lived in a world with seasons -- we felt, still, access to variety: darkness, euphoria, various kinds of waiting.

I suppose, in the true sense, our exchanges couldn’t be called conversation, being dominated by accord, by repetition,

and yet it would be wrong to imagine we had neither sense of one another nor deep response to the world, as it would be wrong to believe our lives were narrow, or empty.

We had great wealth. We had, in fact, everything we could see, and while it is true we could see neither great distance nor fine detail, what we were able to discern we grasped with a hunger the young can barely conceive, as though all experience had been channeled into these few perceptions.

Channeled without memory because the past was lost to us as referent, lost as image, as narrative. What had it contained? Was there love? Had there been, once, sustained labor? Or fame, had there ever been something like that?

In the end, we didn’t need to ask because we felt the past; it was, somehow, in these things, the front lawn and back lawn, suffusing them, giving the little quince tree a weight and meaning almost beyond enduring.

Utterly lost and yet strangely alive, the whole of our human existence -- it would be wrong to think because we never left the yard that what we felt there was somehow shrunken or partial. In its grandeur and splendor, the world was finally present.

And it was always this we discussed or alluded to when we were moved to speak. The weather. The quince tree. You, in your innocence, what do you know of this world?

[teddypoi-qd]

{ID - 1 - tweet thread from @/moreleen reads: "What I love about Disco Elysium: 💬 Vast possibility space due to genius feat of design ✒ Writing is incredible!

What I don't like about Disco Elysium: 🙄 Do we really need another grimy detective story? 👨🏻 I'm playing as a generic middle aged white man again, urgh."

"I want a game that uses Disco Elysium's same insanely well crafted narrative system and wonderful writing... ... but it's about a young witch trying to solve the disappearance of her neighbour's cat in a small village in the Alps."

Attached image is a cutesy illustration of a white witch girl holding a plant pot that has a face

2 - tags (edited for readability) reading: "as op has said, despite being written in a progressive(?) tone, this tweet has more in common with the thought patterns of white supremacists than anything else. 'Why do we need to have a game that explores systemic oppression and right and left wing politics, Why can't we just have pure intellectually unchallenging white alp aryan aesthetic forever instead?' No one will say this as directly as this though of course but that's how it works. don't think about the complexities of society, oppression, race, law enforcement etc... think about pretty ladies in the alps"

END ID}

I hope the "What if Disco Elysium was about a witch finding her cat in the mountains" post never leaves the gaming discourse vernacular. It will never not be funny to me bc it's got all the Gamer Entitlement™ levels of CoD bros throwing hissy fits about "woke" shit but instead of being couched in far right reactionism it's the exact kind of "Kingdom of Conscience" style liberal outrage at anything with conviction and beliefs that DE waxed on about. Like even chuds who get mad that the game calls you out for being racist interact with the themes of DE better and understand them more than Cat Lady did.

[immediatebreakfast]

It's so wild to think about how the more I realize that Jekyll literally kept digging in own grave (both as Hyde and him) in a way that only an aristocratic upper class victorian man could do.

Not caring enough about the kind of people he crosses, thinking that money can solve absolutely everything, pushing away any kind of help or comment even if it is from Utterson who is his most intimate friend. On top of Hyde thinking that he can swipe all of what he does under the smoky corners of Soho despite not doing a single thing to mask his actual socioeconomical status.

Utterson only started to "chase" Hyde when he did a crime that was completely unrelated to Jekyll. Moreover, the way both lawyer and police follow his trail is thanks to the very group of people that is completely overlooked by upper class nobility: the service workers. Both the poor maid, and the old housekeeper directed the eyes of the law exactly where it needed to be since Hyde probably never considered that service workers can not only see the actions of the upper class, but that they will gladly talk about them. Whenever it's out of pure fear like the maid, or pure karmic satisfaction like the housekeeper.

Then, Jekyll gives a fucking written letter with the worst timing possible in order to try, and cover Hyde's tracks. I just can't with this even when I know that I have the insight because I'm not part of the narrative, nor have the same cultural ideals of the late victorian england, but god... Utterson literally told Jekyll that he was willingly to overlook his connection to a murderer if he truly promised him to be done with the whole circus.

“You seem pretty sure of him,” said he; “and for your sake, I hope you may be right. If it came to a trial, your name might appear.”

Right here! Right here everything would have stopped legally wise! But, Jekyll is paranoid, and well... It seemed that he underestimated Utterson's competence, and the intellegence of the people surrounding Utterson. Now our poor lawyer truly understood that he can't trust Jekyll anymore.

This whole conflict was born out of a series of mistakes, paranoia, and serious arrogance from both Jekyll and Hyde in the wild wild game of truly caring for both your presentation and your actions. This book may be about identity, morality, and addiction, but never doubt that the very clear social and economical privilige that Jekyll holds was his own weird undoing.

[championofthefade]

Warning!! This post may contain spoilers for those who haven't played Veilguard yet! This turned out a lot longer than I thought, but I'm discussing the theory that Rook is a spirit.

I know that there are issues with the writing and any theory is not created to make those issues get swept under the rug. This theory is meant to be fun, and I would like to talk about it.

I'm thinking about the "Rook is a spirit" theory I saw on twitter/x. This theory often rotates in my head often, and I think that it's so interesting.

Like, listen. I understand that narratively it would be complicated to insert into what we know is Dragon Age Veilguard. Someone brought up the fact that it would be a strange thing because wouldn't Emmrich know that Rook is a spirit the way that he knows Lucanis has Spite?

But the theory that cadhalash paints for us is the fact that Varric was for Rook what the Rook is for the companions.

"Help them with their personal problems and talk to them about their feelings, but never ask Rook how they're doing. Or if they need anything. In codex memos we learn the companions have potlucks and book clubs but Rook is not invited. We learn at the end that Varric wasn't really there... What if Rook wasn't either? There's tons of chat about this idea now with other examples of Rook being compared to a spirit in the game. Very interesting and fun!" -cadhalash

There could be the very huge chance that Emmrich would recognize Rook as a spirit, but what about a spirit made flesh?

Think about Cole's banter with Blackwall, for example:

Blackwall: How does a spirit become flesh anyway?

Cole: I don't know. How does a Warden become Grey?

It may seem like a reach, but to me, it makes sense. Cole chose to become human because that was the shape that would help, which he says in a banter with Varric.

Varric: So, Kid, why human?

Cole: It was the shape that would help.

Varric: Huh. Most people don't pick a shape. I guess I was hoping for something deeper with that question.

Cole: It had to be him. But harmless. The him he wanted that wouldn't hurt.

Varric: Well that's... deeper. I think.

You may be thinking, "Hey, Atlas. That might be a little reaching, don't you think?"

Well, yes. Applauding the people that caught onto Solas in the Dragon Age Fandom years and years ago now because you all were on the nose about him being a worm (spirit). But considering what we know from Dragon Age as a whole, it could be possible that Rook is too a spirit of a different kind.

We know that Emmrich can sense Spite. We know that Emmrich can talk directly to Spite. But what if Rook was more like Cole? Would Emmrich's ability to speak to spirits or sense them so close apply?

I would say, that depends on the type of Spirit that Rook would be, right? This has a lot of wiggle room for what you think your Rook would be as a spirit?

From the Wiki:

Spirits lack imagination and creativity; everything they make is based off something made by mortals. Whether benevolent or malevolent, most spirits cannot help but mine a Fade visitor's mind for their thoughts and memories. They then mimic the pieces of life they see by shaping the Fade into various realms that cater to the unconscious desires of the living, providing experiences to the sleeping that become their "dreams."

And the Spirits listed:

Command, Compassion (Cole), Courage, Curiosity (Manfred), Duty, Faith (Wynne), Honor, Hope, Justice(Anders), Learning, Love, Perseverance, Purpose, Valor, Wisdom (Solas).

(We know from Veilguard that Spite is referred to as a spirit of Determination/ mentioned in a data mine, Passion.)

For the sake of the theory, let's say that Emmrich would get an inkling. A prickling feeling even that he knows that there's a spirit near by and would chalk it up to being Manfred because he would know that, right? But then there's Spite. How big of an energy read does Emmrich get from Lucanis to immediately go, 'Yeah, you've got a tag along and I'm sorry it wasn't a willing possession'.

So, how would it get unnoticed by Emmrich, the resident Fade Expert?

Well... Reading further down said wiki page, we find this:

As Rhys puts it in a dialogue with Cole, "being important makes you real". (Asundered reference, I believe?)

Being important makes you real. Rook becomes the 'leader' when Varric gets hurt at the beginning of the game. For the entirety of the game, as Rook, you have to build a team to fight ancient elvhen gods. Rook has to be what Varric was, pulling people that Solas didn't know into trying to save the world from going to shit.

Rook was given a purpose. To save the world.

Regardless of how Rook is perceived, they are in charge. They are in a position that they didn't want, probably was expecting to go home after dealing with this Dread Wolf that they were recruited to stop, and now... They're given a role that would make them important. And as before being important makes you real.

Could Rook be something akin to Cole rather something like Spite or other spirits that we know in Veilguard?

Here's another thing: Solas.

Yes, we are talking about the egg. I'll try to keep this as coherent as possible. We know that Solas didn't want to come from the Fade to be a human (another discussion for another time). We learn that Solas was a spirit of Wisdom, whose Wisdom was twisted into a weapon and forced to do things that stripped Solas of what he wanted to keep for himself. To remain as Wisdom.

This makes it interesting if we add to the fact that Rook could choose to outsmart Solas. Because at that pivotal moment, Solas was Pride. On his pride, it was always the sword he would fall on.

Say what you will about the trick ending, but this is something that shouldn't be glossed over. Being outsmarted by Rook, Solas says, "I am a fool... Who has met his match."

Met his match. This also might be another case of reaching, but it's interesting phrasing from someone who tells clever half-truths and never quite lies. Being tricked by Rook out of pure wits alone. Something that he thought he succeeded in.

What does this have to do with spirits?

Solas, who was brought out of the Fade to take a body to join the elves in a fight against the Titans. Solas, who crafted the lyrium dagger to sunder the Titans from their dreams in hopes of stopping the war. Solas, who created the blight from the Titans' severed dreams. Solas, who started a rebellion against the ancient elvhen gods who abused their power.

Rook, who was brought onto a job to stop the Dread Wolf. Rook, who disrupted the ritual in hopes of stopping Solas. Rook, who started a double blight from freeing these ancient elvhen gods. Rook, who has to build a team to stop these ancient elven gods.

I would say, in spirit, Rook is a mirror of Solas. I'm not saying Rook is wise like Solas or anything like that. But there is something about Rook being Solas' mirror that could fold into Rook being a Spirit of Reflection.

This is just something that comes to mind. Rooks helps Taash discover their identity, helps Emmrich deal with his fear of mortality, helps Neve protect Dock Town, helps Bellara with Cyrian, helps Harding with the Titans, helps Davrin with the griffons, and helps Lucanis with Spite. (Generalized, all choice dependent.) These are reflections of the companions. These are reflections of the people that Rook had brought together to save the world.

It could easily be written off because we're not entirely sure how many spirits there are, but I digress.

Of course, that too would beg the question of how it would apply to all Rooks from all backgrounds?

Let's take a look at the ones that make me think.

Shadow Dragon Rook

The foundling Rook was adopted into a military family and joined the Shadow Dragons to fight from the shadows for change in Minrathous.

We learn in a dialogue with Tarquin that a Shadow Dragon Rook was found on a battlefield by the Mercar family.

Now with this little bit of dialogue, it makes me (personally) think back to what Solas says about him walking the Fade and seeing ancient battlefields where spirits reenact wars from the other side of the Veil. There could have been spirits that were there during this battle where SD Rook was found. (It also kinda reminds me of Loki being found by Odin and raised in Asgard. Don't come for me, I've only watched the movies.)

For the sake of theory, say that a spirit that would have looked over a SD Rook before they were found by the Mercars. Thinking about it, it reminds me of how Cole (the mage) was watched over by Compassion and then Compassion took a shape that would help.

A spirit (in Spite's case) can be drawn to a person, yes? As Determination, we know that Spite was drawn to Lucanis' determination to live or something of the like. (I will live to spite you, essentially.)

Mourn Watch Rook

Discovered by undead inside a Grand Necropolis tomb as an infant, Rook was raised by Mourn Watch necromancers, eventually joining the order.

Relating back to the Muttering Undead that is in a coffin on the path from Emmrich's recruitment:

Stumbling… The steps. Skeletons saw… Oh no choice. Had to be brave… Had to be brave… Too late to cry… Save the (girl, boy, baby) with the grave.

This is a little more open ended. We know nothing about Ingellvar beyond that. We don't know where they came from, only that they were found inside a tomb. It makes me scratch my head.

We know that it's a custom in Nevarra that a spirit could reanimate a skeleton, essentially, and bring some part of their consciousness from back across the Veil. We see that Manfred, when you choose to bring him back, is brought back from across the Veil and returns with magic.

Sure, it's not the same thing as building a body out of Titan's blood, but the idea that the spirits that became the Evanuris are the best of the physical and the Fade offers up to the idea that they were going to have magic anyway when they crossed the Veil. Only lyrium gave them more power than I think that they knew what to do with.

I make this point from the perspective that Mourn Watchers are typically necromancers. They are almost always close to places where the Veil is thin enough for a spirit to come across and possessing a body in a sense.

When it comes to the Muttering Undead, I don't know who that could have been or what they were doing in the Necropolis. But it's clear that they were determined to save Mourn Watch Rook, and they were the one that put Rook in the tomb.

This one makes me scratch my head because it's so broad and vague. For the theory that Rook is a spirit, this is the origin/background/faction that lends itself to the idea because in Nevarra they revere and respect their dead with the ability to raise the corpses to continue contributing to the Grand Necropolis. But we're talking about a wee baby Rook growing up in the Necropolis. Could it be possible that the saving of Rook is more spirit in a tomb?

The last things I would like to touch on.

Dialogue with Harding (her romance I believe?) :

Harding: I've seen spirits leave the Fade and become real people. (COLE!!!)

Rook: You think I could be a spirit in disguise?

Harding: It isn't malicous. They're just drawn to strong emotion. And then...one day, real people.

Rook: I think I'm really me, and I'm really here.

This is why I mentioned Cole earlier.

And the absence of Rook in the Veilguard mural is brought up in the theory as well. Rook's absence on the mural strikes me as odd. Because yes, the companions would be a main focus in the stories that would follow them. But what about Rook, the person who brought these vastly different people together and saved the world? Not there. Were they ever there?

Much to think about.

[greatwyrmgold]

It shouldn't be controversial to say that a lot of people writing about Cleopatra after she was long dead fit her into comfortable stereotypes. Why did two of Rome's greatest men tie themselves to the queen of a struggling dynasty in their city's hour of greatest need?

It was comfortable then (and, for many, now) to cast Cleopatra as a seductive temptress, rather than a monarch canny enough to offer something to Caesar and Antony beyond her "tracts of land". That narrative works if Cleopatra has a 10/10 bod and pretty face, but not if she's a 6 with great personality. If her appeal wasn't tied to being sexy, the "seductive temptress" narrative doesn't work.

The narrative of Cleopatra seducing Caesar and Antony into making poor decisions, blaming her for the fall of these great men, was quite common throughout history. Of course it would influence visual depictions of her, and of course that influence would continue even after scholars realized their predecessors were misogynists taking older misogynists at their word.

Obviously that's not the only thing going on, especially not when she's drawn so pale she'd get sunburned in Scotland. But a lot of Cleopatra's historiography makes a lot more sense when you look at it through this lens. (And contrary to what jhelselbraum claims, it isn't just modern amateurs who do this.)

History wants so badly for Cleopatra to be beautiful. Like they can’t conceive of Rome being intimidated by anything less

[heliomanteia]

Kind of adding on to my previous analysis bit about Davrin's arc, but I'm gonna say I'm concerned about media literacy within the DA fandom if Davrin's arc was hard to comprehend for people.

A little rant-like so I'm putting this under the cut:

VG has a strong and consistent narration that is mirrored or reflected within each companion's quest line: it's all about the bigger picture of personal choices and regrets and change and the inevitability of alteration and the need to live with the consequences — it is also somewhat about mortality and carpe diem. Pretty much every companion's line has something to do with death, coping, trauma, fear, and a big and important personal choice that would alter them as a person — it's always a "neither is better" choice and it calls upon your personal judgement to be made. There's room for criticizing the necessity of the black-and-white nature of some choices (i.e. Taash's culture question, for example) but overall they all have a consistent and equally important narrative line.

Claims that Davrin's arc is about Assan are actually hilarious. I assume people saying that have never in their life encountered a story where the main character had an animal companion, or just less sentient companion, that reflected their personality or some of their inner conflict. You know, the staple Disney/fantasy trope. This is an incredibly common narrative tool, it's bizarre to me that people saw that Assan has a lot of screen time and immediately assumed it's no longer about Davrin just because of that. I guess I could say it's not particularly shocking to me that DA fandom of all places had an issue of keeping their focus on a Black man's story. Moving on.

As for the claims that Davrin's arc is about Isseya, I'm a little shocked that was even a talking point. Because just as "animal companion reflecting the character's struggle" is a narrative tool that's up there among the ten most frequently used in media, "antagonist that reflects the main character's pathway in an inverted, perverted manner" is just as frequently applied. In fact, it's concerning that people missed Davrin vs. Isseya mirroring in the game based around the concept of recognition through the other and mirrors of self (Solas vs. Rook). I think it's safe to say that if someone did not catch anything about Davrin's arc and how it's entirely about him, I don't trust their general opinion on DATV overall. Because they're fucking stupid/didn't pay attention.

I don't think it's any surprise that at certain points VG gets a little too exposition-heavy, because apparently just giving people a good storyline with consistent and repetitive narrative that breaches the same narrative points but reflects it differently depending on the character it's about is not enough? Some people will be given the most direct mirror narration there could be without spoon-feeding it and they will still miss the whole fucking point? I'm not shocked that a large bit of "criticism" on VG writing/narrative/what was kept and what was omitted from being mentioned has been genuinely shit. And has consistently offered "fixtures" that would just make the stable narrative of VG a mess without a main theme.

Anyways, Davrin's storyline is very directly about him in every aspect mentioned; every person within his story reflects back on him and fleshes him out.

[sky-scribbles]

Rook's notes for the team in the event of my (probably impending) death:

Lucanis:

My swords are yours. Like yours always were mine, when I needed them.

My spicy soup recipe is inside my Rivaini dictionary.

Spite:

You can have my poetry books.

Bellara:

I entrust you with all the elven artefacts that I’ve collected in my room. Keep anything that speaks to you, and make sure our people get the rest.

Please make sure my translation of that elvhen narrative epic is published. It was eight years of work.

Thank you for being my family.

Lace:

My bow is yours. I’m sorry it’s too big for you to use, but… it took care of me. I want it to go to someone who will take care of it.

Show Emmrich more of the world, since I cannot.

Taash:

My chocolate stash is in the bronze puzzle box. Good luck.

It has been such a privilege to watch you embrace who you are.

Davrin:

I know you’ve been coveting my halla horn charm. It’s yours, and if you find the craftsmaster of my clan, she’ll teach you how to carve them.

Pet every griffon for me. Pet them twice.

Neve:

Please take care of my cat.

Emmrich:

If you’re not too busy overthinking every little thing

We’ve been happy. I don’t understand why now

Do you think I don’t

Sorry. I understand being afraid to say what you feel. You know that I do.

I was afraid to love you too, in the beginning. I’m terrified of what it would do to me to lose you now.

I don’t regret a single thing.

As I have before, I entrust my body into your hands. Bury me in the Memorial Gardens. I love it there; it is a kind place. Raise no stone for me, but plant a tree over my body, and promise that my bones will stay below the earth. I will return to the soil. That is the Dalish way.

Anything I have not bequeathed to another is yours. As is my heart.

I hope that when your time comes, you will no longer be afraid to say that you loved me. I hope you will not be afraid at all. But if you are, know this: if any last spark of me remains beyond that final veil, it will be waiting for the last spark of you.

Manfred:

Yes, you can have that scarf you thought I didn’t see you trying on.

Take care of Emmrich for me.

[monokoitari]

I'm thinking this idea so hard that I definitely have to write it down, but shit!! It's hard for me to capture Shen Yuan's chaotic vibes in a good narrative way

So it begins like this: Shen Yuan transmigrates. Not into Shen Qingqiu. He opens his eyes and there are two massive tits crushing him, a luxurious room, a garish and bitchy System with kaomojis. Well, he's a wife. A Binghe's wife.

Shen Yuan wants to run away, obviously. Get his penis back, get his MASCULINE MALE MANTASTIC body back, and get as far away from Binghe and the harem and their shitty dramas as possible. He doesn't need that, no thanks. The System obviously doesn't let him. [ You're a wife, user!!! You must behave like the original goods until you collect enough points to unlock the OOC!! ]

And the shit begins. Little harem dramas. Uncovering clues like silly children's puzzles. Shen yuan is fed up, bored, moody, hated by many wives (apparently the original goods were not in good standing. Half-demon, which is good- more power and more strength when escaping!!, but not for a harem wife. Especially since that body is 5'10" and is strong as a sword instead of submissive and bendable like the other sweet wives).

Even though the System keeps putting him in shitty situations, the truth is that there is no trace of Binghe during the first week. Nor the second. By the third, Shen Yuan gets a little worried. According to the current storyline, he shouldn't be far away... No wars, no new wives, just a missing Binghe. Shen Yuan snoops around Binghe's office with such bad luck that Binghe definitely shows up at that moment.

And Binghe looks... Tired. He's tired and grumpy, treating the wife with ice-cold kindness, and Shen Yuan treats him back. It's not that he wants to! It's not that he's offended to see his favorite and be horrible to him! It's the fucking shitty System! If Shen Yuan could, he would be on his knees before Binghe being pathetic and pitiful to ensure his protection!!

But he can't. Binghe sends him away after a cold and hostile encounter and Shen Yuan runs away in a dignified manner (running after the corridor where Binghe can't see him anymore is different).

The next morning, Shen Yuan makes a plan: he will do whatever it takes to get his last damn twenty points to activate OOC mode and get the hell out. Nope, no more Binghe for him. One taste was enough. Thanks but no thanks.

What gets complicated is when one of Binghe's personal servants!!! goes to his room. Binghe is inviting this lady wife to have breakfast with him. And Shen Yuan... He can't say no. Partly because of the System, partly because of the ambition for points, partly because he wants to try Binghe's food. And because he wants to... see Binghe. Again. He's his favorite, okay, don't judge him, maybe Binghe was just tired and being hostile to him. The duties of an Emperor are many and Shen Yuan was invading his private territory. Aaaaand he's a wife, after all, he can't treat him like that aaaaaall the time...

Binghe's breakfast is a delight. In his month at the palace, he has eaten nothing more delicious. Binghe is darkly charming: Shen Yuan asks about her (him), how she (he) is, how she (he) has been. Shen Yuan learns two things: the original goods had only been in the harem for a month and week when Shen Yuan usurped his body, and Luo Binghe doesn't know much about his wife, which means he can improvise answers without losing his in-character personality. The System even gives him +5 points for improvising!!

... +5 points that go to hell when Luo Binghe exposes a scroll on the table. Written in the original goods handwriting... it's a divorce application!!

"I was in my office" says Binghe as the System takes 50 points from him of a blow.

Of course Binghe is going to be wrong now. Of course he is believing that Shen Yuan filed for divorce the day before, when he found him in his office!! Damn original goods, why divorce Binghe!? Does divorce even exist in PIDW!? WHY!?

Shen Yuan makes up excuses, loses at least 20 more points, makes up more things again and sadly crawls with only 15 points in his favor and a rather furious Binghe.

Why does this wife want to abandon Binghe? This emperor has been kind, does this wife want something different? Shen Yuan makes up that he never imagined being married to an absent husband, capable of making him feel so lonely in a nest of other lonely women... And Binghe seems genuinely affected by it. Ah, loneliness, the weapon Binghe knows firsthand. An isolated and caring newcomer, being mocked and humiliated by others, seeking to remain resilient. Binghe, this one promises that he didn't use your past traumas on purpose!!

Binghe promises that he will change her (his) mind. He will be a present husband and make her (him) feel comfortable. Which makes Shen Yuan's escape plans go to fuckin hell. Bye bye, xianxia male body! Hello, another weeks of back pain from huge boobs!

And Binghe delivers on his promise, unfortunately. What's it costing you to be a normal man and forget your promises every day, damn protagonist!!

Shen Yuan wakes up with breakfast from Binghe, continues his day with walks with Binghe, ends his afternoon with dinner with Binghe, and dodges the papapa like a champ. Binghe is patient, considerate. Their conversations are charming, but Shen Yuan can see him... Sad. There is an old braid in his hair and deep dark circles under his eyes. Binghe looks exhausted, wasted, and when he thinks Shen Yuan isn't looking, his face shows so much sorrow that Shen Yuan wants to comfort him.

There's not much he can say. Get some random points - holding Binghe's hand at the right moment, discussing an important point about a creature and a hunt, giving recommendations how to best deal with eastern bear demons... Binghe seems to appreciate his company beyond the call of duty, which makes Shen Yuan a little proud. He's spending time with his favorite fictional boy without screwing up.

Then his body gets sick.

Xianxia World! Cultivation! Magic! Nothing? Shen Yuan wakes up with his head spinning like he's just stepped off a roller coaster, vomiting pathetically into an empty vase. The nausea is not getting better. His headache is horrible.

The System offers him to buy a skip plot; it comes out the same points that Shen Yuan has and he has tried hard not to spend them, a ridiculously large amount of points just to avoid a stomach infection. It's hard to complete side quests with the protagonist attached to his hip! Shen Yuan drops the skip plot.

The System insists. If he doesn't skip the plot now, he won't be able to do so in the future. Shen Yuan ignores it again. It's a silly illness. Nothing a little rest won't help.

... a little rest won't make it better.

Shen Yuan is thankful that Luo Binghe is not in the palace on his mission in the east, because he can be fully pathetic. He barely eats, faints from hunger, but as soon as he puts something in his mouth his stomach expels it. Damn demented body, do you want to eat only Binghe's food so much!? Spoiled body.

Shen Yuan sleeps a lot, sobs a lot in pain, growls (his body can growl. It's interesting) to the servants who come to clean, he takes cool showers that relieve his headache, and continues to expel every crumb.

He thinks he was even poisoned. He doesn't let the harem doctors get close. Mostly because he doesn't know them, but also because he remembers a subplot about a doctor who poisoned Binghe's wives to get revenge because Binghe had refused to take his daughter (for reasons that were entirely valid for Shen Yuan: she was a girl of barely twelve years old) in marriage and she had run away from home to avoid the humiliation. The plot ended with the girl hiding in the doctor's basement, who had made everything up, Binghe making a gore chapter out of it to remember the old days, and adopting the little girl to be raised among his many children in the harem... A good subplot for Shen Yuan, without unnecessary papapa even if it was for two chapters and followed by a threesome with massive busty demons.

Shen Yuan doesn't want to take any chances to unlock some gore subplot. So he just endures his nausea and pain until it fades about two weeks later. Suddenly it's bearable. He can snack on fruit and some roasted seeds. Some flavors are still intolerable to him... some smells too. He feels nauseous at the strongest, or even mildest, smells, but if they are too sweet he must run away. And textures on his skin. And tunics squeezing him. And his fucking huge tits hurt. They hurt like, like they're going to burst or break his cleavage. He even believes that from one day to the next they look bigger if that is possible. Wearing clothes is annoying. Having a body is annoying. Is this some fucking PMS that Shen Yuan didn't want to live with?

Wasn't it a ferocious body of a half-demon with a high cultivation level?? Why is he having PMS? He hasn't... bled since he came into this world!

...

. . .

He hasn't bled since he came to that world. The wedding (papapa of the original goods with The Heavenly Pillar) was almost three months ago. Shen Yuan has been occupying that body for almost two months.

...

. . .

That's not fucking happening.

"System, what the hell!?"

[ User was given the opportunity to buy a skip plot! User rejected it!!! (⁠ ⁠╹⁠▽⁠╹⁠ ⁠) Congratulations on making it through the first trimester in a healthy way!!! ]

Fucking shit.

[beingatoaster]

Re: how you skip a section and keep on writing: you determine enough about the skipped section's progression to know what the next point will be, and then start at that next point, without sorting out the exact details of that progression. E.g., for the aforementioned WIP, I have a written section where two characters wrap up a date they went on together and agree on the date for the next one, a scene break, a couple notes in the style of the OP about what scenes I want in the week in between, another scene break, and then I start back to writing in full narrative form about the second date.

...I was starting to describe it vaguely but hey, you will recognize the fandom, so:

As if setting that plan was a cue, Diluc starts to clean up the remains of the picnic, and Jean leans in to help him. He takes the two boxes the skewers had come in and carefully divides all the food out between them, handing one to Jean before tucking the other into his basket, and rises to offer Jean his hand. She lets him help her up. Together, comfortably discussing their tortoises, they head back to Mondstadt. *** [her evening with Barbara! maybe could lead to the 'keep Barbara from coming along' later on] [Kaeya is doing things to try and make the situation up to her, which Jean can tell he's doing and wants him to stop -- second Kaeya scene, with him taking work, moves here] *** On her next day off, Jean rises with a refreshing sense of anticipation. She picks through her civilian wardrobe for something practical for the trek down Drunkard's Gorge and wrangling tortoises. Even if it has to be practical clothing, though, it's nice to plan for this trip without automatically donning her uniform.

Now, those notes in the middle aren't clear here because I already know what tensions I'm pushing with these scenes (the main plot is Jean dating Diluc out of hanahaki-based obligation; Barbara is oblivious and happy for her, while Kaeya talked Jean into doing this but is now very guilty about it) and thus I don't need to describe them in more detail to myself. But I know what they are, I know what they're doing, and I don't need to know the exact wording of the dialogue or the exact actions taken in them right now to move on with the main-focus relationship, which is Jean and Diluc and the slow-motion train crash that is occurring between them.

And because said slow-motion train crash is the main driver of the plot, I can skip the side-character scenes for now because as long as I know what they're doing in the larger scheme of things (adding friction to the wheels such that individual cars on this train are beginning to tilt under the pressure), I can go back and fill in the exact details later. The Barbara scene needs to have her induce guilt in Jean about the lie. The Kaeya scene needs to emphasize that their relationship is under strain, leading later to Jean not being willing to trust him with a future plot development. I can write the guilt and the reluctance into later scenes knowing that in the second draft, they'll have a basis.

(I would bet every single example in OP's work is not a "I have no idea what goes here," it's a "I know that X needs to be here for Y reasons," but the note, like my notes, is just a placeholder in the text for that line/scene's actual story-function as they have it in their head.)

Also, a smaller within-scene example that works the same way:

"Thank you," Jean says again, less formally, a tightness in her throat. She hesitates there, not sure what else to say, what else she *can* say without further thinning the line she has to walk. Diluc solves the problem for her. "You'll have to handle the clean-up personally to be sure it's done right," he says, and that sounds irritable, this time, but at least his irritation isn't at her. "I'll do a final sweep for any stragglers. I expect managing other Knights' incompetence will take you the rest of the night." [some transition that DOESN'T include negging the Knights, that makes her think of the flower and/or how they're focused on the same goals] "Wait," Jean says, as he turns away.

I can figure out the exact dialogue I want to put there later--what matters is knowing what it does to move the story forward. Since I know what effect it will have, I was able to carry on with that scene and into the next one it effects without getting bogged down in the exact verbiage, which wasn't coming to mind at the moment.

So I guess the point is, you can leave blanks to fill in later as long as you know what those blanks do. Scenes/moments in a story are links in a chain, and you can always temporarily loop some baling twine in to connect lengths of a chain together until you have time to go to the store and buy a replacement, but that doesn't mean you aren't continuing the chain. I still think of myself as writing this story in order! It's just got a lot of baling twine in it right now because if I stop to go to the store while counting links, I will lose all forward momentum and won't continue on down the chain.

...Which is, to be clearer, why I'm suggesting trying this for motivation problems. The moment I hit friction when I'm writing a first draft, my motivation starts to die. On the other hand, once I have a finished first draft (by which I mean, still with these notes and unwritten bits scattered through, but with all the main scenes written and a solid ending), going back and writing those bits is not "friction" but "enrichment." Which may also prove true for you.

Or it may not! Your approach to writing is fine if it's working for you! Or if the reason it's not working for you is because something completely different is tripping you up and you need to troubleshoot from that direction. I'm just talking on and on about my approach because it's the only thing I know that works for me, and also I love navel-gazing. XD;; Hopefully you can find something that works for you!

me: yeah I'm pretty close to finishing this fic

the fic:

[abearinthewoods]

One transmasc to another, please reflect on how your actions may cause actual harm to transfems.

A joke made in anger that is entirely unactionable does not warrant tattling to the organizations that are currently trying to strip all of us of our rights, and are looking for any reason to villainize our transfem comrades.

What’s been done cannot be undone, but please for all of our sakes remember that we’re all under the same boot, and licking said boot won’t make it any less likely to crush you too.

It’s our responsibility to take care of each other, learn from each other, and to look long and hard in the mirror when someone says your words and actions are harmful.

Solidarity. Solidarity. Solidarity.

(Most of this is answered here: https://www.tumblr.com/abearinthewoods/770794163004407808/okay-i-dont-know-a-lot-about-the-situation-but-i?source=share)

I need everybody to understand one uncomfortable but super important truth.

Class solidarity means an end to the oppression olympics.

You should never be looking in your neighbor's bowl to see if they have more than you, only to see if they have enough.

Like lets take a step back for a quick moment and recap whats going on here. She made jokes about killing one of the most unsupported and invisible members of the LGBTQ community, because why?

Like no, lets actually address that.

Trans men want to use terms like trans misandry and trans androphobia to talk about their oppression, not terms like trans misogyny and trans emasculation. and for this they got bomb and death threats from other people in the trans community?!?!?!?!?!?

Because trans men want to use words centered around their their hatchling gender, not their egg gender, to describe their oppression, because they don't want to center their discussions about their issues around some axis of women as the most oppressed, they got hit with a massively outsized amount of hate from (a tiny collection of, lets be very fucking clear here.) mostly trans fems who drunk a little too much of radfem's cis-male hate that they decided to transpose onto trans men. All escalating to bomb threats which my inbox is now also full of.

This is your brain on oppression olympics.

This is the threat to class solidarity.

This is the threat to class solidarity.

This is exactly what they want. For us to be fighting over who has it worse. I don't give a fuck who has it better or who has it worse, and i sure as fuck don't care about any narratives that center this question around one's identity or demographics as some kind of universal truths that overrides individually.

Even when I do bring up ways in which cis or trans men have it worse, or ways in which women commit crimes more than men, I try to focus it on purely countering the opposite narrative, to make sure I am only pushing the pendulum back towards the center, nothing more.

No experience is universal and arguments about stats and oppression and privilege tend to paper over peoples individuality.

Solitary means respecting how we are different. How that changes how we all experience the world. You can't tell a trans man you have it worse than him without disrespecting this because you can not know his life, what he went thru, how his brain's chemistry makes minor changes to how he sees or deals with adversity that build up over time, or how the same difficulties may be harder or easier for somebody to handle or overcome based how they were raised or what other experiences they went thru.

There is a reason why countries who are not at war with each other fly their flags all at the same height; never flying their flag above their ally's flag. They stand as one. United. Because that is what solitary actually means.

We stand at a fork. Down one path is trans men using words like trans misandry to talk about their oppression and trans rad fems on tumblr not interjecting with some bullshit, and down the other path is trans men still using words like trans misandry, but also the hostility comes out and you'll get shit like them telling the same trans radfems to stop calling their oppression trans misogyny, and start calling it trans misandry, and the whole world goes blind. Because i've seen how understandably upset trans women have gotten at me when they've mistakenly thought i was actually suggesting that, its not a blow in the gender war we'll come back from if it enters the discourse.

(as an aside thought experiment, its actually kinda hard to truly only be sexist in one direction. like one could argue that slutshaming is implying there is something dirty or unclean about men/manliness that they 'taint' women with by having sex with them. but you'd rightly call me dick if MRAs started showing up to the local feminism meet and interjecting that every time the topic comes up. And as an MRA, So would I. So please lets stop trying to argue over the "true" direction of acts of sexism and let people be individuals who experience and talk about it in their own way.)

((Final aside, it would make things easier for our intersex and enby brothers, sisters, and gender nonspecific siblings to cast aside this gendered concept of oppression))

[clairedaring]

Ahead of the Spare Me Your Mercy Finale premieres, here's an interview with screenwriter Lux on the portrayal of Euthanasia in the series

(source: mgronline; machine translated with minimal edits, my apologies for any inaccuracies)

The series "Spare Me Your Mercy" (Thai title: การุณยฆาต), airing on Channel One31, is approaching its conclusion. Starring Tor Thanapob Leeratanakajorn and JJ Krisanapoom Pibulsonggram, the series is based on a novel by Dr. Sam Isaree Siriwannakulkorn under the pen name Sammon. Known for works such as Manner of Death, Triage, Bite Me, and the recent 4MINUTES, Sammon's novels often intertwine themes of BL (Boys' Love) with medical narratives.

However, in this Channel One adaptation, the producers emphasized that the focus is not on the BL aspect but primarily on the medical themes. Lux Sirilux Srisukon, the creator and scriptwriter of Spare Me Your Mercy and a skilled member of the production house, explained the reasons behind adapting this story and delved into the nuances of the plot. Even though euthanasia is not yet legal in Thailand, the story explores how patients may make end-of-life decisions without violating medical ethics.

“Sammon's novels are mostly BL novels and include numerous love scenes. However, we deliberately chose not to present it as a BL story. While the characters are two men in love, we approached it with a dark drama style. The characters are gay, but we don’t offer [fan]service in every episode or include NC (explicit) scenes. This was our intention from the beginning when we started making this series.

We did this not because of censorship, airtime or actors. But because what we are trying to tell was heavy and serious. Having NC would steal the attention of the story because what we were going to talk about was dark drama and euthanasia. Some fans of the novel might be disappointed, but we think we have other fun things to offer, even if there’s no NC scenes. Our way of thinking is that this is not like a series that serves [the audience] (t/n: I understand Lux is trying to say that this isn't a feel-good, healing vibes serving drama).

For instance, in traditional male-female dramas, if the protagonists fall in love, they simply do. Similarly, this story is like any typical drama—it’s not about portraying same-sex or opposite-sex love, but it is just two people who love each other. We depict love scenes the same way we would in any regular drama. Viewers will see that these two characters love each other because we don’t see gay love as different from heterosexual love. It’s just two people finding each other, forming a bond, and falling in love.

When we spoke with the original author, she was also very supportive of this shift because she also wants to highlight the theme of euthanasia. Sammon's focus is also in line with the adaptation but since she is also a Sao Y and a BL novel writer, she understood her audience and enjoyed writing in that style.”

Lux says that she wants to clear up the misconceptions that many people may have that euthanasia must be caused by illness/ medical conditions, not because of life dissatisfaction or laziness and want to inject death.

“We wanted to portray what euthanasia really is because there are many misconceptions. People often misunderstand it in two extreme ways. First, they see it as equivalent to suicide. Second, they see it as an escape for those dissatisfied with life. For instance, some on X (re: Twitter) think, ‘I don’t need to think about the future; I’ll just live my life and then get an injection to die.’ That’s not possible anywhere in the world. That's a misconception.

Euthanasia doesn’t mean you can request an injection to die simply because you’re tired of life. Even in Europe, where euthanasia is legal, there are strict requirements. You must have a certified medical condition specified in the law, endorsed by at least two medical specialists, and the illness must be truly incurable and that you are waiting for death. The purpose of this law is to prevent these individuals from suffering. Instead of suffering for another year, they can die. It's not about being bored with life or lazy to live or not liking yourself when you're old, so you let them inject you with a lethal dose. They don't do that. Many people misunderstand that if you don't want to live, you can go for euthanasia.

But on the other side, some people say they wish the law would pass so they wouldn't have to take care of themselves when they're old. I'm bored, so I'll just go and get an injection. That's not how it works. Even in countries where it's legal, they won't do it. Or if a father has an illness that is still treatable, they won't allow it either. It’s only available for those truly nearing death, as certified by medical professionals. In cases where it is allowed, in countries where this law has been passed, as I explained earlier, and they only provide euthanasia to the relieve suffering of patients who are waiting for death.

And there are some countries that have already passed the law on euthanasia, and they have changed their minds and gone back to using the old law. The term 'euthanasia' itself is not beautiful. There can be many legal loopholes.

For example, a patient is very sick and old, but they don't want to die, but their relatives don't want to take care of them. They go and arrange for euthanasia. But if there aren't laws for it, there will be legal loopholes to allow murder. Some people may not be able to move or walk, but they still want to live. They don't want to die. The most important thing about euthanasia that doctors must discuss, which we will demonstrate in this case, is the patient's wishes. You must do it with awareness and a genuine desire to do it yourself, not pressured by relatives.

It's not like, "Mom, I can't take care of you. You're such a burden. Let's take you to get an injection." We understand that this is a sensitive issue. We don't want to cause arguments, but we want you to understand what we're trying to convey. Think seriously. Because if the day comes when the law needs to be changed and you don't understand it, when you ask yourself if you really want the law to be changed, we won't be able to answer because we don't really understand it.

Euthanasia in Thailand — Is It Suitable?

“Euthanasia is a thought-provoking topic. We interviewed doctors, and they said that euthanasia isn't suitable for wealthy people. If you ask a doctor in an expensive hospital, he will say that euthanasia is not suitable for Thailand because [the hospitals] already have everything that patients need to get through their final days well. But the condition is that you need money.

However, for poor people, just getting painkillers once a month is difficult. They have to endure the suffering. The doctor who wrote this article is the one who visits patients' homes. In small hospitals, when they encounter such cases, they think, 'Maybe there really needs to be something. Isn't euthanasia a necessity?'. Poor people with terminal cancer, in excruciating pain, but there is no one to take care of him, bring him medicine, or take them to see a doctor. Do they have to lie down and suffer like that? How are they supposed to live?' The accessibility to and public health welfare of our people are not equal. This is what we really wanted to convey.

I understand that BL fans might be disappointed, but if we focus on NC scenes to make people swoon, the core of the story will change. The weight of the story will go more towards that than the presentation of euthanasia.

The series will also feature other things to consider, one of them being a ‘living will,’ which has been legally recognized for decades. You can write a letter of intent stating that you are seriously ill, unresponsive, a vegetable, and do not need to be resuscitated. It is similar to a will, a 'patient's will', however, if you become unconscious and don't have full mental capacity, you won't be able to do this. And the doctor cannot not save our life because it is unethical. If doctors do not help, it will become a criminal offense, which is the same as letting us die.

This is legal and there's laws for it, but no one knows about it. It can be done without a lawyer, just with witnesses. We make one copy for ourselves and another for the hospital where we receive treatment. If we have the symptoms listed in the document, the doctor can let us go without providing treatment. We have to do it ourselves, relatives can't do it for us. This is not a legal loophole, there is a law for it, it's just not promoted. This is legal tool that can be used instead of euthanasia because it comes from the patient themselves. Everyone can become terminally ill. Cancer can happen to anyone. And when you're in those situations, how would you deal with it if euthanasia is not legal? You have to think ahead about what you will do."

tagging @recentadultburnout who can help vet for me if there are any inaccuracies from these machine translations

[spoiler-alert-andabunchofnumbers]

Guys, why we debating whether or not LQ has or doesn't have a beak when the answer is obvious?

The Long Quiet is as versatile as Shifty. He's like schrondinger's beak. He both has one and doesn't have one until the need arises for an answer. He has one when he wants one, he has none when he doesn't want one.

Based on the Dragon and the Princess ending, I like to believe every single face of the LQ chooses whether they have a beak or not. And thus I present my hypothesis on the beak statuses of our best boys:

Hero has a beak but doesn't know it or consciously acknowledge it, too distracted by the narrative, that's just his nose wdym, he's doing his best your honor

Opportuntist is pro beak, though perhaps he conceals it until he gets the upper hand

Smitten is no beak because kisses, will only manifest a beak by accident when he's being sinister but would never admit it

Cold is no beak since bro doesn't feel enough for a beak to manifest

Broken is no beak, he's too wimpy for a beak - or alternatively, has a beak if his goddess wants it, anything to please her really

Stubborn seems like a beak guy to me. He'd use it to peck the Adversary's eyes or smth, just so long as it's another weapon to bash against his enemy

Hunted probably no beak, since he ain't no animal, but teeth? Yes, necessary part of survival you see

Paranoid probably no beak, too scared of it getting in the way during a crucial moment and potentially blocking that very necessary 3% of his vision and distracting him for a milisecond too long

Skeptic is the opposite, pro beak because he knows it's there and he wants to keep it in sight at all times because if it disappears that shit's sus

Contrarian IS the schrondinger, he is both pro and no beak at all times. He's half beak. He's demi beak. He is MADE of beak. He doesn't even know what a beak is. He threw the beak out the window

Cheated doesn't care about the damn beak, it's all a crock of shit anyway - just wait, he'll have a beak and then suddenly it's an inconvenience, but the moment he DOESN'T have a beak he'll find a reason to need it, just you wait and see, it'll happen--!

What I'm saying is, all your fanart is valid and all you'all's opinions are correct, have a nice day

[izsheum]

Hello!!!

Can i listen to you yap about rodimus and swerve for hours please 🥺🥺🥺🥺

WHEN I TOLD YOU I JUMPED FOR JOY!!!

ugh these guys have been in my brain for a bit now…i swear

“it’d be cool if i took my favs and made them kiss haha that’d be so silly” and then Boom. I kept thinking.

have some art of them i am in the trenches methinks

when i tell you they are PEAK yapper + louder yapper…

like i genuinely believe that’s how it can start. two losers who love to hear themselves talk? it should be a recipe for disaster.

However.

it’s not like swerve doesn’t know when it’s not his turn to talk. he’s got a big mouth, and criminal levels of audacity, but he has manners. and that means that whenever rodimus goes on and on about whatever bullshit he had to deal with during the day, he listens.

and, good lord, rodimus can definitely talk.

he does so with swerve probably after having a few because i mean…that’s how this starts, surely. a bottle of top-shelf and a purely functional arrangement.

(hundreds of words of sleep-deprivation-induced writing under the cut. i am so sorry. completely sfw btw just barely on the edge of suggestive.)

predictably, swerve’s constant chatter is bearable after rodimus gets in a few drinks. and in the beginning of Whatever The Hell They Got Going On starts with the two of them building a routine.

swerve supplies the shots of liquid stress relief and a listening ear (audio processor? cybertronian anatomy is lost on me), and rodimus provides what can only be described as a semi-coherent stream of complaints and whines about his day. and he has a lot to gripe about—he’s suffering from an acute case of ‘doomed by the narrative’, primus help him.

and swerve, for the most part, is quite a good active listener. not that rodimus would ever admit that out loud (for now) because swerve wouldn’t be able to keep that kinda praise to himself. i mean, the guy raved for months after getting his own rodimus star…yeah, no, not happening. rodimus’ appreciation will remain unspoken, thank you very much.

he gets his sentiment of ‘thank you for listening to my bullshit, you’re such a good friend’ out there by continuing to show up. same time, every day, like clockwork. he’s there in the bar, long laundry list of things he’s going to cry like a baby about, and swerve is at the ready with the fainting couch. their little ‘whine and cheese hour’ (as swerve calls it. rodimus will adamantly deny that he likes the name. it’s not clever. it’s not! it’s apparently a human thing, anyways. little thief.) is probably the only thing he’s ever on-time for at this rate.

having someone listen politely to your woes is. nice! having someone gently try and guide you into solutions to said problems is…manageable, i suppose.

having someone who gasps dramatically and exclaims “i can’t believe you had to deal with that—you’re so much stronger than me for putting up with such scrap” is euphoric.

because since getting the weight of the universe thrust on his shoulders again and again. since he had it ground into him every single day that he needs to be this mature, wise, thoughtful leader who doesn’t react to problems with complaints, but rather calm understanding followed by benevolent resolution…rodimus has completely, truly missed just being able to talk shit.

and, oh, does swerve just love that song and dance.

this isn’t therapy, and neither of them are going to pretend it is, though the constant flow of drinks does manage to feel like something akin to self-medication after a while. their lives are messy, god damn it, and they’re going to cope with it messily!

and cope they do. and they talk. a lot. and—for some reason—it helps. turns out, when you get to vent all your frustrations towards someone who knows how to match your energy exactly, you feel seen. not as this esteemed figure who needs to watch what he says and make sure he keeps up the display of picture-perfect-motivational-cat-poster-leader twenty-four-seven, three-sixty-five…but as just. a guy. a guy with a lot on his shoulders and a lot more on his mind. turns out, talking with swerve ends up helping rodimus feel normal.

go figure.

and somewhere between the start of their little unofficial gossip sessions and the end of another bottle of the good engex, something bubbles up that wasn’t there before. and it isn’t the carbonation in the cocktail.

feelings. affectionate ones. rodimus goes to recharge afterwards all giddy, like some newly forged spark still buzzing with boundless energy, and honestly? he feels like he might be going crazy. might need some actual fucking therapy, because ho-ly shit he is not about to entertain this. not at all.

because, let’s be real here, it’s swerve we’re talking about. swerve. s-w-e-r-v-e. the ‘shut your damn mouth’ guy? he used to annoy the living hell out of rodimus when he first came aboard, and nowadays rodimus finds himself excited at the thought of going to talk to him again.

war changes people…and, okay, the war is. over, technically. but still. maybe he hit his head a little too hard during a mission. yeah! yeah, that’s it. little concussion knocked a couple things loose in his processor. that’s why he’s suddenly wanting to share more than just his woes with the little ‘bot. that’s why he starts asking swerve about himself, why he starts listening back. chimes in every so often with “huh, i never knew that” or “you should show that to me some time” when swerve goes on his little tirades about foreign media.

why rodimus can’t help but wonder how that big mouth would feel against—

phew! yeah, definitely brain damage. because the alternative is that rodimus has started feeling terrible, awful, affectionate things for swerve. and that just won’t do. nope!

but ohhhhhh god, does that do nothing to stop his imagination. because really. how would swerve fare if he used that mouth for something else—

thankfully for rodimus, swerve is an avid fan of imagining things that he can never have. dreaming like the hopeless mech he is about a future that only someone as deeply delusional and para-social as himself could think up.

in his swerve-y fantasy, the talks start to mean something. rodimus goes from coworker to situational friend to…something. something that he can’t place his finger on. but it’s something that he doesn’t believe he can have. because while rodimus laughs at his jokes…he’s also laughing drunk. and swerve is desperate to let people close, sure. he likes people, he wants friends, he loves connection. but he’s not stupid. a bit air-headed? sure. but not dumb. not by a long shot. he has a mental list of things that he can try to have (friendship, a successful business, endless adventures with said friends that he plans to get more of, he swears), and things that are off-limits.

you can guess which box rodimus starts to fall into.

doesn’t mean he can’t…y’know. think about him. a lot. find excuses to comm him about this or that, subtly hint that he misses him…uh, he meant their talks! offer him free drinks just to see the way his face lights up. deny the suspicion of special treatment by reminding rodimus that he’s the captain! c’mon! of course he deserves a little leeway!

and ignore the fact that the reassurance is more for himself.

swerve is so good at believing that this something he imagines with rodimus is so, so far out of reach that he thinks it’s a joke when rodimus propositions him for the first time.

and, c’mon, he’s gotta be having auditory hallucinations. because there’s no fucking way in the world—in the galaxy, or in the whole universes that he’s visited, for that matter—that (co-) captain fucking rodimus prime-not-prime-status-still-pending-thanks-a-lot-matrix-of-lameship asked to borrow him for the evening. he nearly drops the glass in his hand.

because that’s the only way rodimus can bring himself to phrase it when he finally fucking gets through all five-billion stages of grief over this stupid crush. god. he was so pathetic. the worst part was that he didn’t even care anymore.

“yo! are you working tonight? can i borrow you for the rest of it? we can watch that movie you were talking about earlier this week, or whatever.”

or whatever. rodimus would’ve just tossed himself out the nearest airlock if he wasn’t glued to his recharged slab (not literally, this time) rocking back and forth like an asylum patient. he could hear the cries now—nurse! nurse! he’s out again!

successful attempts at being casual: zero. days since last urge to ram his head into the wall: also zero.

swerve’s response comes in quickly just before rodimus contemplates jumping ship and taking a page outta megatron’s book and starting a new life in another universe. and if rodimus wasn’t busy having a fucking panic attack, he’d’ve noticed the undercurrent of excitement in swerve’s voice when he strains out those six little words.

“sure thing! your place or mine?”

it ends up being at rodimus’. more space meant more wall for the projection of ‘Alien’.

not that they ended up paying much attention to the movie by the time the fledgling xenomorph got loose.

and liiiisten. listen. they didn’t plan on it going that way, alright? major props to ridley scott—the two of them were intensely invested in the film for a good long while. but, as per usual, swerve brought drinks to help ease the tension that threatened to smother them as soon as he entered rodimus’ quarters.

he would’ve pat himself on the back, too, if he wasn’t so consumed by the way the light of the projection reflected off of rodimus’ frame. and rodimus would’ve thanked him (and i mean, like, actually thank him, no reluctance left in him whatsoever) if he wasn’t so focused on the warmth of swerve next to him.

the elephant in the room was slaughtered and left for dead in the same way as the crew of the nostromo as soon as they locked eyes.

and rodimus ended up being right.

swerve’s mouth could do a lot more than just talk.