#this could apply to several characters really

[hjornthewizard]

It occurred to me how under-developed piercings are in the elder scrolls, and probably magical fantasy in general.

In elder scrolls games, piercings are there, but theres no shops or mention of them.

What I was really thinking of, however, is enchantment. We can enchant amulets, armor, clothes and rings, but no instances of enchanted piercings. Imagine a mage covered in piercings, each one enchanted to help them in various ways. Oooh, what if they can also enhance local areas? A nose ring that enhances it's user's sense of smell, an eyebrow piercing which sharpens sight, an earing that enhances hearing, etc.

In terms of gameplay, I think this would best be reflected with a a piercing shop, offering a set of piercings similar to the implants in Fallout New Vegas. In NV, you could purchase several implants which provided permanent buffs, with the number of implants being limited to your endurance stat. Same idea, a Piercing Shop which offers top shelf Enchanted Piercings which must be applied precisely and carefully, your character's body can only handle so many constant magical effects coursing through their system (endurance stat check) and provide permanent benefits. Maybe have cheaper ones with draw backs. Maybe have some available during character creation which you can pay to have removed later, some positive and some negative.

I think this shop should also sell mundance piercings and perhaps things like earrings that are just equipable (once your character pays to get their ears pierced) and have minor magical effects.

Some Quick Ideas:

Silver Tongue: A tongue ring which permanently boosts your personality stat by 15 points.

Rod of Magnus: An Industrial Ear Piercing which boosts magicka regen by 30%

[ohyoufool]

this fucking sucks I'm going to [remembers suicide jokes are bad for your mental health] reinvent myself on a college men's hockey team

[moe-broey]

ALSO LIKE???????? IN MY MIND I NEVER THOUGHT ALFONSE WAS LIKE. That fucking popular??????????? LIKE....... one thing I've always liked about my online space specifically is how niche it feels and to me. Loving Alfonse so much so dearly felt like. SUCH a niche thing. Like there are one million Fire Emblem characters from main series games who are vastly more popular who have insane fanbases just on their own. To me Alfonse being in top 20 or top 10 always felt like he was an underdog. To me Alfonse has always felt like Just Some Guy and I love him for that. I have ALWAYS been of the belief his ass is NOT getting a Brave alt EVER. You can dream but he's just some guy. A FEH OC. Yeah the Main Fucking Character FEH OC but like. Idk somehow he just felt like. Like liking him and posting about him and drawing him all this fucking time it has always felt like he's an underdog. Guy you have to look at twice to really start thinking about him. And once you start Thinking about him oh dude it is SO fucking over for you (and who knows maybe that's exactly how he won)

[red-moon-at-night]

replays this 4-year-old animatic of These Hands from Frankenstein — A New Musical five hundred million times

[llycaons]

there's a really pervasive conception in the fanbase that wwx jokes about his time being dead or makes light of it and im wracking my brain because I don't actually think he ever does this in canon? iirc he mostly vaguely alludes to it or mentions he doesn't want to be dead again, he never actually makes light of it. he's a much more serious and grounded character than I think fans realize, in part because he makes efforts to appear not to be

[vamptarot]

Ten Things That Are F### Cool About You | PAC

pile one pile two pile three

how to choose a pile . . . choose which picture you are most drawn to or close your eyes, breath and read the one your eyes land on! ᡣ𐭩

— ⭑.ᐟ today I saw a pick a card that not only pissed me off but also disgusted me due to how mean the reader was in every single pile. I checked. their egoistic approach annoyed me. instead of spreading hate, I wanted to remind you why you are an awesome person. not proof read.

pile one : - cold drink !

𐙚 : the high priestess, eight of wands, nine of wands reversed, death

bottom of the deck: five of wands

♡ ⢷ why you are so cool

1. You always research about a topic before talking about it! I think this is very cool because a lot of people spread misinformation without even knowing it and that’s why fake fun facts exist. You are not like that though! You feel a sense of responsibility and thirst for knowledge, which in itself makes you a reliable person. - and source! -

2. You protect those who cannot stand up for themselves and I think that is very cool! Usually, you might have a hard time standing up for yourself but if it’s someone more vulnerable than you then you will give your all. You will raise your voice, yell, make valid arguments and even fight if necessary. - This differs person to person but the imaginary I am getting is protecting children, animals, women and young teens (from creeps to be exact) -

3. You work on yourself and enter new beginnings even if it’s scary at times, it can be hard and scary but that doesn’t make you back off from actually trying your best to become someone that you can be proud of. There is always a sense of hope within you that is very admirable.

4. You know how to keep privacy! A lot of people don’t, and don’t value it as much as they should. Having a healthy boundary with privacy is a privilege not many realise they have.. also, if you happen to share an intimate moment with someone you don’t run your mouth but rather treasure it as a memory as a form of respect.

5. Some people in this pile have temper issues, obviously, don’t take it if that doesn’t apply to you but I am seeing that for those of you who can resonate with that you are doing a really good job keeping it under control. You are not a hot headed person.

6. You are very experimental with looks! I do think this makes you a very beautiful person, because there are several things that suit you and look cool on you. If you like taking pictures I hope you know that you look beautiful and gorgeous in each one of them, one day you will look back at them with a smile even if you didn’t like that one thing because at least you gave it a try.

7. Zero judgment detected in your soul. Seriously, you could be the sort of person that never freaks out at people’s ‘hear me out’s but rather just go ‘yep, I get why you are into that’ even though you have no attraction to whatever character or person they said. You get their point, it’s just not one that you will make.

8. My fashion babies in this pile are slaying each and every time! You could take dressing fashionable in a seasonal manner mildly seriously. You don’t expect everyone to do it, but it’s most definitely something you take a lot of joy in. It’s really cool, your style is a 10/10. - Yes, even if you change it up often. -

9. Even if you are anxious you can do things so incredibly well. You remind me of a video I once saw of a girl with anxiety making a phone call, her hands were shaking uncontrollably the whole time but she didn’t stop being polite and kind. I think that’s you. Even in moments of being scared, you are kind to people.

10. You have such a beautiful voice. I mean your singing voice, but if you are not confident in that this could of course mean your regular speaking voice too. There is something comforting and yet bittersweet about your voice. It makes people feel home at times when they are sad.

— ✮⋆˙ die with a smile - bruno mars & lady gaga , ‘good luck babe’, 2003 , enha photoshoots , guitar injuries (from the string breaking) , white dahlias , glitter videos (those 2021 ones) , ‘good luck, charlie!’ , wavy hair , not well known ethnicity , taurus , capricorn , pisces

that’s all my beautiful pile one! I do think you happen to be very shy, but I do hope that you know that you genuinely have so much love to offer. there is much more to you than what you show the world, but I think you already know that. thank you for reading

paid readings

pile two : - peace sign ! ✌🏻

𐙚 : page of pentacles, eight of swords reversed, queen of wands, five of pentacles reversed, page of cups reversed, the star reversed

bottom of the deck: judgement

♡ ⢷ why you are so cool

1. YOU THINK YOU ARE SO COOL AND MYSTERIOUS BUT YOUR HEART IS FULL OF LOVE AND KINDNESS 🫵🏻 YOU TREASURE YOUR LOVED ONES AND WOULD RATHER SACRIFICE YOURSELF THAN TO EVER SEE THEM SUFFER !!YOU ARE SENSITIVE AND LOVABLE !!!!!!!!!

2. After all that you have went through you are still here and you are still standing. All that happened but rather than it destroying you completely or bringing you down you allowed yourself to heal and I am very proud of you for that.

3. Your judgement of people are very great! Of course if you don’t like someone of have mean thoughts of them you will keep it to yourself in order to not upset anyone, but you are still really good at telling their personality by their behaviour. Other people might not know but you do.

4. You are a secret little romantic! I bet it makes you shy to express your emotions outward and so freely. Truth to be told, you want to experience so much romantic things and wish to think of them without experiencing negative emotions. This makes you cool because even though you have a hard time with it, you know it’s a part of you and accept it.

5. You are so kind to animals, take care of them and most people reading this pile have a pet too. I think animals are just naturally drawn to you regardless of what they are. - as in pet, stray or wild animal. - It’s like they know they can be safe with you.

6. ‘You can slap a bitch if you need to’. Literally, that’s what I heard.. and I think most people here take pride in it too right? Just make sure to not get into unnecessary fights. It’s not what makes you cool though. It’s that you keep to your word. If you say you are gonna do it, you really will.

7. A lot of you find comfort in the stars and moon. In an aesthetic sense, but also there is a deep sense of appreciation for them that not many people have. They just put you in awe. If you are into astrology you have such a deep and profound understanding of it. One that not many people have.

8. Honestly, your view of life is sort of clouded and not completely “whole” but that’s alright. Exactly because day by day you do your best to learn and never turn an opportunity to see life from a wider perspective down, even if you might have done this in the past.

9. You are sooo talented, and you don’t even realise that. You are amazing in creating things; anything that is physical. This is especially true if you like jewellery, as I think designing or just making your own craft is something that you would/could enjoy doing if you put your own unique twist into it. It’s just something that makes you feel alive.

10. You are so confident! Even if you might not always feel like it, on the outside you always appear confident and aware of your surroundings. Someone composed who wants to present themselves in the best way possible. - You probably pay a lot of attention to your posture. -

— ✮⋆˙ ‘I don’t even wanna do this anymore’ , homework from 1 am ‘til 4am , 9 to 5 , jean purses ? , ditto - new jeans , a bent photocard (of whoever) , 7 - JK , stars , something about the four seasons ? , fave colour = red , ‘letta’ , cappuccino & frappuchino , friendly banter , 111 , 1212 , 2011 , sagittarius , aries , leo

i am sorry for yelling at you at the first point my pile 2 but some younger people in this pile - esp teenagers - like to put on a mean girl persona when that’s not them at all. what’s the point of that? you can’t please people with someone you are not. I sincerely wish that’s something you will remember my sweethearts. thank you for reading

paid readings

pile three : - megaphone !

𐙚 : three of wands, six of swords, knight of pentacles, justice, king of swords, the lovers

bottom of the deck: five of pentacles reversed

♡ ⢷ why you are so cool

1. You know when to walk away from a situation, which is unironically awesome. Like sure this could be considered a negative trait but you aren’t toxic with it. You just simply know your worth.

2. You have a person you are in love with for several years now right? At least, most people in this pile do. You have unwavering loyalty and love in your heart that no one can take away from you, no matter what. I think that’s very cool.

3. You treat children really well! Which should be a given, but many people are way more mean and cruel hearted than what children should deserve. After all, they are humans too and fragile ones at that. You are very responsible and a safe space for them. I wholeheartedly believe that’s cool.

4. When you call people out, you do so with evidence. I do like that a lot, you don’t just accuse people but rather keep collected and calm even if you are angry or despise the situation that you were put into.

5. Did you ever take a look at your side profile? You are quite ethereal, you have such an unique beauty to you. I do also believe that you look beautiful in your home country’s traditional clothing style:

6. You are stubborn, but not in a sense of annoying people or being selfishly caught up in your desires. This is a stubbornness that is found in people with leader like qualities, that people can rely on. You are stubborn in a sense of wanting to create a better future for yourself and those around you who you deem to deserve it. - bc let’s face it, some humans suck. -

7. I am sorry if this sounds weird, but your hand is always occupied with something. You are a very busy person, even if you might not believe so. You gotta do this, and you gotta do that. You have many interests, hobbies and responsibilities too. Yet you manage to juggle them so well, it’s hard to guess when you are stressed out.

8. Whenever you are around you light up people’s day and mood. You are such a sunshine child, people love to have you around. Even if you believe that’s not the case, people do appreciate you a lot more than you realise.

9. If you have a love for photography I hope that you know that you have a beautiful talent. You are amazing at taking pictures, making them pretty and seeing the beauty in every single little thing even if other people might not be able to do so.

10. You are really good with finances and saving up despite the anxiety it causes you. Give yourself a pat on the back because that is not something many people are able to truly say about themselves. Many people in this pile were raised in a way to appreciate money but not let it consume you, which I think you nailed pretty good!

— ✮⋆˙ somewhere over the rainbow - israel kamakawiwo’ole , early 00s & 10s hawaii , crying at night , daydreaming for hours , ‘thank goodness ‘ , my little pony , new hyper fixation , heat , ten to five , hair being washed by someone else , flamingos , pimples ? , papaya - sorry, ik gross to mention right after , pink skincare bottles , 555 , juliet , lucifer , 10th house

my dearest little lamb your energy was the calmest, sweetest and most welcoming out of all the piles. I am truly happy that you decided to read my pac / participate in it. it was truly a pleasant experience to channel for you 🫶🏻 thank you for reading

paid readings

[always-a-joyful-note]

Suddenly compelled to think about one of my absolute favourite k-dramas (and shows) Hotel del Luna.

And instead of being normal about it I'm just gonna say like...I don't know if I've found any other k-drama with as perfect a female lead as Jang Manwol?

She has depression? She's absolutely filthy rich and rolls around in it with no care? She's full of hatred and rage and despair? She's as smooth as glass but also as fragile as it? She gets jealous and possessive and is kinda pathetic? Immaculate style, always looks gorgeous, and beats people up with grace like a proper protagonist? Former love and family that she's lost and also has let go? Keeps losing people and yet is cursed to live on for centuries?

I loved the show for all its self-contained narratives that fit around the big plot so seamlessly. Plus the bittersweet ending was definitely something I adored. But truly Manwol was the character of all characters and I love her for it.

[howtofightwrite]

So I have a character that heals faster than normal. Nothing like Wolverine, where he basically gets stabbed and although it hurts, he keeps rolling because he'll heal in 5 seconds. Or even Deadpool who can regrow limbs. My character would heal way slowlier. Where maybe a wound that would take someone a week to recover from would take them a day.

But my problem is that, determining the speed of the healing process in comparison to the wounds. Someone like Wolverine and Deadpool have their healing abilities cranked up to a 10, which makes it easier to write imo. When mine is dialed up to a 4 or 5, how do I determine the healing speed and keep it consistent with each wound, even if they're all different from each other? Especially with deadly wounds. I hope that makes sense.

It's not that Wolverine and Deadpool's regenerative abilities are, “cranked up to 10,” those operate strictly under, “the power of plot compels thee!” There's nothing inherently wrong with that approach, but it can cause problems down the line. (At this point, it's functionally impossible to kill Wolverine because he's been shown to be able to regenerate from any surviving tissue. Which does make it a little harder to hold him up as being in significant peril.)

So, really, the question becomes, “how fast do you want your character to heal?” “What can they recover from?” And, “how realistic do you want to be?”

In a lot of cases, you can look up projected medical recovery times from injuries. This is usually calculated around a healthy adult (18-35), and will increase as you get older. Or as other health factors slow your ability to heal.

It's pretty easy to take wound recovery estimates and just divide them by a fixed value. So, for example, recovery from a minor gunshot wound is estimated at a few weeks, so if your character heals 7 times faster than a normal human, then they'd be back up and going in a few days. If you want, you can pretty much stop there.

This practice of looking up how long it takes to recover from a given injury will also apply to a lot of those mortal wounds. It doesn't matter how horrific the injury is, someone has probably lived through it.

The question of what they can recover from is a little more involved.

On one end, you have the normal limitations of a character who can only recover from injuries they'd be able to naturally heal from. While in other cases (like broken bones or severed tendons) they'd still need significant medical attention, even if the resulting recovery times would be dramatically reduced. On the other end, you might have a situation where these kinds of injuries can self correct with minimal assistance from your character (and no, formal, medical assistance.)

Then there's the question of being able to regenerate lost limbs. That is biologically possible, and in fact young children can regrow lost digits, though the ability to do so genetically shuts off as we age.

At the same time, humans cannot heal off nerve or spinal damage. Again, this is biologically possible, but the ability is genetically shut down. (In this case, it's theorized because scarring on the nerves could result in horrific issues down the line.)

Ironically, one of Wolverine's more plausible powers is his biological immortality. If his healing factor regenerates his telomeres (which, again, is quite possible. In the real world, some cancer cells exhibit this behavior already), then that would mean that he is not subject to the Hayflick limit. The Hayflick limit is the number of times an individual cell in your body can undergo mitosis, and once it's expended, when the cell dies, it cannot be replaced. In a very real sense, the Hayflick limit, and telomere shortening are what causes biological aging. Regenerating the telomeres would mean that a cell could, potentially, undergo mitosis an indefinite number of times. So, if a character's regenerative abilities do prevent telomere shortening, it's likely that they would be biologically immortal.

If your character's regenerative abilities can restore brain damage fast enough, it might also be impossible for your character to die from bloodloss. So, this probably needs a little more explanation. Bleeding to death is, really, just suffocation with extra steps. Blood is critical for getting oxygen to the brain, and when your cardiovascular system can't do so (for example, because someone's punched too many holes in it) then your brain asphyxiates and dies. With a fast enough healing factor, your character would literally immune to death from bloodloss. (And, you'd probably need to tap them in the head to kill them.)

How fast does that regeneration need to be? I'm honestly not sure. Brain death tends to occur within a few minutes of lack of oxygen to the brain.

This also creates a related potential outcome, depending on whether or not their regenerative abilities shut down when they died. If their abilities are dependent on them being alive, so killing them is enough, then that's normal. However, if their healing persists after brain death (which can happen, as some autonomic functions can continue after death, at least, for a little while), killing them could easily see them regaining consciousness some time after the lethal injury was inflicted, with most of the damage having been regenerated.

One final consideration (and one that doesn't happen that often with superheroes) is the consideration of how you actually fuel all of this. Regenerating an arm is going to require a lot of energy, and your character's going to need to get that from somewhere. Whether they're literally pulling in power from some fixed source (as with the early Spawn comics), or if they just have an implausibly aggressive appetite for food. They will need to get the energy from somewhere. Again, there isn't really a correct answer here, just an answer that fits the story you want to tell. (A fixed power source, like Spawn's, does give you a lot of room to have healing at the speed of plot while still maintaining tension. Or, at least it did, until the countdown was removed.) Of course, if they do run out of energy to fuel their healing ability, that probably means it will fall off, though it could potentially kill them in the process.

One legitimate concern over running out of juice would be scurvy like symptoms, which causes previously healed wounds to reopen. It's pretty horrifying, but might be a way to inject some serious tension into the story, if you've set up the rules to support it.

-Starke

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[delaware-lemme-smash]

Could we have some hcs of reader referring to some of the older MHA men (coughAizawacough) as "beekeeping age" and then they make her explain it? LMAO.

For those who don’t spend all their time on TikTok like I do, ‘beekeeping age’ refers to an attractive older man, usually in 40s/50s. Some of these guys technically don’t apply but we’re putting them in anyway!

Characters: Aizawa Shouta/Eraserhead, Yagi Toshinori/All Might, Maijima Higari/Power Loader, Sasaki Mirai/Sir Nighteye

Contents: The existential struggle of trying to explain a meme to people who aren't chronically online.

Aizawa Shouta/Eraserhead

Age: 31

Yes, he’s only in his thirties, but Aizawa has the vibe of a retiree. He looks like someone who should be muttering “I’m too old for this shit” at any minor inconvenience. In fact, he often does. He’s said it several times today. 

Most especially when you looked over at him and told him that he looks like he’s ‘beekeeping age’. Now, as a teacher, Aizawa isn’t as out of step with popular culture as he might like you to think he is. Even if he doesn’t really bother with social media himself, he has twenty students who are all hooked to their phones like it’s a dialysis machine. He picks stuff up just by proximity, and it’s not the first time he’s heard the phrase ‘beekeeping age’. And while he might have a vague idea of what it means, he’s not just going to let you get away with calling him that. 

He looks straight at you, lifts an eyebrow and asks, “What does that mean?”

Which leaves you floundering a little, because you have to explain to Aizawa that it means you think of him as an attractive ‘older’ man. 

While he’s the furthest thing from vain, he finds himself a little bit offended.

“What the hell do you mean ‘older’? I’m thirty-one.”

“You have to admit, Shouta, you do give off the vibe of a grizzled older man.”

“I’m too old for this shit.”

Yagi Toshinori/All Might

Age: 55+

Toshinori’s the only one who really qualifies for this trope, and naturally, he has absolutely no idea what you’re referring to when you tell him that he’s beekeeping age. He grins uncertainly at you.

“I’m…not sure if that’s a compliment or not, but I’ve always thought that beekeeping looks like a relaxing hobby! As long as you’re not allergic!”

Of course, you take a little pity on him and explain that it means he’s a hot older guy. 

“Oh, are you referring to a DILF?”

Once you’re done spraying your coffee or whatever you were drinking everywhere, you demand to know where Toshinori heard that word and if he knows what it means. Let’s be real, Toshinori doesn’t run his own social media and doesn’t know squat about memes.

“Oh, a charming young lady walked up to me at a signing once and informed me I am what the young people call a DILF. Still can’t get anyone to tell me what it means! Slang these days! Ha!”

I dare you to try and get Toshinori to refer to himself as a DILF in front of Aizawa. Just for the hell of it. 

Maijima Higari/Power Loader

Age: 41

Higari can’t catch a break. Not only is he very short and look a couple decades younger than he actually is, leading to a lot of unfortunate misunderstandings, now he has some whippersnapper calling telling him to go start a beehive. 

He’s probably the only one on this list that actually knows what it means. I feel like because he’s so in line with cutting edge technology that he’s pretty on top of social media as well? He doesn’t seem like the type to lose step with the rest of the world when it comes to these things. So you don’t even have to explain what you mean when you tell him he’s beekeeping age. 

“Buzz off.” 

Sasaki Mirai/Sir Nighteye

Age: 38 

At first Sir Nighteye thinks you’re making some kind of joke. He stares you down, looking rather menacing even while his mind is turning over the phrase ‘beekeeping age’, looking for the pun or the play on words. When he can’t find it, he finally has to admit defeat and ask you gravely: 

“What does that mean?”

Sir Nighteye’s a little put out when you tell him it’s about good looking older men, because he doesn’t consider himself particularly old. Pacify him by telling him that he just gives off the dignified air of a mature man. He might scoff, but he’ll be somewhat more mollified. 

“I suppose I can accept that as a compliment. Although I think you ought to come up with better jokes. That one didn’t even contain a pun.”

[hells-wasabii]

I’m shamelessly asking for some Carmilla Carmine x fem!reader where reader gets nearly killed during extermination day, maybe severely hurt kind of thing cuz I’m a sucker for angst

A/N: And I am shamelessly answering this wholeheartedly Can I just say that I love Carmilla?? And one can never have enough angst. I went ahead and decided to make it a drabble

A/n's A/N: I came back after finishing this, i really didn't mean for it to get so long. It's not a drabble anymore, it's a short fic. the word count is nearly three times what i usually allot for my drabbles.

Character: Carmilla

Type: Fic (Carmilla x fem!reader injured during extermination, Angst, Fluff)

All it takes is one second. Time meant everything during the annual extermination. If you drop your guard, let yourself get distracted, it could mean certain death. This was something that Carmilla had been extra diligent in teaching her daughters, and something that she had always reminded you, her love, her heart, of constantly.

You would always offer a soft smile of reassurance, pressing a kiss to the overlord's hand.

But things don't always go as planned, do they?

No one expected to get separated.

There had been an explosion that had taken out most of the city block. Some sinner trying to put up a fight before their inevitable demise, her daughters informed her after the fact. She had found Odette and Clara easily, both on the same side of the blast as she had been, but she had lost sight of you. You hadn't been caught in the blast, she knew that for sure. You were durable enough for something as measly as that to not be of much effect, anyhow.

But the fact that she didn't know where you had gone made her nervous. No one was truly safe during the exterminations, only hellborns and the king.

Her blood ran cold when your scream met her ears, her head snapping in the direction.

No.

Carmilla was in motion before her mind could catch up. The arms dealer instinctively ran through the streets littered with death and destruction, Clara and Odette calling after her. It wasn't like their mother to act so impulsively.

Turning the corner, there you were, lying in a slowly growing pool of blood. The arms dealer deflated upon seeing you in such a state. If only she had gotten here sooner. Luckily, the exorcist has gone. Likely to chase down some other damned soul like an animal, she thought bitterly. Skidding to a stop, she dropped to her knees at your side.

You were in a bad state, disheveled, bruised, bloodied. The worst of it appeared to be a rather large stab wound just above your hip, likely from some sort of spear.

But you were still breathing, nonetheless. You could still be saved. Hope bloomed in Carmilla's chest, as she pushed aside your blouse to better reveal the worst of your injuries.

"Girls," Carmilla called out once she was sure that it was safe for them to follow.

As she checked you for other injuries her daughters knelt by her side.

"Mother, here." Clara sounded as frantic as Carmilla felt. The overlord briefly turned to her daughter, surprised to find her taking off her coat to offer her. "To apply pressure," her daughter clarified. Her heart swelled at the action, accepting the coat and pressing it to your wound.

"Look!" Odette called out, and out of the corner of her eye, Carmilla saw her pointing to the sky. "The angels are retreating!"

"She's right!" Clara chimed in, placing a hand on her mother's shoulder, "We should get her back home, then we can tend to the wound properly."

Carmilla had never felt prouder of her daughters, they truly had grown into exceptional young women. She made a mental note to properly thank the both of them once things had settled.

But home was too far away, they would never make it there before you bled out. Lady luck was on your side as the four of you hadn't been too far from one of their safe houses, however, they needed to move quickly before you lost too much blood.

The next hour and a half were a blur. The moment they had unlocked the door to the safe house the Carmines got to work

Your wounds were cleaned and dressed. Carmilla herself had been the one to wash off the blood and dirt that caked your skin and you were laid up in bed. Odette and Clara had left once they were sure you would recover, choosing to give you and their mother space.

The arms dealer couldn't help feeling partially responsible. She thought if only she had been more diligent, and kept you close to her, maybe you wouldn't be left in such a state. The realization hit her, hard. She could have lost you.

"Carmilla?" your voice pulled the overlord from her thoughts. You were awake! In an instant she was by your side, taking your hand in hers.

"It's okay darling, Everything is alright now." You don't answer, at least not with your words. instead, with a grateful smile turning up the corners of your lips, you gave her hand a gentle squeeze. She couldn't help but return the smile, relieved. Leaning down, she pressed a kiss to your temple.

"Funny, for a moment there, I thought I'd somehow made it to heaven. Mistook you for an angel," you managed out a strained laugh, though you immediately regretted it when a sharp pain shot through your lower abdomen. Your smile returned, however, as Carmilla couldn't help but roll her eyes. But you had met your mark, the arms dealer finally let the tension leave her body.

"Mi amore."

"Yes, Carmilla?" You at first thought that the arms dealer was going to scold you for making light of the situation. You never would have expected the next words out of her mouth. She breathed out, gaze softening, her request was barely above a whisper.

"Marry me."

[kindnessinsilver]

Does anyone else have a penchant for m/m romance with main character who have interesting sexualities and submissive streaks a mile wide? Or is that just me?

Alex Rowland has had me eating out of the palm of their metaphorical hand for the past several months because of some of their main characters. Anybody who has known me for really any amount of time and ever heard me talk about my taste in books will know that I have a tendency to find a power dynamic reading in almost any pairing I really like, but Alex made it easy with some of these guys. They make me want to cry in the best ways because it is so beautiful to feel seen.

Running Close to the Wind:

Avra Helvaçi, absolute feral gremlin brat who just wants to be teased and pitied and mocked and for all his friends to be just a little mean to him all the time as long as they think it’s endearing or hot. I relate to this so strongly it’s almost not even funny, but I can’t say that because Running Close to the Wind is one of the funniest books I’ve ever read. Avra’s sexuality is “yes please how soon?” except for the rare times when it’s “actually can you please just hold me I am sad and tired.” He has been in an on-again-off-again relationship with his best friend and biggest bully for 15 years, and they understand each other and tolerate each other in ways that no one else on the planet ever could.

A Taste of Gold and Iron:

Evemer Hoşkadem shows us a completely different version of submissive leaning that also calls to my soul. He is dedicated to service, honor, and protocol. He is a core guard of the royal family, and he has been chasing this goal for years because he believes that it is something great and noble. Fealty comes more naturally to him than humor or general affection. He believes in the trappings of power but also in the responsibility of power. Power has the responsibility to care for people, live up to their expectations, and accept the service that is its due. He is seeking, trying to find purpose and trying to find someone worthy of his service and his devotion. Evemer wrecks me because I swear I’ve lived those moments and because I’ll always be a little jealous of characters who get to prove their loyalty by risking grievous bodily harm. His sexuality is “meh” and “shoulders” and “competency kink”. Mood.

When I tell you that I hardly included half the incriminating quotes from the internal monologue of Evemer, I mean it. Read this.

Yield Under Great Persuasion: (under a read more because this book came out a month ago)

Tam Beckett, in Alex’s newest book, definitely doesn’t have the same level of obvious submissive streak, largely because it is covered up by a huge swath of bitter and lonely. Still, the interesting sexuality part applies, and he’s got a few lines that sing to me in similar ways. He has been in love with this one guy for 20 years but also he hates him. But also if he goes longer than a week without his dick, he might die. But also if the guy invites him for a second round, he might throw himself out a window. He is angry at Lyford and angry at his favorite god. He is angry at death and the passage of time. The instant he is given a chance (or 2 or 4) to make up for what a shitty human he’s been for years now, he jumps at it. He wants to be good, he wants to be loved, he wants to be worthy. But also he’s an asshole with a sharp tongue and he will push Lyford’s buttons until the man snaps if that’s what it takes to see his real reaction. He’s also got a similar level of touch starvation and need to be held and loved that Avra has.

[lusmeitli]

Where light in darkness lies

Summary: How helping with a panic attack can lead to something more.

Pairings: Loki x Female Reader

Warnings: Panic attack, a hint of angst, fluff, a bit of fingering.

A/N: There aren’t a lot of explanations given. I have also taken a great deal of liberties to bend characters at my will.

9~9~9~9~9~9~9~9~9~9~9~9~9~9~9~9

The kettle seemed to take forever. Wasn’t there a saying… a watched pot never boils? Apparently, it applied to kettles, too. As the appliance imitated sounds of an imminent blast off, you poked the tea bag at the bottom of the mug with the spoon from one side to another, then clockwi–

Suddenly, everything was plunged into darkness.

“Curses.”

You stretched your hand out to hold onto the kitchen counter for something… tactile. Grounding. Darkness was your foe.

The familiar fireball under your skin licked up your back and across your chest. Its heat seemed to suffocate you. Breaths came out faster, shallower, harsher. Fumbling to try and find your phone on the counter your hands knocked something over. It shattered on the floor. The mug.

Not enough air. You just couldn’t get enough air into your lungs. The only sounds you heard was the pounding beat of your heart and the ringing in your ears. The panic rose up like a monster looming in front of you, a cruel smirk on its face, before it would open its horrifying hellmouth and swallow you whole.

And then you felt hands on you, whirling you around. Soft lips firmly pressed onto yours, moving with purpose and absolutely no hesitation. Its spark set a fuse alight, burning through your body until it reached your brain, sending a shockwave through you. It took your body a long moment to snap out of your onsetting panic attack and to respond to the kiss. You nearly sobbed into the lips, at the distraction and relief they provided, your hands fisting in a shirt, warm skin and contracting muscles under your fingers.

The heat you had felt moments before was gone. In its stead grew an all consuming need. A soft moan escaped somewhere from the back of your throat. It broke the spell. You heard the person kissing you take in a shaky breath, before their lips left yours and it was over. Several moments later the lights flickered back on. You stood rooted to the spot, staring at the empty space in front of you and the broken mug on the floor.

Your fingertips ghosted over the spot where lips had touched yours and a blush crept over your cheeks. In the corner the kettle clicked, the water now boiled.

*****

“Loki?”

“Mhm.”

“Are you sure it was him? I mean how can you tell?”

You brought a hand over the receiver, trying to shield the words so only your friend could hear.

“I, um, hacked into the security camera footage from just before the power cut. He had walked into the kitchen literally a second before it happened.”

There was silence on the other end of the line. Then a heavy breath. “Wow. I don’t know what to say. Ain’t that something.”

“You’re right,” you huffed out, “I mean, this is me we’re talking about, right?”

“That’s not what I meant and you know it.”

“But it is though, isn’t it,” you said, rubbing your tired eyes. “It’s just little old me. Even if it really was him, it probably just was some silly prank or a dare.”

*****

The Quinjet in the hangar was your favourite place to work. Even though today you were in the tail of the jet downloading the aircraft log from the Flight Data Recorder, which involved squeezing into a rather tight space. All that to plug in the USB cable and to then balance the laptop on the palm of your right hand, whilst operating it with the left. You had tried to talk to Tony about moving the access point, seeing as it was a weekly task, but Pepper had walked past and diverted his attention. Judging by the way he immediately stalked after her, he hadn’t heard a word you said.

Thirty-seven percent through the download, the power in the jet cut out and you cursed. Setting the laptop down, you fumbled for your phone, turned on the torch and made your way through the jet to inspect the fuse box you knew was located just outside the cockpit. No light came in from the hangar, which seemed odd. Maybe it was another power outage that affected the whole tower. You tripped and the phone slipped from your grasp, landing somewhere face up.

“Not again…”

The panic started to rise in you once more. You felt too hot, the air seemed stuffy and heavy. Your breath came out fast and ragged. Hands outstretched, you bumped into something hard. Something that shouldn’t be there. You gulped as hot dread shot through your veins and took a step back. With lightning speed slender fingers wrapped around your wrists, tugging you forward to bring you flush against the hard body. Instead of consuming you, the panic ebbed off. Your body knew this touch. Though firm, it meant no harm.

You felt their chest rise and fall, a lot slower than yours. Slender fingers trailed up your arm, over your shoulder and neck. His fingertips skirted over the skin of your throat, goosebumps erupted all over your body. Someone released a slow breath - presumably you.

The fingers moved into your hair and curled around the base of your head, tilting it up. And then those wonderful lips were on yours again. This time, he angled your head to deepen the kiss. The taste and feel of his tongue moving against yours robbed you of your bones and you faltered, glad that his hands held you pressed so tightly up against him. He seemed hungry, needy. His lips left yours, trailing a few kisses over your jaw, before he rested his forehead against yours, noses touching for a wonderful moment, your short breaths mixing.

And then he was gone again. Your hands fell to your side and you blinked against the bright light in the jet that hummed over your head. Yet again you were left wondering what had just happened and, more importantly, why.

*****

“It only affected the hangar this time.” You pulled a book off the shelf in the shop.

“More hacking?” your best friend asked, finger searchingly running over the spines.

Shaking your head, you thumbed through the pages. “My coworkers told me.”

“So you’re saying he did it on purpose?”

Shrugging, you put the book back. “He knows magic, that’s what I’m saying.”

“Honey, I love you, but before you go down that obsession-rabbit hole, it’s my duty as your bestie to warn you. Just please be careful. This is Loki after all. Hm, where is it?”

“Whatever is that supposed to mean?”

The pitying look in your friend’s eyes was almost too much. “Oh where to start… He’s a god, immortal and several centuries older than you,” she counted off on her fingers.

“Actually,” you mumbled, “he is mortal. Asgardians just have a longer life span of about 5,000 years.”

Your friend blinked, surprised. “Who told you that? Dr Google?”

“Thor, actually. He had to fill in a form for the Quinjet learner’s licence and we joked about his age.”

“I love you, but you’re weird. Happy rabbit hunting then.” A victory cry fell from your friend’s lips as she pulled out what she was looking for and pushed it into your hands. “You want spicy? Here you go.”

“‘Three Swedish Mountain Men’?” you read.

She wiggled her brows. “They’re hot and they like sharing…”

You rolled your eyes, but put it on the pile of books you were getting anyway.

*****

Late shifts were your favourite, because it allowed you to actually get work done, without the phone going off every other minute. The only thing you didn’t like about them was walking back to your room afterwards.

It was 3am when the lift doors slid open and your shoes softly squeaked on the dimly lit corridor. Nightlighting mode, as Tony called it. You hated it and walked faster. Rubbing your stiff neck and rolling your shoulders, you rounded the corner. Just a few more metres to your door. But someone grabbed your hand and pulled you into the refuse room, which was pitch black.

Cool fingers were placed on your lips signalling you not to make a sound.

You nodded your head and the fingers moved from your lips, slowly, tracing. Then both hands were in your hair. His fingers cupped your head and you felt his breath against your lips. Your hands were on his chest, gripping the front of his t-shirt. Soft cotton. You closed your eyes.

“Please,” you said so quietly you thought he didn’t hear.

But he had and his lips brushed against yours, light as a feather. Your head was swimming, your heart aching. His touch was soft and gentle. He had kissed you before, but it was as if he was now seeing you, in the darkness of the refuse room, for the first time. Taking you in, kissing every inch of skin that was exposed. His lips grazed the knuckles on your hand and a lump formed in your throat.

His hands cupped your head and you felt his fingers fiddle with your hair bobble, before the restraint was gone and your hair hung loose. His hands combed through the strands. You couldn’t remember the last time someone did that.

Your hands ran over his biceps, his shoulders, his pecs, his abs. You wished you could say something, anything, but you feared you’d spoil the moment, that he’d pull away. His lips found yours again and he angled his head, his tongue slowly dancing with yours. It was the most erotic thing you had ever experienced.

He changed his footing to come at you from a different angle, pressing his body flush against yours. He peppered small kisses on the corner of your mouth and down your throat. He seemed to have found a spot he liked, because he sucked on it, his teeth grazing, lips easing the light bite. Before he pulled away, he inhaled deeply at the crown of your head, and placed a gentle kiss on your hair. You felt safe, basking in his warmth. And like the times before, he was gone.

By the time your legs felt stable enough to support you again, you opened the door and walked back to your room.

A smile crossed your lips as you realised that this was the first time you hadn’t panicked in the dark.

*****

“Maybe he’s shy?” your bestie suggested as you sat on her couch, both spooning ice cream out of the same tub.

Loki and shy were not words you would have put in a sentence together. But then, sometimes you were wondering if his aloof stance was just for show.

“Have you tried talking to him?” she asked.

You shook your head. “I could never work up the nerve. He seems… so unapproachable in the light of day. Maybe it all really is an elaborate prank.”

“Or,” your friend leaned forward, lowering her voice conspiratorially, “or he has the hots for you and just can’t find any other way to show it.”

You mulled this over for a while. “But why in the dark? Why isn’t he saying anything ever?”

“When do you see him?”

“At extended team briefings, but the Avengers come in last and sit at the front. Rogers requested it.”

Your friend rolled her eyes. “Any other time?”

“Well, in the hallways, but either he’s with someone or I am.”

“Meh. Where else?”

You leaned back, thinking. “In the canteen?”

“Okay, now we’re talking.”

“But, again, he’s always with someone.”

“Well… looks like you’re screwed.” She made a show of licking her spoon. “Or about to be screwed.”

She laughed as you threw a pillow in her face.

*****

It was just an autumn storm. Nothing out of the ordinary. Except for that it was five in the morning and had been going all night. You were standing by the window, looking out onto the soft glow of the city that never slept. Angry gusts of wind whipped big raindrops against the windowpane. Your breath misted against the cool glass. Normally, you slept through storms, but not this one.

The team had yet to return from a mission and you were worried sick. The mission was particularly perilous. You knew this because Tony had called you into his office, shut the door (something he never had done before) and told you that he couldn’t give you any information, but that ‘some serious shit is going to go down tonight’ and to trust - dramatic pause - him. It all was accompanied by a stare with which Tony seemed to try to convey a secret message. You guessed he didn’t mean himself, but Loki. Hence, you had chewed off all your nails for the last few hours.

When the door to your room opened, closed and footsteps approached, relief flooded through you. Not a moment later his hands were on your waist, pulling you back into his chest, his presence seeping through your pores. His arms curled around you, the slightly damp leather of his suit softly creaking, and your hands flew up to grip his forearms tightly. His head nestled in the crook of your neck, his lips soft against your skin.

“Thank heavens,” you whispered.

You couldn’t remember who moved first, but you found yourself up against the wall, his hands on your ass. Your legs wrapped around his hips that pushed into you; his mouth felt hot on yours. The kiss was all teeth and tongues. Desperation mixed with relief. A moan rang through the room - definitely yours - as you offered yourself up to him. And he took, greedily. His hands were everywhere on your body, pulling you close, pushing more into you, closer still. A disgruntled huff made it clear it wasn’t enough. And then his hands were under your hoodie, bare skin touching bare skin. A tug, a pull and the fabric was up and over your head, landing somewhere on the floor. His lips closed around your lace covered breast until he found your nipple and sucked on it.

Your hands weaved through his damp hair - if you had any fingernails left, they’d be scraping his scalp. Instead you tugged gently on the soft strands, eliciting a strangled moan from him. His hips rolled into yours, his desire evident and yours dampening your knickers. His hand slipped into your leggins, his fingers moving over the globe of your ass, slowly, squeezing, as his mouth was plundering yours.

The moment his fingers found your soaking centre, you both groaned. He slid two digits inside you, making you gasp. His hips rocked into you, the leather seams on his crotch providing friction for your clit. Your hands tried to fist in the leather, to get to feel his skin.

The orgasm crashed over you like a tidal wave, taking you by surprise, propelling you into oblivion. Loki grunted, his movements became jerky, before he stilled and rested his damp forehead against the crook of your neck. His hot breath puffed against your skin, and he just stayed like that, letting you run your fingers through his hair in a comforting rhythm. Then he slid his fingers out of you and gently placed your feet back on the ground. His forearm leaned against the wall behind you as he kissed you thoroughly, with a gentleness that made your eyes sting with unshed tears.

Your thoughts were going a mile a minute and you were thinking of what to do or say now. Would he stay the night or would he vanish again, like always? You heard the soft creaking of his boots as he moved through the dark room and then back to you, handing you your hoodie. You took it, fingers brushing his. The moment you pulled it over your head, your bedside light was on and you found yourself alone.

Again.

*****

The APU of the Quinjet was situated - as in most aeroplanes - in the tail. One of the reasons you were in charge of the upgrade of the jet’s internal bleed ducting was that you were small and slim. None of your co-workers could squeeze in there (thank you, Tony, for prioritising sleekness over practicality). Ironically, there was no air conditioning in this part of the jet. Droplets of sweat gathered on your forehead as you lay under the engine with your torch and toolkit, religiously running through the protocols.

“Five more checks, Y/N,” you heard your colleague, peering down at you from the moveable steps he was standing on, holding up the upper engine encasing with another work mate. A whistling noise became louder. “Then we can test– what the hell?!”

You lifted your head just as a massive explosion tore through the hangar. The space where your co-workers had been a second ago was swallowed up by a fireball. It felt as if the jet was airborne, tossed to the side, then came to a sudden stop. Metal screeched and groaned.

Your head hurt. A lot. There was a ringing in your ears and you just couldn’t see anything. It was dark, so dark. You wriggled backwards but to your horror realised that you were stuck, trapped between the engine and the jet wall. It felt like you were burning up and you tried to shout, scream for help, but you couldn’t get air in your lungs, no matter how hard you tried. Then, mercifully, you fainted.

When you came to, you were in the medical bay. It looked like a war zone, people lying or sitting on the floor, waiting to be seen. Some of them with burns and cuts, others in the bays next to you with drips and field surgeons around them. You spotted your two work mates, both with minor burns and a few bruises, but thankfully alive.

A few stitches on your forehead, one arm plaster casted and in a sling, and a packet of painkillers thrust in your good hand by a disgruntled, stressed out medic later, you limped your way out of there. Anything was better than sitting around in the sick bay, where there were people who were much more in need of a bed than you were. It also helped with getting away from the sight of the body bags that were quietly carried past you. Six, you had counted. The biggest attack on the Avengers Tower so far, people murmured. And the deadliest one.

In front of the debriefing room, you were handed a tablet and sat down. It was standard protocol after an incident like this: you filled in your report and then talked it through with your supervisor. End of. So you filled in the boxes and waited outside Tony’s office for your turn. As you walked in and sat down, he looked at you.

“You okay, Y/N?”

You gave a brief nod. He blinked and then tapped a few keys on his phone, before taking the tablet you held out to him.

“Let’s get this over with.”

In the middle of your interview, the door suddenly burst open. A very out of breath Asgardian god almost stumbled over the threshold, a stony expression on his face. He was like a vision from your dreams, donning his leather suit, covered in dust and blood - not his.

His eyes roamed over you as he stood in the doorway, lingering on your arm in the sling and the stitches on your face for a moment. Then his eyes met yours. It wasn’t as if you hadn’t looked into one another’s eyes before, but this felt different. Intimate.

In four strides he was next to your chair. He stretched out his hand and you placed yours in his, as if it was a practised gesture between you two. A gentle tug had you standing up.

“Loki…,” you started.

“I thought you were dead, love,” he murmured, voice rough, lifting your good hand to his lips to ghost a kiss onto your scratched knuckles. Your insides melted at the endearment and his gesture.

“I give you a thousand thanks, Stark,” he addressed the other man, eyes never leaving yours, “for alerting me that my beloved is okay and with you. However, Agent Y/L/N will have to finish the incident debrief at a later point. I require her presence for an extremely urgent personal matter.”

“Get outta here already, Shakespeare,” Tony grumbled, trying to hide a smirk. “Who’s next?”

But Loki didn’t pay him any heed. He gently cradled your face, his thumbs caressing your skin.

And there, right in front of Tony, with the door wide open for everyone in the very busy hallway to see, right there was the very first time that Loki kissed you in the daylight.

~fin~

[seirindono]

TMS - Author's note (Arc 1)

Today I'm stepping up to talk about TMS for a while. It's going to be a lot of blah blah, no TLDR, so hang in there or save it for later if you're brave enough, haha (¯▿¯)

So, another chapter of TMS draws to a close, with the difference that this time it's a whole saga that's coming to an end! That's a big relief for me, given that we recently celebrated the comic's 4th anniversary! That's almost the entire duration of my college life, and that's both an impressive and terrifying achievement lol.

The comic is divided into 3 arcs, each separated by an interlude. The first runs from part 1 to 8, with 201 pages total (wow!). In it, you are introduced to Mel, a young skeleton with a rather unclear past, who accidentally arrives in a a foreign timeline, along with other well known skeletons. Nowadays it's just an isekai haha. Throughout the arc, she proves to be a cautious Monster, quiet and somewhat withdrawn compared to the other skeletons we come across, notably Rus, Blue and Axe, who each got their own sequences.

Still, Mel in the last few scenes is starting to show more initiative, and the interlude will make this even more obvious, but we can expect her to open up a lot more during the next Arc, about her past, motives, goals and thoughts.

I could go on at length about what's in store for us in the interlude, but given that it's due for release sometime in 2024, I'm going to talk about the general story line instead. Although we follow Mel who is foreign to what's going on in this universe prior to her arrival, the other characters and events suggest that strange phenomena are taking place in Ebott, leading many people to become embroiled in a highly unusual affair. Crossing timelines, earthquakes, mysterious apparitions in the forest, something is afoot and the situation seems to be at a turning point when Mellow gets here.

Everyone has their own way of dealing with the situation and what to do next. Some are serious and pragmatic, like Black, others optimistic, like Blue, and others, like Papyrus, find themselves completely backed into a corner, forced to do their best to fix whatever needs to be.

A special case, however, is Axe, whom Mel meets in the forest as she investigates Mt. Ebott. The two have diametrically opposed views of their current condition. One wants to return to her world by any means necessary, regardless of the advantages of a peaceful world. The other, not so much. Both refuse to talk about their past and ignore the other's circumstances, but a sense of familiarity drives them to try to convince the other to stay or go. These are two stark positions to reconcile, and while we can expect Blue and the other skeletons to have their own views on the subject too, Mel and Axe are strangely "committed" in this interraction and resort to violence, spurred on by a unknown substance that causes Axe to momentarily lose control.

Mel is wounded, Axe unconscious, and the status quo disrupted. Other consequences follow this confrontation, and several questions are raised: Can Blue really help Mel when Axe accuses him of having already given up on going home himself? What is this mysterious entity Axe came across a few days earlier? The vibrations? What was that substance that made him go berserk? And what made him stop? Can we trust Mel and what she tells us? And many others.

Because as I'm sure many of you have come to realize, Mel has proven to be a rather unreliable narrator (or at least character since you don't follow her actual POV). Blatantly lying or omitting facts to others and readers alike, it's hard to know her next move and whether she's genuinely forgotten important infos (for it's well established at this stage that she has hazy memories and that they continue to deteriorate. The same applies to her health).

In the same way, each part of TMS so far has raised more questions than it has answered, but I can confidently say that the road is paved for Arc 2 to answer and put in perspective most of them, ahah.

Ah, this is also the moment when I can announce that ALL skeletons will be featured in the Interlude. Should be. Hopefully.

I'd also like to point out a few narrative changes for Act 2! The central characters, in particular. Original cast characters such as Undyne, Metatton and a veiled character will be more formally introduced, but we'll also meet up with characters we've already bumped into, but in a much more concrete way, such as Frisk and Alphys. I can't wait for you to get to know them! You can also expect more pov changes, more elipses and so on. Things are moving fast.

But that begs the question. When is it due? As said before, the first Arc lasted 4 years and I'm entering my last (and most crucial) year of college. I still don't know if I'll have time to get much of it done in 2025, but on the other hand, I'd like to strike while the iron's hot lest TMS be discontinued after a 1-year hiatus and my entry into the working world. Student loan, life and all. There are still plenty of things I'd like to bring to this project, and I now have the skills to actually carry them out, but on the other hand, the time involved has also increased exponentially.

Tbh with you, as an animation student, it's been one of my dreams since 2020 to do one of TMS's sequences in animatic or full anim, or even a trailer for the comic! But as a solo team, it's just unreasonable and I know it. But the parasite ----. Don't get me wrong, I could, but it would take me months and it's just not realistic when 80% of my time has to go into professionnal work that goes into my portefolio or adult stuff. I can't affort to invest time in solo-ing it or to recruit and lead a team over one side project of mine ( ´ ▿ ` ) So we'll most likely stick to classic pages.

But the same goes for collabs, community events, side stories, asks, edits, dubs, testing other platforms, regular animatics. Love all of that. Really. But I never have the time to because, man, I'd love to actually finish TMS someday ahah. It all comes back to the age-old problem of “lots of ideas, little time”, and it's so frustrating but, it's a choice I have to stick to, so bear with me as I vent my frustration. Just for tonight (´ ∀ `, *)

So, yes. Act 2. Next year? Probably? It's a long interlude, so you'll get smth in the meantime, but it's likely to decide the future of TMS and whether Act 2 sees the light of day as I imagine it or if...well, something else replaces it.

bringing back this doodle cuz it seems fiting lol

Anyway, I also wanted to thank you for your engagement with Part 8!

I don't know how other comic artists experience it, but for me it's a very isolated work, and as much as I love working alone, I enjoy the interaction with readers most of all.

Seeing people losing their mind over a serious scene, or chuckling at a dumb gag, or just simping over the characters and art. It's just great, and very rewarding. Likewise, I have a blast answering questions about the TMS universe, reading tags and receiving memes, witnessing people go increasingly mad with messages full of indecipherable screams and hearts. Makes me giggle and kick my feet everytime and I can't wait to drop the next lore bomb or funny scene bwahahah

And while we're on the subject, I'd like to say a special word of thanks to the legions of rebloggers who make it their business to spread the word about TMS. You sweet, lovely, candy scented folks. And to my dear mutuals - with whom I interact objectively so little - who have no idea how a single message or note from them drives me bonkers. Thanks for dropping by. And of course to my super Patreons who support me despite the sparse updates, but to whom I'm more than grateful. Love you all.

Sounds like a farewell message. It's not lol. Just making sure they get the love they deserve.

The post is getting long and I'm kind of done pretending I know how to write organized notes so to wrap things up, here's an exhaustive list of what I'd like to get done this year and/or discuss in more detail another day. •Make a new masterpost (for Act 2) •Analyze/Comment certain sequences from Act 1 to clarify or give context •Redraw and rewrite part 1 and 2 •Make more bonus content again *ahahahahahaha*

•Re open or close the Discord (partially abandoned and it's all on me, but I'm still mulling it over).

•Finish the Interlude and enjoy and nice hiatus

And that's about it? Congratulation for reading this and making it this far! You were there!

Be well, and see you next time.

Seirin-

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[iwillbringyouruin]

Visions Magazine with Tobias Forge on the idea behind Rite Here Rite Now, the importance of soundtracks in general and how he distinguishes between himself and his characters (Visions Magazine issue nr. 377, 08/2024)

Full translation of the included interview by me below the cut - buckle up, this is a long post! There are no spoilers for RHRN in this.

Markus Hockenbrink: Tobias, have you ever watched the movie Metallica: Though The Never?

Tobias Forge: Yes, once, when it had just come out. The topic Metallica came up when we were taking care of the funding for [RHRN]. Every larger production company – and I have to emphasise here that this was before Taylor Swift’s The Eras Tour and her extremely successful movie about it – voiced a lot of concern back then whether anybody would still be interested in concert movies. I had to explain time and again that my movie wouldn’t be a typical concert movie, to which I was asked several times: “Oh, so something like Through The Never?” I had to deny that again. We tell a story in our movie most of our fans are already familiar with. So it’s not an entirely new concept, which is already the first distinction from Through The Never. If you only consider that there is a concert part and a feature film part, then those two movies are probably similar. But that also applies to La La Land.

M. Hockenbrink: You describe your movie as a combination of Kiss’ Alive II, Ralph Bakshi cartoons and silent film horror. Is that a kind of childhood dream that comes true there?

T. Forge: Definitely. For as long as I’ve been interested in music, I’ve also been interested in film and television. Working in film could have also been a career option for me, but I always got the rather annoying impression that one would have to go to film school to really find a place in that field. School was never my strong suit, I see myself more as a autodidact in that regard. That I had the opportunity to work on/contribute to my own movie as a sorcerer’s apprentice of sorts is a real privilege. That is a dream come true but it is also something I can picture more of in the future. Next time maybe without the band.

M. Hockenbrink: Can you remember a specific moment in your life when you realised that you were especially drawn to topics that are slightly morbid and unsettling?

T. Forge: I think that due to my family I came in contact with vastly different kinds of pop culture from a very young age. In more traditional families with more conservative parents and siblings of similar ages, you only really start with your respective journey to find yourself in your teens. Then there are often restrictions that are meant to distract from those darker influences. My parents on the other hand are very liberal and my brother was 13 years older than me. There were never limits or censorship for me. My childhood didn’t go by without rules entirely, but I was always allowed to watch or listen to what my brother was also watching or listening to. That was I was exposed to all kinds of teenage culture from the beginning. Sure, I also liked Pippi Longstocking and He-Man. But that was always combined with the French arthouse films my mother liked to watch or the horror flicks my brother was into. I can’t recall a particularly striking horror film experience, but I still remember the first time it dawned on me that movies don’t just exist, they’re made.

M. Hockenbrink: How do you mean?

T. Forge: My father worked as a documentary maker in television. His job was to connect the video track and the sound track in a fitting way for different film production. I saw Jaws on television with him as a small child. It’s important to note that my father is not somebody who can just quietly enjoy films but somebody who likes to butt in. Thanks to him I already had a kind of epiphany during the introduction. He said: “Look closely! There is nothing to see in this underwater scenery except the algae. Technically completely harmless. But it only takes the ominous music to turn the whole scene into pure horror already!” And I thought: Wow! That’s true! Later in the movie you only have to hear that music and it immediately puts you on edge, even when there’s nobody in the water right now. They don’t even have to show the shark anymore. I found it fascinating that the [viewer’s] senses/perception could be manipulated like that. Ever since I’ve been viewing films with different eyes. I can still allow myself to dive into the story but at the same time I see the practical aspect to film-making.

M. Hockenbrink: I had a similar feeling during the introduction of Shining: technically a cozy road trip in the mountains, but a pure nightmare with the music.

T. Forge: I’m with you on that. Shining is one of the best movies of all time. And funnily enough, only the intro sequence was actually shot in nature. All the other scenes, even if they were outside, were filmed in the studio. Exactly that kind of craftsmanship is what I find inspiring.

M. Hockenbrink: With that in mind, what makes a good soundtrack in your opinion?

T. Forge: We already talked about Jaws, but I can think of Eyes Wide Shut as another example. There is that short piano theme that comes up again and again, incredibly effective. A good soundtrack needs to deliver something that you don’t have to be able to see to perceive its existence. Sure, there are no monsters in Eyes Wide Shut, aside from the main character’s jealousy as an internal monster maybe. But just like the music in Jaws, the theme from Eyes Wide Shut symbolises something that doesn’t have to be shown. The sound is enough. That is also a commonly used effect in adventure and love movies. You just put in a short vignette to describe the love between two characters. In Star Wars, Luke Skywalker also has his own theme, that is used every time when things get emotional and you’re supposed to feel that hope. You’ve got to pay attention to that. Jason Voorhees from Friday the 13th also has a personal theme to recognise him by. Every time you hear it you immediately know “Oh shit, he’s nearby!”

M. Hockenbrink: What about soundtracks that are made up of songs?

T. Forge: With that, I’m especially thinking of Silence of the Lambs. In the scene where Buffalo Bill dresses up as a woman and dances around his basement, a song called Goodbye Horses by Q Lazzarus is playing. I have no idea how the artist felt that since the song is now so irrevocably connected to that awful scene, that you can’t listen to it anymore without thinking of it.

M. Hockenbrink: Do you feel like soundtrack work is more appreciated now than it used to be?

T. Forge: I think that it’s definitely gained importance over the last 40 years. The right song on the right soundtrack can be incredibly powerful. Just think of Stranger Things. Obviously, Metallica and Kate Bush already had successful careers before, but what happened with Master of Puppets and Running Up That Hill following the series was something else entirely. The songs were associated so strongly with the narrative, that way more people listened to them than before. Of course I’m a strong advocate for live music but I also realised that nothing is as strong as the connection of visuals and music. That is still the most powerful way to appeal to a deeper emotion through the association.

M. Hockenbrink: More or less a shortcut to the subconscious.

T. Forge: Exactly. But you can’t be cynical about that either. If I was an A&R person at a big label, I would probably also say: “You just have to find a spot for one of your songs on a popular soundtrack, then you’ll have made it!” That’s really how it is. But when you view it from an artistic perspective, when you want to reach people a certain way or bring across a certain message or a certain feeling, the combination of visuals and sound can’t be topped.

M. Hockenbrink: It especially lends itself to an immersive experience, as seems to be in the foreground of [RHRN]. An album by Black Sabbath or Iron Maiden ends at some point, then you’re gone from that metal world again. With Ghost, however, you get the feeling that the illusion just keeps on going, across several media. Did you plan the Ghost mythology like this from the start?

T. Forge: In part. When I started with the band, I only wanted to make a standalone album. The concept was supposed to be interesting and practical, but I wasn’t planning for Ghost to be a huge thing. The style I pictured has its own limits in my opinion. The band was supposed to function a certain way and appeal to a certain target audience. The concert was supposed to be a theatrical performance in the literal sense. Ghost were never supposed to perform in a normal rock club nor go on tour. I wanted more of a kind of Vaudeville show in a proper plushy theatre. The band was supposed to be as anonymous as the actors that stand on stage and play, say, Faust. The idea behind this was: Those who don’t know who the people are on stage are more ready to follow the story. Then we would perform three days back-to-back in select cities. Berlin, Amsterdam, London. Just like Diamanda Galás who can more likely be found at a culture festival than in a rock shack. But things turned out differently in the end, and I had to kiss my original ideas goodbye again, so to speak.

M. Hockenbrink: Why?

T. Forge: After the success of our debut album, it became clear to me that more conventional concerts were going to be demanded of us and that I could only really say yes or no. This problem became worse after our shift to a bigger label. It became clear that my vision of telling stories clashed with the live sector and requirements for success more and more. At a certain point anonymity doesn’t work anymore and I had to make peace with that in the end.  I originally didn’t even want to do interviews but that’s obviously tricky when you want to sell records. The question that I constantly ask myself since is how I can do those things best in the Ghost way without denying the original Vaudeville spirit.

M. Hockenbrink: In his autobiography Golf Monster, Alice Cooper talks about himself in third person a lot when he is talking about his character. Are you feeling similarly at this point?

T. Forge: At least I can definitely see where he’s coming from. There is a difference between the person Vincent Furnier and the character Alice Cooper. I believe that he was on the verge of completely transforming into Alice Cooper at one point – to the point where one has to decide where they want to live or die. In the end he decided to remain Vincent Furnier and only become Alice Cooper for work, on stage. So far I’ve been fortunate to combine the two pretty well, but had I started Ghost ten years earlier in my life, it would have probably affected me similarly to how Alice Cooper did with Vincent Furnier in his time. But with my humble experience as an actor I have to say: every character you play becomes a part of you to a certain extent. You have to find certain qualities – good or bad – within yourself to bring such a character to life. I think that most actors only play one or two roles throughout their life that they then end up being known for. The different characters that I’ve portrayed on stage are not only very similar but actually also a part of me. Fortunately a part of me that I don’t want to deal with all day long.

M. Hockenbrink: Too cynical and antisocial?

T. Forge: Cardinal Copia or Cardi, as I like to call him, is not an all-around cool person, but that makes him so fun to play for me. He is half Freddie Mercury and half Jacques Clouseau. Kind of clumsy, kind of silly, kind of stupid. The kind of guy who trips over his own feet but catches himself elegantly. That’s also me in a way, but not just. And I think that’s easier to embody than a daredevil hero character who can rival anyone and gets all the ladies. When somebody plays only those characters their whole life, it will probably really go to their head. Especially when there are drugs involved on top of that.

M. Hockenbrink: With all that fondness of doom that can be found with Ghost, that universe also has something humorous about it, benign even. It that an intentionally included contradiction?

T. Forge: Yes, and it is also very important to me that it comes across like that. For me that also has something to do with the evolution of metal. Originally it was mostly a phenomenon connected to the youth, nowadays the musicians and their fans are close to retiring. That brings a certain maturity. Even the Norwegian black metal musicians who were super pissed and extreme 30 years ago and were only made of hate and aggression are well-adjusted people now. Bearded fathers and grandfathers with a pleasant view on life that make others laugh. I see a certain duality there. Everything that has something to do with goth, with metal, with horror, appears dark, dismal and hostile at first. But in reality, that can all be extremely life-affirming and a source of great joy for many people. So pretty much the opposite.

M. Hockenbrink: Speaking of horror: could you imagine making a real feature film some day?

T. Forge: Yes, I would love that. I’m well aware that it’s not going to be easy to make what I’m picturing a reality, just because I’ve done directing once with [RHRN] now. The creative liberty I got to enjoy there also was due to the fact that I funded the movie myself. So nobody was meddling with it. That is likely completely different when you work on behalf of a big studio, because we are talking about different sums here. If I only go off my dreams, I would name two points of reference. One is Shining, the other Bram Stoker’s Dracula by Francis Ford Coppola. I would like to make a movie that’s only shot in a studio, with elaborate sets, matte painting and all that. No outside shots, no special effects, no green screen. And no actors who only gets to see what they were actually doing after the fact. Proper old-school. The way movies are actually meant to look.

[emilykaldwen]

FFWAD 24 - Sins of the Father by @selfproclaimedunicorn

For my first foray into this yearly celebration with @renegadeguild, I picked the brilliant and fantastic story, Sins of the Father by @selfproclaimedunicorn. Misa has taken the fantastic AU premise 'What if Daemon Targaryen and Rhea Royce had kids?' and has run with it in the most delicious and satisfying way. The story isn't complete, but the first 'arc' has a good stopping point at a whopping 160k words, which made for the chonkiest book you could imagine.

This was the twelth book I've bound (both fic and rebinds of old favorites) and I tried several new techniques for it including rounding and backing the spine. I also stretched my legs in the formatting department and went all in with the interior. That meant ordering some special springhill paper to do these fantastic maps for the endpages. Full details behind the cut!

Typesetting: Normally I've kept my settings pretty minimal as I got used to the ins and outs of InDesign (during this, I did purchase Affinity Publisher and might end up moving to that, but I'm finally getting the hang of ID and you can pry it from my cold hands). I really wanted to mimic some of the interior of Fire & Blood for this, so I hunted down the fonts used and took an image of the decorative banner you see on the sides to use for the chapter openers. I also wanted to include timelines and family trees in true historically inspired fantasy tradition.

The family tree was created based off of the author's spreadsheet in Google Drawing, which I found to be the easiest thing to use when it comes to creating chaotic family trees like this (In the past I'd used lucid chart for a printable version, but google worked better here).

the timeline is honestly my favorite thing and I learned how to use tables in ID for the first time. I'm incredibly pleased with it. The formatting is based upon the line of kings in the source. The timeline covers the events of the first arc as printed in this particular story.

The chapter openers are some of my favorite! As the children are proud to be House Royce, I wanted to reflect that. The runes you see behind the Chapter number and title are the Floki font and name the character whose the POV for each chapter.

Since there's plenty of High Valyrian spoken and the author doesn't include the translations within narrative, it was the perfect moment to set up footnotes. I'll absolutely be doing this for my own story when I bind it!

Rounding and Backing: So this was a total adventure, but I really wanted the old book feel. I made the mistake of pressing the book for too long and lost a lot of the swell in the spine to round but it worked out AND I managed to back it a little bit. Since I wasn't doing cord tapes for the spine (this was a version of the three piece bradel), I had to troubleshoot. I ended up cutting strips of the leather cord I bought from michaels and laminating those pieces together and placing them on the oxford hollow on the spine (given how thick the book is, I wanted to give it as much structural strength as possible). The 'leather' covering you see is actually the craft leather (polyester) from Dollar Tree and it's pretty awesome but definitely has difficulties staying put with glue. I followed the normal procedure and slathered both sides up and used twine to compress the bookcloth along those leather pieces. there's a little gaping in some places which I think would help if I'm able to properly apply backing paper to the polyester.

HTV do's and don'ts: Hi! don't be me and forget to apply your teflon sheets before applying the HTV because then you fuck with the polyester but it's not too bad. The other pro-tip is to gently apply the iron to the cover so it's warm before applying the HTV so it can start to stick. I had to apply the front cover in three pieces and do the title twice. Also, it's really difficult to apply HTV to a rounded spine so I'll have to figure out how to set up the spine and cover before applying (since there's a certain amount of stretching the bookcloth over the spine). The spine might end up having to be regular adhesive vinyl for that. Also, it's stupidly hard to find metallic HTV in bronze.

Front matter and final thoughts: The bronze dragon was a lucky find through an extensive google search, and the runes surrounding it are 'we remember with fire and blood', a combination of House Royce and House Targaryen's words. Seems fitting four Yorick, Ella, and Aemon! The copyright page is mimicked off the source's style, including the AO3 information, the creative commons and fair use information, the guild stamp, a QR code to the AO3 page, and my own press stamp! The summary is pulled from AO3 as well.

All in all, I made this book twice and I loved it and learned so much every time.

I'm so happy with this project and I'm so excited to do the next arc! Thank you so much for sharing your wonderful story, Misa!

[howtofightwrite]

i feel like, when it comes to people trying to use violence to knock people out - rather than avoiding methods that could cause permanent injury entirely, the previous anon(s) could just go for it while acknowledging the potential consequences in-writing?

so we can say that maybe, a kidnapper knocks another person out via head injury, and the KIDNAPPER doesn't care; but when the person is rescued the rescuers are worried for them because 'what do you mean you were hit in the head?!' and immediately checked for a concussion.

one could also have it so that the person doesn't know what head trauma or other bodily harm can cause and be appropriately horrified if/when they learn - or, if it's a character who uh. doesn't care for their body or health as much, they could hear this and refuse to care. follow what the character would do on that

they don't even need to actually have the person get a permanent injury. there can be a hospital scene or first-aid responder scene where they check the victim's head and go 'you are very. VERY lucky to not have a permanent brain injury from this', and insist on them to keep monitoring for any future symptoms.

there's a lot of other ways to go about knocking someone out, but iirc this will also apply to other methods of forced unconsciousness, like sleeping pills, sleeping gas or chloroform. in real life, it's always going to risk extra consequences because it involves forcing someone's bodily functions to shut down, if temporarily

and that shouldn't stop them from writing anyway, since fiction is often going to stretch the realm of belief a little with improbable situations, y'know? a lot of stories already take liberties with it. but it's both admirable and a good thing when someone wants to be more faithful to reality, regardless, so that's why i'd like to give my own thoughts.

if the person trying to find a non-lethal angle to knocking someone out is really worried, they could just make a disclaimer saying 'unrealistic depictions of violence/recovery' or 'creative liberties taken with the consequences of bodily harm' at the start of the story and go with their previous plans

but it's perfectly fine to just write as is while acknowledging the situation in-story too, is what i feel. or even have the character actually suffer the consequences. that angle is always interesting when explored.

timeskips are also a way to cheat on the recovery period, if you want it to be really realistic. imagine this scenario; a person gets knocked unconscious during a kidnapping. they wake up and manage to escape with a concussion - but they still have the concussion from the initial assault, along with other injuries during the hostage period. they are promptly hospitalised.

timeskip to several months after. the person has recovered! (or mostly recovered, depending).

a new kidnapper enters the scene! but they don't want the victim to actually be hurt, and the waiting period was hell, so they either just get their bouncer to grab them with no chance for reprieve, nab them while asleep, or threaten them via gun to head/consequences for someone else/etc to get in the car. no actual knocking out forcefully, only unconsciousness is falling asleep in the car.

consequences make for an interesting narrative too, is what i'm trying to say; and there's no need to shy away from it, but rather acknowledge that reality as fact.

I normally wouldn't light up an ask like this, but it is doing a lot of mental gymnastics to try to skirt around the central problems with violence.

So, let's start at the top: Acknowledging a problematic behavior as problematic can still result in the author endorsing that behavior, if they present the specific examples of that behavior in a positive light. If you're having characters casually knocking people out, you are endorsing inflicting extremely hazardous, and potentially life-altering injuries onto people, “but, it's okay, because I didn't kill them.”

The problem comes from an author wanting their upbeat, happy-go-lucky protagonist to also be an absolute bad ass, without interrogating the ethical issues inherent to their “heroic activities.” Worse, in many cases, they want their character to be perceived as a good person, regardless of the horrors they inflict on their fellow human beings.

The last time I covered this, I took a passing swipe at Batman, but it remains a relevant factor to consider about a lot of action hero characters. He engages in absolutely disproportionate violence against people who are engaging in criminal activity because socioeconomic factors that are beyond their control.

A lot of fictional violence gets framed in contexts where the nobility of the protagonist is preserved either because, “they don't kill people,” or, they specifically limit their violence to groups that are “socially acceptable,” targets.

In fact, you can even see an example of the latter in the listing above, with the express targeting of, “kidnappers.” Now, I have no love for human traffickers, but seriously consider for a second that this specific, highly-specialized, career path was called out as the group to engage in this behavior. I'm sorry, “why?” What is it about a kidnapper that makes them more likely to be willing to inflict harm on their victim than some other group? But, that's not the point. The point is so that when your protagonist does truly horrible things to those kidnappers, they're still “a good person,” at the end of the day. (There's also a little goofiness about kidnappers in the ask, because they care more about the physical health of their victim than most criminals would. Think about it this way, a mugger wants your wallet, and you're just an incidental obstetrical between you and their target, for a kidnapper, you are the wallet. They want their victim reasonably intact. Whether that is for a later sale, or for a ransom, they don't get paid if their victim is “non-functional.”)

Actually, a really messed up example of this, on this blog, was a few years back, when someone was asking about their “vigilante” characters gunning down drug addicts. Which, yeah, that's pretty fucked up.

When the author botches their, “acceptable targets,” (which is the point of that Batman critique, by the way), the entire illusion can start to break apart. And it can really expose the idea that you're trying to pretend your character is a good person, because their actions target people who the author felt were, “undeserving,” of continuing to breathe.

Falling Down (1993), with Michael Douglas and Robert Duvall is an excellent interrogation of some of these concepts. I don't want to say too much else, because the film is open to interpretations, (some of which are extremely scathing), and I think the film speaks for itself better when no one is telling you how to interpret it. Just be prepared for an uncomfortable viewing.

Back when we were both regularly active, ScriptMedic and I used to have a bit of a back and forth about pharmaceutical means to subdue someone.

Chloroform is a classic example in fiction, and it was popular in crime thrillers from 80-90 years ago, in an era when ready clinical information to laypersons was far more limited. First of all, the rag over the mouth doesn't work. This is a gas used for anesthesia, and you need a lot more than a single vial to keep someone under. Second, you need to keep applying it to keep them under. Again, that rag isn't going to hold enough. Third, if you somehow got enough chloroform onto that rag, it would sedate everyone in the vicinity, because it's an anesthetic gas. (The liquid form is extremely volatile, and will quickly convert to a gas at room temperature. That gas is what is supposed to knock someone out.) Fourth it used to be a common additive in toothpaste, and frequently occurs as an out-gassing from polymers and adhesives. Popular culture hilariously overestimates how potent this stuff is. You need a lot to put someone under, and you need a trained anesthesiologist to keep them under without accidentally killing them. Also, prolonged use results in liver damage and cardiac issues, which is why we no longer use it for anesthesia. If you try to put someone under without an anesthesiologist, and you manage to sedate them... they'll die. Turns out, it also suppresses the respiratory system, and they suffocate.

It's a similar story with most anesthetic gasses, and in fact, chloroform is one of the “sleeping gasses.” Not all of them have the liver or heart issues, but none of them are, “fire and forget.”

ScriptMedic was a fan of Ketamine for knocking out characters. And, to be fair, Ketamine is fantastic for anesthesiologists. Exceeding the necessary dosage just puts the patient out for longer, which may be inconvenient, but it's vastly preferable to, death. The problem is, it's not great for fire and forget tranq adventures. Ketamine does not suppress salivation. Which isn't a big deal on the operating table, as you can pretty easily keep someone from drowning in their own spittle, but if you just inject some poor mook, and leave them on the curb, they're going to drool themselves to death.

Actual tranquilizer guns are a real thing. They're frequently used in animal control. You don't use these on people because TV lied to you. You get darted, and if you decide to keep the dart in your neck as a peculiar fashion statement, you've still got somewhere between fifteen minutes to an hour to finish up whatever you were doing, before someone rudely added a nap to your schedule. Oh, yeah, and if the dose is too high, these anesthetics can kill you. Dosage calculations with these things are educated guesses at best, and it's why sometimes animal control really can't afford to use tranq guns. It's not callousness, it's a calculus between the threat the animal poses to others, and if they have the time to wait and see if the tranqs work.

What you really need to not shy away from, is the idea that if your character engages in violence, there are going to be consequences for that violence. Unlike in real life, as the author, you are responsible for applying those consequences to the participants. This creates a real problem when you have authors who intentionally try to skirt around the parts of the events they find uncomfortable it reduces the impact of that violence.

To drag up that Batman example, the reason it's a slightly peculiar and subversive take is because it's outside the scope of the comics. Batman goes in, beats up muggers, comes out completely unharmed, and it's all okay because we know Batman's a good person, doing this for good reasons, and the muggers are still alive to reform and become better people in society.

Except, if you step away from the idea of a superhero comic, none of that makes any kind of sense.

The story you're trying to tell doesn't need every instance of violence to be followed with an extensive interrogation of the philosophical implications of what your characters did. However, if you're trying to tell a story where violence is a spectacle that happens in a regular rhythm, it's not going to hit in the same way.

I'm pretty sure I've said this many times, but violence has diminishing returns in your story. The more you use violence (particularly non-consequential violence), the less it will matter, and like any other tool you can call upon, the less your audience will respond to it.

There's nothing wrong with putting some violence with your story, but the one thing you do need to do is be honest with yourself about it. You can lie to your readers. (Though, that's something you want to be very careful of.) But, if you lie to yourself it will harm your story. Sometimes that does require doing some serious soul searching about what you're trying to do. Because, what you're trying to do right now is tell me that you want serious violence, without really coming to grips with how that constrains your options about how violence and physical harm work.

Again, there's nothing wrong with popcorn action. But if you want to write breezy fights between superheroes, you really need to admit, to yourself, that's what you're doing. Your story will be better for it.

-Starke

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