#this has happened with a few characters over time

[clockwayswrites]

The Birdritch's Nest part 25

masterpost

“That is a lot of plants,” Jason said. He swept his eyes over the space as he slipped his lock picks back into their little pouch.

“He has a botanist friend, apparently, and she keeps giving him plants,” Dick explained as he squeezed past Jason and into the apartment.

“Why are you here again?”

“Because I have a car which is better to carry all of Danny’s stuff in than your bike,” Dick explained. He went over to the wall of plants in front of the windowed corner and squinted down at something on his phone.

Jason pulled out his own phone to glance at what Tim had sent. “You say ‘all Danny’s stuff’ like the list was long. The guy hasn’t exactly been demanding.”

“The ‘guy’ expects to actually go home in a few days,” Dick pointed out.

“And is an adult and so can, you know, actually go home,” Jason retorted.

“Damian’s attached.”

“…I concede to your point,” Jason said once that thought sunk in. “Double the clothing asked for?”

“Basically. Make sure that he has a weeks worth, Alfred can always do laundry,” Dick said before letting out a little noise of triumph and doing something over by the plants. “There, watering system turned on.”

“Congratulations, you’re a genius,” Jason drawled. “Now go get his medication gathered up and snoop a little while you’re at it.”

“I thought we weren’t supposed to be snooping,” Dick, words a teasing sing-song as he passed by.

Jason flicked him off. “Like you wouldn’t anyways. I just want to know what you find.”

“Only if you tell me what you find in the bedroom.”

“Deal.”

The bedroom was almost startlingly normal after the plant filled living main room. It didn’t look like Danny really spent much time in it beyond sleeping. The bed was absentmindedly fixed, a black down comforter over pale blue sheets. There was a paperback on the nightstand next to a lamp and a pocket sized notebook with a pen clipped onto the bent and battered cover.

It was the first thing that Jason picked up.

The notebook was obviously where Danny made notes when he was already settled in bed. As Jason flipped through the pages there was everything from to-do lists to invention ideas to… a lot of thought about wings. Jason turned the notebook in his hands. That page wasn’t in English. The language felt like it was on the tip of Jason’s tongue but he just couldn’t get it out.

Maybe some sort of dialect?

Jason couldn’t actually read it, but there was enough to piece together from similarities that tugged on his memory. Enough to understand it was about the wings. Something about the process of change? Aging?

“Hey Jay?” Dick interrupted, scattering Jason’s thoughts. “Can you read the label on these bottles? There’s some serious printing issues happening, I can’t even tell what language it’s in.”

The pill bottle felt oddly cold in Jason’s hand when he took it from Dick, but maybe the bathroom just had shit heating in this place. It would be just like Gotham builders to mess that up.

“Oh, that’s the same thing Danny is writing in here,” Jason said passing the notebook to Dick. “It’s something about wings and getting old, I think, but I can’t really read it.”

“Read it? I don’t even know what it is. Gives me a headache just to look at it,” Dick grumbled as he flipped through the notebook. “The whole bird thing has really been on his mind, hasn’t it?”

Jason gave a little huff. “Do you blame him? The guy has wings now. It would be on my mind too.”

“Yeah… guess I really can’t,” Dick said and snapped a picture of the page with the unknown writing to send to the group chat. “Any idea what it is?”

“Nope. It’s like it’s a distant dialect or that it uses some of the same alphabet of something I learned some of once. Like how Chinese and Japanese use some of the same characters, you know?” Jason explained as he opened the side table drawer and then quickly closed it again. That was more than he needed to know about Danny. “Maybe something from when I was catatonic in the league, who knows. There were a lot of languages in that place.”

“Cass or Damian might now it then,” Dick said as he eyed the drawer Jason had now moved away from.

“Don’t, trust me,” Jason said. “Did you get the medications you needed to grab?”

“Yeah, they’re in the bag. Just a standard bathroom, really. Though he keeps his toothbrush in this old mug with a hero I don’t recognize on it, someone called Phantom.”

“Doesn’t ring a bell, but it sure sounds like a hero name. Add it to the list,” Jason said as he started on gathering up the requested clothing and extra enough to last a week. “Check the closet to see if there are any shits in there that work around wings.”

Jason rolled his eyes as Dick threw the closet doors open dramatically and focused on his task. Jeans, sweatpants, underwear, what he guessed was pajamas were all added to the bag.

“So, nothing that looks like it was made for wings,” Dick said and tossed some normal shirts and a few sweaters into the bag. Jason sighed and folded them neatly. “Maybe he hasn’t had time to find any yet? It hasn’t been that long since the bird thing and seems it all started there. Or maybe he’s just always home when he’s had then?”

“Better let Alfred know then. He’ll want to get something as soon as possible.”

“Yeah, good point,” Dick agreed.

While Dick stepped out of the bedroom to call Alfred, Jason took the time to double check the list. It really was pretty basic. Jason didn’t know if Danny was just trying to not be demanding or if the guy didn’t need much, but Jason went ahead and put the bedside paperback and notebook in the bad too. Jason slung the duffel bag Dick had brought over his shoulder (he totally could have ridden his bike like this) and took a little bit of time to snoop through Danny’s bookcase while Dick finished the call. Sci-fi, horror, old text books, and a ton of notebooks filled the shelf with knickknacks and a few figures. Jason at least had to give Danny points for having some of the sci-fi classics, even if the range of works was pretty limited.

“Okay, Alfred is on it,” Dick said. “Anything else we need to do?”

“Nah, I think we’re good,” Jason said. Something made him not want to look through the notebooks, like they had already done enough snooping. It was an odd feeling. “Let’s get going, I’m hungry for whatever dinner is.”

“You’re always hungry,” Dick said.

Jason shrugged rather than dealing with how true that statement was. “I’m a growing boy.”

“You’re a trash pit.”

“Yeah, you want to go there, cereal boy?”

“Leave my cereal out of it!”

---

AN: I do love writing Dick & Jason so much. Can you tell I have an older brother? Also sorry for the mistakes I'm sure are abounding. Guess who turns out to be anemic? This critter! Maybe getting that fixed will help...

[jinwoosbabyboo]

Is This a Tragedy?

You're an actor and you finally got your big role in a hit TV show. Unfortunately your character only made it to Season 2 before they killed you off. This is how I imagine the lads men react to watching that scene [Requested by: Anon]

𝚉𝚊𝚢𝚗𝚎

calm cool and collected on the outside; whole time he's really having an internal breakdown

grips your hand a little tighter in his as the scene progresses

“are you dying? is this a tragedy?”

is very aware that it’s just a show, but can’t stop his heart from pounding at the thought of losing you

rubs his eyes to keep himself from tearing up

stares at you after the episode ends “What?” “The thought of losing you has always terrified me; watching you perform that scene does not help” “it’s my job Zayne besides im right here”

finds himself staring at you more often just trying to commit every feature of yours to memory

never willingly watches that episode again

skips over that part every time or just turns the show off “You still can’t watch it?” “No”

praises you for the phenomenal performance although he claims it was a little too realistic

𝚁𝚊𝚏𝚊𝚢𝚎𝚕

is great at slipping in and out of character so he was the one helping you with your acting skills

sits up straight when he realizes what's happening “is this the scene you've been keeping secret?”

falls out immediately in your lap

bawling his eyes out goes as far to curl up in your lap

would be so proud of not only you, but himself as well for helping you perfect your craft

“Do I get credit as the acting coach?” “Yes would you like a reward?” “You know I do”

Although he’s proud of you he can’t bring himself to watch the episode again also doesn't continue watching the show in general "they killed off my favorite character how can I continue watching it now?"

keeps pushing you to work on crying on command so if you need to cry for your next roll it’s even better

acted out the scene with you at home for fun once and had a mental breakdown

𝚇𝚊𝚟𝚒𝚎𝚛

Fell asleep in the middle of the show and missed it

“just watch it when you get a chance” “no replay it”

immediately turns the show off in the middle of the scene

“im not watching this” “Xav…” “No”

drills you with questions about why you didn’t tell him you were dying in that episode

“I can’t watch that don’t make me watch it” "You're being a little dramatic don't you think?"

pouts, pouts, and pouts some more

won’t watch it no matter how much you beg

although he never finished watching the whole scene he holds your hand tighter now these days

asks for a warning next time so he can prepare himself …… to fast forward

𝚂𝚢𝚕𝚞𝚜

watches quietly giving away nothing

“You even shed a few tears for your own scene?” teases you for crying at your own death scene “it looks different after the editing okay!”

won't admit it, but one time was enough

“it made you sad didn’t it?” “Well I don’t take pleasure in watching you die onscreen sweetie” “im alive though” “Let's keep it that way”

weasels his way out of watching the scene again

his voice slightly wavers whenever you bring it up

avoids eye contact when you tease him about it

held you tighter at night for at least a month

Bonus: the twins bawled their eyes out and tackled you to the ground with a bone crushing hug

[mayasaurusss]

hey how are you? could you write jinx x reader? something like jinx taking the reader's virginity. thanks ❤️🫰🏻

My favorite piltie

A/N: Hello! I am okay anon, thanks for asking! Just a bit sad that tomorrow Arcane will end😭.

I want to make it clear that I tried to do this before the next act drops, so I wrote it in two days and some things might not be very good, but I hope you will enojiy it nonetheless!!

Contains: female reader, detailed description of a wound, smut. All characters are 20+ years.

2,8 K/4 pages

When Jinx came knocking at your door tonight, you didn't think you'd end up in this position: her hands gripping at the skin of your chest and with her head buried in it.

The beginning of your night had kicked off with a strange twist when you heard a knock on your fifth floor appartment's window. You gulped down your fear and with a fast beating heart, looked past the window's glass to see a crouching figure with bright pink eyes staring at you. Any other occasion and you would have died on the spot, but you knew who she was. As soon as you opened the window, the figure let herself in, crawling out of the darkness and into the light of your room. "You are so nice letting me in, piltie" she said, and you don't miss the venom laced in the last word she spoke. "Your people aren't really known to be kind" her long fingers mess with the many little trinkets displayed on your shelves, checking their mechanisms and turning their gears.

"What do you want, Jinx?" you can feel a tingling sense of anger inside your skull at her continuous teasings.

You still remember the first time you had seen her, running from enforcers and covering her wounded shoulder.

You knew how ruthless they could be, especially since Miss Kirramman had taken control over the city. In a strange turn of events, you had found her curled up in one of Piltover's abandoned alleys and brought her with you to your home, taking care of her for the next few days until you found your window open and the blue haired criminal nowhere to be seen. During that time, you grew fond of her and were sad when she disappeared. Some weeks had passed and your life continued to flow normally, until she showed up at your door again. You were actually kind of amazed by the fact that she managed to sneak inside the appartment's building without being noticed, but after the third time, when someone called the enforcers on her, she had begun to climb on the building's exterior and knock at your window instead.

"Oh nothing, just wanted to pay a visit to my favorite piltie" she falls back on your bed, sizing you up from head to toe with that smirk of hers that makes your heart beat faster. "That's all?" the mattress dips under your weight as you sit next to her, always keeping your eyes on hers. "Mhmm, maybe" she fishes something from a bag -one you've just noticed- and shakes it: a small glass globe filled with water and fake flakes of snow. The tallest buildings of Piltover reflect the warm lights of your room, making the city of progress look ethereal under the glass. But it wasn't the shiny buildings or the snowflakes that got your attention, but a small name made with metal and gear parts glued to the bottom of the globe. "No way...is this a real Valdiani?!" the shock in your voice makes Jinx's heart flutter, something that she has never experienced before.

She lets out a proud snuff of air from her nose, pushing her chest outwards, "Consider it a gift for my fav- shit!" the sudden swear catches your attention and you look over to see Jinx doubled over. "Jinx! What is going on?!" It's faint, but you can see her hands wrapped tightly around her left side, traces of blood seeping from between her fingers. "Oh shit! Jinx what happened?" she lets out a breathless chuckle, her skin suddenly far paler than normally. "Hah, just some gift the bluebellies have given me" she sucks in a breath when you move her hands, biting a scream away. A deep wound runs along her side, pus forming where her skin had been pulled back from the slash, bleeding red on your covers. You run outside of your room and collect gauze, antiseptic, healing creme and a glass of water.

"Here, bite this" you hand her an old cloth, which she promptly places in between her teeth. "Ready?" she nods, taking a deep breath and closing her eyes. The heat of your hand is the only thing that brings her comfort. She isn't ready though when you pour the liquid over her wound: it feels like billions of needles stinging and burning her flesh, making her want to vomit.

"There there, it's over..." you quickly dry her skin and massage the healing cream on her, finally finishing when you cover her stomach with the gauze. She releases a huff of relief, mindlessly tangling her fingers with yours. When the pain subsides, she realizes how close the two of you are. You on your knees, her panting and sweating, how close you are to her and how fast her heart is beating. It would take a second, just a second for her to reach for your lips and melt into you...

"Uh... I- uh, just-, what happened?" you try to not sound too shy but your voice gives your feelings away. "I..." Jinx's throat bobs and it seems that she'd rather curl herself up like a hedgehog than admitting whatever she did. "You know, the usual. Went on a walk, stormed a shop, stole some things, got the enforcers called on me and..." she gestures towards her side, "...this happened".

Jinx isn't clear with her words, but something about the blush on her skin hints at the fact that there may be something else underneath her facade. You might try at least, right? Reaching for the glass globe, you twirl it in your hands, watching the snowflakes fall on Piltover. "Jinx...did you get chased after stealing this?", she doesn't answer, but her shy silence is enough for you.

"Why? Why do this for me?" she pouts her lips before answering, still held back by some sort of pride. "W-what can I say? Anything for my favorite piltie...".

A heavy silence fills the room, of the kind that is difficult to bear.

You can't believe it. You just can't believe that she'd be so reckless, so stupid! It's difficult to bite your anger back, but you do so, and instead of crying or screaming or scolding her, like Jinx thought you were going to do, you just hug her tightly against your chest. Your grip is so strong against her that she feels like she'll choke on it.

But you are so warm in comparison to her body, so, so warm. For the first time in a while, after Silco's death, after Vi's betrayal, after everything went to shit, she feels like she can breathe. And so she does, inhaling your scent in between, tasting it on her tongue. When you pull back, Jinx's eyelids are heavy with want, her mouth slightly open and her skin red.

It takes a second for her lips to push against yours, for her hands to come up and grab your face and pull you down towards her. The kiss is surprisingly tender for it to be Jinx's: you expected teeth and tongue, not pecks and soft touches. The way she sighs and runs her hands on your chest has you keening for her. "Jinx..." a small line of spit connects your lips, and before you can say anything else, she wipes it off on your bottom lip and sighs, "You know what piltie? I think I deserve something too".

Blinking at her a couple of times, she groans at your naivety and continues while taking your cheeks in her hand. "It has been a hard day for me: running from enforcers, bleeding all the way here... I think I deserve a gift too".

And that's where you are now, naked from the waist up with Jinx on your lap, diligently taking what's hers. The way her tongue teases your nipple is something to die for. It seems all her softness has died with the kiss you shared before, now tugging and biting every part of you. You gasp as she bites your nipple, leaving the indents of her teeth on the delicate skin.

"If I knew I could see you all shy and fidgety-" she tugs your left nipple with her long fingers, smiling cruelly when tearing a gasp from you, "...I would have done this earlier". Her lips leave your right nipple, spit chilling the skin, before she teases both of them with the point of her fingernails, moving and tickling them.

Jinx lets out one of those cruel laughs of hers before diving right back on your nipple, giving it one last kiss and moving towards your stomach. She kisses and strokes every one of your scars, every mole or freckle, every inch of skin, until she comes across the hem of your pants. "N-No wait, Jinx..." you place your hand on her forehead, strands of blue hair falling in between your fingers. She halts immediatley at your discomforted voice, billions of little alarms going off in her head and an attentive yet scared look in her eyes. "What is it?".

"I... I have to tell you something" and with that, her heart beats faster and faster and that obnoxious voice inside her head speaks; 'You've hurt her' and 'Look at what you've done' and 'Did you really think she would genuinely like you?'. But your voice is stronger than theirs. "Hey? Is everything alright? We don't have to do this" in the meantime, your hand cups her cheek, thumb stroking at the pale skin. "Yeah I- I am okay. And I want to" her own fingers close in on you and she takes a moment to breathe. Your own warmth is one of the only things that can make her calm. When the voices blur away and only you and her are left, she opens her eyes again, your reflection sharp inside their pink. "What do you have to tell me?" now it was your time to take a breath, because knowing Jinx, she could have two reactions over your news: making fun of you or absolutely losing her shit. "I... I am a virgin".

She takes a moment to process the information and then lets out a wheezing laugh, making blood rise quickly to your face. "That's it?! I thought I accidentally hurt you or something!". The only thing you can do at this point is pout and look away offended. "Oh come on toots" her hands take a hold of your face before turning you to her, who is smiling softly and with tenderness. "I am just kidding. Don't be so moody. And besides..." she captures your lips, biting and licking and sucking until they darken, leaving a faint trace of blood where her teeth were, "...It's so fucking hot".

The descent to get to her prize is tedious and long, but Jinx can't help but want to savor each one of its steps. Her fingers finally hook on the hem of your pants and pull down, revealing your naked thighs to her; the only thing stopping her from claiming her prize is the fabric of your underwear. "Wait a second..." despite how cute you look to her, Jinx rolls her eyes at yet another one of your attempts to stop her. "What, toots? You don't want me to fuck you?" your eyes widen when she so bluntly says that, without an ounce of embarrassment on her face, but continue. "What?! N-no I want to....it's just that..." you eye Jinx's position on the floor. "The wound might be painful if you crouch... I don't want you to hurt yourself".

"So, what do you want me to do?". You look back between Jinx and the plush, comfortable bed, a lightbulb popping off on your head. "Lie on the bed", you say, making Jinx blink a few times before processing and understanding your intentions. "Ohh, I didn't take you for the kinky type, toots". She crawls over the bed, making sure to look as alluring as possible, then lies down with her head pressed on one of your pillows. "There. Do you like this more?" the way that she's so smug about it, with that stupid smirk of hers, makes you want to choke her to death.

"Shut the fuck up", you follow her, placing yourself on each side of her head, feeling her hands rise on your tighs to curl on the soft fabric she so wishes were to disappear. "Hmhm, alright" she eyes the patch of cloth that has begun to show a wet stain, images of what she is going to do to you already flashing in her mind. But this position prevents her from sliding them off without you having to move away from her, and she'd rather keep you and your pussy here. "You know, as much as I love how cute you look with these..." you only have a brief moment to see a malicious glint in her eyes, before she tears your underwear apart, leaving you naked in front of her "I'd much rather have you bare". "Jinx! I just told you to shut up!" it doesn't help that she doesn't mind you and whistles loudly, making you feel more and more embarrassed. "And I -shut up!-. And-and those were expensive! Do you know how-!" but all your words die in your throat when she, with a strength you didn't know she had, pulls you flat against her mouth.

She licks your clit like a starved woman, like it will be the last meal she'll ever have. She doesn't dive right in your pussy, instead takes her sweet time to torture you, making you wish she'd just fuck you already. "Jinx...please, I-" she opens her eyes to see you above her, naked and panting with pleasure, something she only ever dreamt of seeing.

She can't say no to her favorite piltie. Her cold hands grab your ass, propping you up in a new angle on her face so you can't move, but she can do everything she wants to. She spends the next minutes milking your pleasure out of you, before pushing one finger slowly inside of you. You gasp in pain at first, a small trickle of blood wetting your skin and her fingers, and after a few minutes, feeling need arise from the depths of your guts. Jinx's eyes widen when she first feels you move atop her fingers, riding them messily; and she already has a new idea. "No, none of that toots" with her left hand, she yanks your hips down on her fingers, preventing you from moving further. Her next words feel like ice cold water on naked skin; "I won't make you cum if you do it again" and as if that wasn't bad enough, she emphasizes her point with a trust of her fingers. "You will be a good girl, won't you?".

"Yes, yes, yes I will be a good girl..." her smile is all you see before she disappears underneath your thighs. As soon as you get used to the alien feeling of her fingers inside of you, her pace is unrelenting; fast and hard, torturing your clit with her lips. She takes your hips and places your slit directly onto her tongue, forcing you to grind down on it. When you start to wheeze from her touches, she decides to move onto the next phase of her plan. "Hey baby, get up a sec" you would rather keep on grinding on her tongue, but comply anyway. You get up, putting ditance between your slit and her mouth, but while you do, she directly shoves in her fingers, making your legs almost give out. With her other hand she pushes you until your ass is flat against her lap. "Come on, bounce" you don't let her repeat herself twice, already fucking yourself on her fingers at the best of your abilities. What she's seeing is far better than anything she could have ever dreamt of: her favorite piltie bouncing up and down her fingers, eyes heavy and panting above her. And your movements on her own crotch only make her feel more and more euphoric. Oh, if only she could feel you... When she curls her finger on that spot that has you keening, you finally come undone; finger intertwined, billions of stars exploding beneath your eyelids and electricity coursing through your veins. You collapse on her, skin against skin, puffing and gasping for each breath. Your whines reach Jinx's ears and right now, she wants nothing more than to tear orgasms upon orgasms from you, but she'll have to wait.

You roll over, taking a place near her on the bed, shivering from the intensity of your first time. And when Jinx, with a horrifyingly both sweet and sadistic smile turns to you, excitement clear on her face, your pussy clenches around nothing and your blood turns to ice. "So, wanna go again?"

[miscellaneousramblings]

Maybe???

Ig that separating the two seasons feels like a cope but I have trouble reconciling them in my head rn.

Season 1 was fun to watch because its animation is literally mind-boggling and revolutionary, but it also had some genuinely touching, dare I say even thought-provoking moments. Not everything was perfect and fandom actually had fun poking at the holes because the show didn't have the time to say everything, but at the same time all the clues and more importantly the character beats were present. So even if we had to infer some stuff it still rang true I think, because it was actually supported by the text.

In season 2 the text is weak because there is no time at all. We go from personal stakes to cosmic stakes in less than 10 episodes. Even the most skilled writers can't pull this off. So with a few exceptions we are left with scenes that don't feel earned, dialogue that feels marvel-ised and a shitton of stuff that gets straight-up skipped over (as in "oh yes, this happened but we don't have the time to give you dialogue. have one visual cue instead"). It really shows with the "music videos" (too many of them) and the music itself too, which was way better in s1. So fandom will still probably have fun filling the holes but at this point each of us can make up our own version of the show, the relationships, the characters' motivations, etc. because the canon "skeleton" has become paperthin. Also personally I didn't have a lot of fun watching this season, especially Act III.

Those are my two cents anyway.

stating to think there’s an inverse correlation between how good media is and how easily fandomizable it is 😁

[tinyfantasminha]

Thoughts on Jack's dream(MASSIVE main story spoilers ahead)

JACKS DREAM got me by the thROAT bc the more I analyze it the more angsty it feels and I alreadfy sobbed n cried and I must SCREAAAAAAAAMMMMMMMMM He's dreaming of the magift tournament but basically if..... if Leona's plan never took place....... If Leona actually WERE the hero Jack has idolized...... 😭

First I gotta take note dosodkgkfdgjdfkghfdjk hOW JACK YEARNS FOR HIS SENPAI'S PRAISE AND AFFECTION 🥺🥺truly the epitome of loyal, puppy-like behavior..... It doesn't take much for him to be happy… He yearns for the respect and acknowledgement of those he admires. He craves respect and recognition, but not only that—he genuinely wants to see those he admires thrive.

Seems to me that what Jack longs for most is a sense of belonging within a pack. He’s not just devoted to those he holds in high regard; he also desires to be cared for in return (This becomes even more apparent when he asks Ruggie to act as a mentor or older-brother figure in his dorm uniform vignette.) Jack's actions reflect his innate wolf nature—a being built for connection, loyalty, and mutual protection. No matter how much he tells himself or others how he prefers to handle things on his own… We can clearly see that Jack is happier when he’s part of a team, fighting alongside companions who’ve got his back. It’s the dynamic balance of trust: to protect and be protected, to rely on others and let them rely on him in return. It deeply resonates with the essence of wolves.

We often hear the phrase “lone wolf,” an expression of grudging admiration. A lone wolf is often viewed as a rugged individualist, uncompromising and independent, driven to forge his own path, unfettered by the sentimental need for companionship. In reality, few people would ever want to live this way—and, as it turns out, few wolves would either. Wolves, males and females alike, may go through periods alone, but they’re not interested in lives of solitude. A lone wolf is a wolf that is searching, and what it seeks is another wolf. Everything in a wolf’s nature tells it to belong to something greater than itself: a pack. Like us, wolves form friendships and maintain lifelong bonds. They succeed by cooperating, and they struggle when they’re alone. Like us, wolves need one another. (source)

Which is why the factual reality cuts so deeply.

After Ortho wakes Jack up (in oUTER SPACE DKJGDSDKFJGKJS that was so adventitious but so cool.....) and Jack falls down like a meteorite (ALSO SUPER COOL BUT WTF.....) Fake!Leona and Fake!Ruggie rush to his side, Leona softly reassures him, saying it’s a relief he’s uninjured and advising him not to be so reckless while Ruggie says ''You're a promising rookie. Our treasure.'' (I started crying here.)

Jack breaks into a bitter, despairing laugh as the truth crashes down on him. The sincerity and warmth his “upperclassmen” showed in that moment? It wasn’t real. It never actually happened. Jack recounts his excitement when he first joined Savanaclaw, eager to fight alongside the dormmates he admired so much. He talks about how he had watched Leona’s play three years ago—over and over again, captivated by it. He reveals the painful truth of discovering their wicked plan, the frustration of being unable to snap them out of it, and the overwhelming helplessness that consumed him.

I gotta say, I'm SO HAPPY that Jack's feelings on the events of book 2 were finally properly addressed now (cause let's be real, book 2 uhh... did kinda a shitty job at this 💀 Neither the narrative nor the fandom really took the time to explore the emotional impact it had on him, which is such a disservice to his character.)

Think about it from Jack’s perspective. He was obsessed with Leona's play 3 years ago, watching it over and over again. In his eyes, Leona was a hero, someone worth idolizing to the point of projecting an idealized image of him: an earnest, hardworking, honorable leader. When Jack finally had the chance to join Savanaclaw and be part of the dorm he had admired so deeply, what was his reality? Ostracization, bullying and even physical violence from some of his dorm mates (as shown in Leona's dorm uniform vignette) And worst of all? Jack was met with his idol’s true, treacherous side—dirty tactics, underhanded schemes, and a willingness to harm others to achieve his goals. When Jack tried to confront them about it, he wasn’t met with understanding or respect. Instead, he was called a “filthy traitor” and a “spoiled brat”—by the very person he admired most. It’s a complete dismantling of everything Jack believed in, everything he worked for.

It's a shame the game and manga did not give enough weight to Jack’s feelings, (the novel seems to do a better job at it though) but now it’s clear just how much this hurt him. It wasn’t just a setback; it was a deep, personal betrayal that shook him to his core.

He’s only a first-year. Beneath his gruff demeanor and physical strength, Jack is still a boy—pure-hearted, earnest, and full of hope. All he wanted was to stand beside those he respected most but what he got instead was disappointment, betrayal, and rejection. To idolize someone so deeply, only to have that image crushed in the most personal, gut-wrenching way........ Savanaclaw doesn't deserve him 💔

.

,,,,okay forgive me to break the essay to talk about this but I'm going insane over the fact fake Ruggie ominously coos, ''Hey puppy-chan you're a good boy so come here.....'' UGHGHHHDSHNGDSHNDGSHHHnnnnhhHHHH HE IS BASICALLY SAVANACLAW'S UNOFFICIAL MASCOT,,,,,,, their loyal little puppy 🥺🥺🥺😭😭

fake ruggie and fake leona try to lure him in to sleep again, but Jack says he has no intention of fighting alongside fakes and defeats them 😌

And we get this utterly precious moment where Jack praises Yuu and Grim for having guts and persevering through everything and he PETS GRIM'S HEAD............ HE DIDN'T NEED TO COMFORT THEM BUT AWWAAHBBBAYYAWYWYHAWWABYWAWAYAA

I can't wait to see what role he'll play in Leona's dream 😌 Jack’s arc feels like it’s finally getting the weight it deserves… 🙏🙏🙏

[thewriteadviceforwriters]

Do you have any tips on how characters react after a heat in the moment first kiss?

Hey there! I'm so glad you reached out about depicting characters' reactions after an unexpected first kiss. This is such an important and tricky moment to get right in any romance story.

I don't talk enough about romance, so I've very excited to write a blog post about this, especially since in almost all my writing projects I utilize a romantic subplot.

Understanding the Emotional Impact

First things first, it's important to recognize just how powerful and transformative that first kiss can be for your characters, even if it's spur-of-the-moment or unplanned. A kiss like that has the power to shift the entire dynamic between two people, unlocking a whole new level of vulnerability, intimacy, and emotional intensity.

Think about it - your characters have probably been building up tension, attraction, and unspoken feelings for each other over time. And then, in one electric moment, all of that comes bubbling to the surface. Suddenly, everything changes. The world seems to slow down, and all that matters is the connection between them.

Whether your characters have been pining for this moment or it takes them completely by surprise, that first touch of their lips is guaranteed to trigger a whirlwind of emotions. Excitement, nervousness, relief, uncertainty - it's a veritable emotional rollercoaster.

And of course, the way each character responds will depend on their individual personality, past experiences, and overall mindset. A shy, cautious character might be utterly flustered and overwhelmed. A bold, adventurous one might be thrilled and eager for more. And someone with trust issues or a painful romantic history might panic and pull away.

The key is to really get inside your characters' heads and hearts, understanding how this monumental moment resonates with them on a deep level. That's what's going to make their reactions feel raw, authentic, and achingly real for your readers.

Crafting Nuanced Reactions

(The examples I use are very cliche, and personally not my writing style, but they're simply for your reference to get a rough idea of what I'm trying to indicate)

Okay, now that we've established the emotional gravity of that first kiss, let's dive into some specific techniques for portraying your characters' reactions. Here are a few ideas:

Focus on the sensations. When a character experiences something as intense as an unexpected first kiss, their physical responses are going to be heightened. Capture the racing heartbeat, the trembling hands, the tingling skin - all those little visceral details that make the moment palpable.

For example (Very cliche but, just for reference): "Her lips were soft and warm against his, sending a shiver down his spine. His heart pounded in his ears, fingers trembling as he cupped her cheek, hardly daring to breathe."

Showcase their inner turmoil. Don't just describe what's happening externally - give us a window into your character's jumbled thoughts and feelings. Are they overjoyed? Confused? Terrified? Let us see the full emotional spectrum unfolding.

Like this: "Panic rose in her chest as his lips met hers, every nerve ending firing at once. What was happening? This couldn't be real - it had to be some kind of dream. But the way her skin tingled, the way her stomach fluttered, told her this was very much reality."

Use body language and subtle reactions. Characters don't always have to respond with grand, over-the-top gestures. Sometimes the most meaningful reactions come through in the little, unconscious movements - a shy glance, a gentle touch, a subtle smile.

For instance: "For a long moment, they simply stared at each other, frozen. Then, slowly, a smile tugged at the corners of her lips, eyes sparkling with a mix of wonder and delight."

Lean into the awkwardness. First kisses, even magical ones, can also be a little clumsy and uncertain. Embrace that sense of fumbling vulnerability - it makes the moment all the more endearing and relatable.

Something like: "Their noses bumped as they leaned in, hearts racing. He hesitated, suddenly unsure, but then her hand slid around the back of his neck, pulling him closer. Their lips met in a tentative, exploratory kiss that sent tingles down his spine."

Contrast reactions between characters. If you have two characters with very different personalities or perspectives, lean into that contrast to create compelling dramatic tension. How might a guarded, cynical character react compared to an optimistic romantic?

For example: "She froze, eyes wide with shock. This was the last thing she'd expected - to be kissed by her best friend, of all people. Panic fluttered in her chest, desperate to pull away. But then she saw the vulnerability in his gaze, the slight tremble in his hands, and her heart melted. Slowly, hesitantly, she kissed him back."

The key is to get creative, have fun, and be able to let your characters' unique voices and perspectives shine through.

Additional Resources

And of course, don't hesitate to reach out if you have any other questions! I'm always happy to chat more about anything writing related.

--Rin T.

[azaharinflames]

Will you share your theory on what you think is happening behind the scenes of 911?

Hi, Nonnie!

Sure! As long as everyone is aware this is purely speculation, and nothing I say should be taken as proof of anything, I have no problem.

I've gone over a few things in my head, to be honest. I thought that JLH having filming conflicts could've been a major factor, and I still don't exactly disagree with that initial idea, but overall I think it was one of the things that threw TM for a loop.

Now, I've seen a lot of people theorize that perhaps Angela is leaving and that is what is causing so much chaos in BTS, but I am on the fence about this. I do think she might've asked to not have such a big role moving forward, especially if they get a season 9 (which I am also on the fence about ngl), like perhaps retiring, or just having a more laidback position training new recruits. The seeds are planted for that, not so much for her fully leaving. And it would give Angela more free time to dedicate to other projects (which, yes please. I need her in new projects ASAP).

So... (and please don't kill me for this, it's just a theory).

I think it all comes back to Ryan. And that he perhaps is leaving, or actively wants to leave. I will try to explain myself as concise as possible:

A couple of months ago there was already speculation about this. In all of his individual interviews (which were a lot, to be honest), Ryan made a point of talking about his work beyond 911 and talking about what he would like to do after 911.

On top of the individual promo, there was an uncharacteristically high amount of BTS dedicated to him and the godforsaken mustache. To the point where they threw a mustache party. And in the pics of that party, the vibes were that it was a party for Ryan, not in general.

Small thing, but Josh randomly dressing up as Eddie for Halloween. Perhaps unrelated, but I wanted to add it.

The 911 account reposting and celebrating Ryan's 100th ep, when 1. it wasn't his 100th (if we count the eps he was actually in) and 2. it was also JLH's, and yet they didn't say a thing about it. Ryan reposted that as well and the message he reposted it with was more nostalgic than anything else. Very much giving 'it was an honor to work with you, what a journey'.

I could be wrong, but I do think his contract ends this season. So, that just adds to it.

The timeline of the move to Texas. By the reactions alone I was fully expecting Eddie to leave for Texas at the end of 808, and then to be back with Chris (in a lazy way of solving their conflict off-screen) by 809-810. But the way he's currently thinking about it makes it very sus for me. As in, it can be a thing for the end of the season, and an actual goodbye for Eddie.

Of course, nothing of this has to actually happen, and it's quite possible it just exists in my brain. But this makes sense in my funny brain because then it explains why BT had to break up so soon... because they wanted Buck to feel completely isolated.

We know 809-10 will deal with Maddie being kidnapped. That alone will make Buck spiral. But if on top of that his best friend is also leaving... well, being alone just adds to the isolation and the angst. Because if Tommy was still around he'd be able to lean on him, and have him help him through this. But it seems like the writers wanted Buck fully alone for this, because sure, seeing a character never learning and being completely isolated is so much fun.

If this ends with BT getting back together, I honestly don't know. It wouldn't surprise me if Tim doesn't know. But, all in all, I wouldn't be surprised if RG deciding he's done is the thing that kinda created the domino effect.

(Also: I do not believe Oliver was telling Tim to fire Lou and end BT. Sorry. I just don't really see it. Nor do I think there were actual conflicts between actors BTS, as much as everything they're doing right now does feel a bit weird)

Anyway, thanks for letting me rant, Nonnie! My inbox is always open for ranting, venting, or discussing

Take care <3

[bluedalahorse]

I feel like there’s some meaningful stuff here about Sara and August’s relationship, so I wanted to reblog and lift those up here! Sara has traditionally been unfairly slammed by the fandom, even though her actions were meaningfully different from August’s in season 2. And a lot of times saraugust is held up as this ontologically evil foil to wilmon, even though both pairings juxtapose the capacity to be sweet and loving with some pretty intense teenage flaws.

Personally, while I understand why they happen, I’ve always been a little wary of discussions of “is Sara a bad person/is August a bad person.” I understand why this framing works for some fans, but it doesn’t work for me. Mostly because a while back, Omar was talking in an interview, and he talked about Lisa’s writing philosophy being that there aren’t good and bad people in her stories, there are people in her stories who are capable of good and bad actions. Now, authorial intent can only go so far, I get that. But I do think this is a theme that underpins the series. I think they did a great job of showing Sara’s complexity and growth over the season. I do think there were some fumbles to August’s writing in season 3 that led a portion of the audience to believe he never changed, ever, over the course of the series. I think the show would have benefitted from him and Simon having a chance to do restorative work outside of their relationships with Wille. At the same time, I don’t think season 3 was without growth for August. @sflow-er’s post on the Fleabag parallel does a great job of breaking down August’s arc. I’m not saying any of this negates the harm August does—far from it—but I do think the show is inviting us to envision a better future for August where he grows and changes, especially in our fanworks.

And that’s what I want to talk about in this reblog: fanworks. It’s been a long time since people were acknowledging the saraugust nuance in season 2, and ultimately how fascinating the pairing is, but there’s still only 96 fics tagged Sara/August on AO3 and only a few are actually about them.

I think, what I’m sad about most when it comes to Young Royals fandom, is that there is no fanworks community around Sara and August the way there is for wilmon, at least on tumblr. There are individual people who are interested in their dynamic, and some of them create fanworks from time to time, and some of us reach out to one another and have meaningful and wonderful one-on-one conversations in our inboxes. But there’s very few reblog chains about them where people are just expressing fun headcanons, there’s very little circulating fanart, there’s some gifsets and edits but they don’t circulate as frequently, no fandom events or challenges themed around them, no following and cheering on of Malte and Frida’s careers, (to my knowledge) no epic multichapter saraugust fics we discuss together and swoon over and make starry eyes over.

To be clear: I don’t think I’d ever expect saragust to have the same size of following wilmon does. There are many factors that make wilmon more popular, first and foremost being that August does real legitimate harm and is annoying and kind of sucks. Like, hey! I get it! Not everyone is going to like him, and that’s perfectly okay. And then there’s the fact that not everyone who’s drawn to an m/m show is going to feel excited to ship a f/m pairing. As @crownedwille points out, fandoms sure can do some stuff when female characters are involved. Of course saraugust will get smaller numbers.

But as someone who’s been tracking the saraugust breadcrumbs in fandom for a while, and has been following their tag on AO3, what I’m noticing is not exactly a natural absence of interest in the pairing. It’s more like I see a lot of people who have an interest in the characters and the dynamics, but something about the way YR fandom interacts socially reinforces the notion that you keep your saraugust feelings to yourself. Or, for a while if you were expressing those feelings, you were encouraged to express them in ways that are full of apologies and disclaimers. When you’re spending all your time doing that, it becomes a lot harder to create fanworks. Like, even in the tags of this post, I see a lot of people saying they liked them or found them interesting or cute or they’re hooked in by the drama or whatever else! Clearly the enjoyers exist and are out there. I think the discourse (and the harassment of actors/writers/creative team on social media) has died down a lot since the finale and there’s more space to like the characters, but I also think that some of the patterns of fandom interaction that sprung up post-S2 have had a continued impact on how people express themselves.

And yes, it’s important to be mindful of the morally dubious sides of this pairing, but we can do that while creating space for people to openly enjoy it through fic and headcanons and edits and such the way that many people in the fandom openly enjoy wilmon, even if it’s a smaller group of us. (Heck, some people enjoy saraugust because of the moral dubiousness and that is part of a Valid Fandom Tradition of enjoying morally dubious pairings.)

As someone who’s currently feeling a little burned out on wilmon by itself and doesn’t really have a desire to read works centered on them, but who’s still in love with the broader YR world and its characters, especially my two favorite characters—I am desperate for a little bit less saraugust discourse and a little bit more joyous fannishness about them. I’m not entirely sure how to make that happen. I’ve been writing fic, blogging about the characters, creating ask games, posting pictures of the plushies, and also doing some other stuff behind the scenes. But I often don’t post or reblog as much as I could for fear of discourse returning, and I feel disconnected from fandom most of the time, even though I have some strong individual ties to individual people. (I also feel like I may have burned some bridges at times when I was upset.) It’s a bit of a sisyphean conundrum, isn’t it? I wish I could wave a magic wand and make more fanworks and community happen around this pairing in particular, but also around other pairings and characters on the show for the fans who want those other pairings and characters. I just wish there was a little more variety in the characters and pairings talked about.

Anyway, I don’t have any answers and it’s time for me to acquire groceries for the week, so. Blue out.

There's so much discourse around Sara and August. Whether they were good together or not. Whether they loved each other or not.

What we tend to overlook is the fact that they talked to each other. Enough that they knew each other.

He wanted someone to talk to and he thought about her. So he went to find her and he knew to find her in the stables. Then he immediately proved to her that he was someone "safe" by petting her horse. She misunderstood his invitation that evening but he didn't make her feel bad about it. We know she talked to him about the Felice Horse Selling Thing™️ because when she comes to say that Felice was officially selling the horse, he just said "I thought you already knew that" because she had already told him.

Sara talked to August. The same why August talked to Sara. He opened up about the drugs and why he used them. He opened up about being Wilhelm's back up. He opened up about his guilt and about feeling like a horrible person.

She talked to him about her horse and about Felice. Two things that she considers the most important in her life. She also opens up to him about wanting to fit in. Wanting to "be like him" meaning that she wanted to be like the Hillerska crowd.

They talked to each other.

So like, yes, they did horrible things. They are bad people. But they aren’t incapable of caring. And they aren't entirely self centered. That's what makes their individual betrayals even more heartbreaking. Because we know they're capable of caring and they made the choices they did anyway.

[mixelation]

i got up to do a chore and then was like "no, i should write down this sentence first" and then wrote a 700 word intro to "deidara is minato's oops baby" i guess

Our story, dear reader, starts like many do: with tragedy. 

At the height of the Third Shinobi War, Namikaze Minato and Uzumaki Kushina come to an agreement. Whenever Minato is out of the village on a long-term mission, they are both free to have sex with whomever they please. 

They refine this agreement multiple times over the years, to keep the both of them comfortable and happy. They make rules to prevent emotional attachments. They both commit to their due diligence in screening for STIs and preventing pregnancies. 

There is no rule against having sex with enemy ninja. Six months out from his marriage, Minato sleeps with an Iwa missing-nin. Her name is Juri, but Minato never learns this. She’s the one who makes the proposition, and he thinks it’s a bit sexy, to sleep with the enemy. Juri enjoys the thrill of fucking the man that her former village, now her most hated enemy, is most afraid of. 

The condom breaks. Juri insists she knows the contraceptive jutsu, and she definitely doesn’t want to be pregnant, on account of currently being on the run from her home village. Minato hedges and asks her to do the jutsu in front of him just to be sure, and she acquiesces. They part on good terms and do not give the other any way to contact each other. 

Minato goes home and reports the broken condom to his fiancée, but neither of them give the incident much worry. The contraceptive jutsu is easy, and Minato saw her do it, and also what are the chances that this random woman would get pregnant from this one hook up?

Kushina also thinks sleeping with the enemy is kind of sexy. They roleplay it a few times and otherwise never think of Juri again. 

What neither of them know is that Juri has a bloodline limit which affects her chakra. What Juri herself doesn’t even know, is that she needs specific adjustments to the contraceptive jutsu to accommodate her bloodline limit. It’s never come up before. She’s never had a condom break. 

Half a year later, Minato and Kushina are married, and Juri is recaptured by Iwa. 

“You can’t execute me,” she insists. “I’m pregnant. Don’t you want more explosion release babies?”

She does not reveal the identity of the father. This seems like it could get her special treatment, or it might get both her and her baby killed. She decides not to risk it. 

For the first few years of his life, little Deidara has an average upbringing. Juri is under constant surveillance, but the war has been costly and Iwa does need more babies. That Deidara is healthy and demonstrates a strong aptitude for shinobi skills is a boon to Iwa and a boon to Juri. 

The Yellow Flash becomes Hokage, and Deidara begins ninja training years early. Iwa insists Juri have more children. They pick out men for her. 

To breed me like a dog, Juri thinks, grinding her teeth. No thanks!

She leaves the village again. She does give some thought into bringing Deidara with her, but ultimately concludes her chances of survival will be higher without him. 

Fuck Iwa, she thinks, and on her first day as a free woman, she sends a message to Konoha. 

Juri does not survive the week. Uzumaki Kushina and her newborn baby Naruto, in an unrelated incident you may know something about, also do not survive the week. Konoha is plunged into chaos, and the message from Juri ends up buried in a report that the grieving Yellow Flash doesn’t read. 

The start to this story, as you can see, dear reader, is very sad. We are left with three of our named characters dead. One of our survivors is overwhelmed with grief and survivor’s guilt for years to come, unable to forsake his duties to the village to properly process his loss. The other survivor is suddenly plunged into a confusing, chaotic world without a parental figure to support him and no way for such a young mind to comprehend why this is happening to him. 

But don’t worry, dear reader.  Ten years later, while shuffling through old documents in order to prepare for renegotiating a peace treaty, Namikaze Minato will find the note from Iwa no Juri, and everything will change.

[literaryvein-reblogs]

Writing Notes: The Master Fiction Plot

Lester Dent's "Master Fiction Plot", often referred to as the "Lester Dent Formula" is a widely circulated guide to writing a saleable 6,000-word pulp story.

This is a formula, a master plot, for any 6000-word pulp story.

It has worked on adventure, detective, western and war-air. It tells exactly where to put everything.

It shows definitely just what must happen in each successive thousand words.

The business of building stories seems not much different from the business of building anything else.

Here's how it starts:

A DIFFERENT MURDER METHOD FOR VILLAIN TO USE

A DIFFERENT THING FOR VILLAIN TO BE SEEKING

A DIFFERENT LOCALE

A MENACE WHICH IS TO HANG LIKE A CLOUD OVER HERO

One of these DIFFERENT things would be nice, two better, three swell. It may help if they are fully in mind before tackling the rest.

A different murder method could be--different.

Thinking of shooting, knifing, hydrocyanic, garroting, poison needles, scorpions, a few others, and writing them on paper gets them where they may suggest something.

Scorpions and their poison bite?

Maybe mosquitos or flies treated with deadly germs?

If the victims are killed by ordinary methods, but found under strange and identical circumstances each time, it might serve, the reader of course not knowing until the end, that the method of murder is ordinary.

Scribes who have their villain's victims found with butterflies, spiders or bats stamped on them could conceivably be flirting with this gag.

Probably it won't do a lot of good to be too odd, fanciful or grotesque with murder methods.

The different thing for the villain to be after might be something other than jewels, the stolen bank loot, the pearls, or some other old ones.

Here, again one might get too bizarre.

Unique locale? Easy.

Selecting one that fits in with the murder method and the treasure--thing that villain wants--makes it simpler, and it's also nice to use a familiar one, a place where you've lived or worked.

So many pulpateers don't. It sometimes saves embarrassment to know nearly as much about the locale as the editor, or enough to fool him.

Here's a nifty much used in faking local color.

For a story laid in Egypt, say, author finds a book titled "Conversational Egyptian Easily Learned," or something like that. 

He wants a character to ask in Egyptian, "What's the matter?"

He looks in the book and finds, "El khabar, eyh?"

To keep the reader from getting dizzy, it's perhaps wise to make it clear in some fashion, just what that means.

Occasionally the text will tell this, or someone can repeat it in English.

But it's a doubtful move to stop and tell the reader in so many words the English translation.

The writer learns they have palm trees in Egypt.

He looks in the book, finds the Egyptian for palm trees, and uses that.

This kids editors and readers into thinking he knows something about Egypt.

Here's the second installment of the master plot.

Divide the 6000 word yarn into four 1500 word parts. In each 1500 word part, put the following:

FIRST 1500 WORDS

First line, or as near thereto as possible, introduce the hero and swat him with a fistful of trouble. Hint at a mystery, a menace or a problem to be solved--something the hero has to cope with.

The hero pitches in to cope with his fistful of trouble. (He tries to fathom the mystery, defeat the menace, or solve the problem.)

Introduce ALL the other characters as soon as possible. Bring them on in action.

Hero's endevours land him in an actual physical conflict near the end of the first 1500 words.

Near the end of first 1500 words, there is a complete surprise twist in the plot development.

SO FAR:

Does it have SUSPENSE? 

Is there a MENACE to the hero?

Does everything happen logically?

At this point, it might help to recall that action should do something besides advance the hero over the scenery.

Suppose the hero has learned the dastards of villains have seized somebody named Eloise, who can explain the secret of what is behind all these sinister events.

The hero corners villains, they fight, and villains get away. Not so hot.

Hero should accomplish something with his tearing around, if only to rescue Eloise, and surprise! Eloise is a ring-tailed monkey.

The hero counts the rings on Eloise's tail, if nothing better comes to mind.

They're not real. The rings are painted there. Why?

SECOND 1500 WORDS

Shovel more grief onto the hero.

Hero, being heroic, struggles, and his struggles lead up to:

Another physical conflict.

A surprising plot twist to end the 1500 words.

NOW:

Does second part have SUSPENSE?

Does the MENACE grow like a black cloud?

Is the hero getting it in the neck?

Is the second part logical?

DON'T TELL ABOUT IT***Show how the thing looked.

This is one of the secrets of writing; never tell the reader--show him.

(He trembles, roving eyes, slackened jaw, and such.)

MAKE THE READER SEE HIM.

When writing, it helps to get at least one minor surprise to the printed page.

It is reasonable to to expect these minor surprises to sort of inveigle the reader into keeping on.

They need not be such profound efforts.

One method of accomplishing one now and then is to be gently misleading.

Hero is examining the murder room.

The door behind him begins slowly to open.

He does not see it.

He conducts his examination blissfully.

Door eases open, wider and wider, until--surprise!

The glass pane falls out of the big window across the room.

It must have fallen slowly, and air blowing into the room caused the door to open.

Then what the heck made the pane fall so slowly?

More mystery.

Characterizing a story actor consists of giving him some things which make him stick in the reader's mind. TAG HIM.

BUILD YOUR PLOTS SO THAT ACTION CAN BE CONTINUOUS.

THIRD 1500 WORDS

Shovel the grief onto the hero.

Hero makes some headway, and corners the villain or somebody in:

A physical conflict.

A surprising plot twist, in which the hero preferably gets it in the neck bad, to end the 1500 words.

DOES:

It still have SUSPENSE?

The MENACE getting blacker?

The hero finds himself in a hell of a fix?

It all happens logically?

These outlines or master formulas are only something to make you certain of inserting some physical conflict, and some genuine plot twists, with a little suspense and menace thrown in. Without them, there is no pulp story.

These physical conflicts in each part might be DIFFERENT, too.

If one fight is with fists, that can take care of the pugilism until next the next yarn. 

Same for poison gas and swords. 

There may, naturally, be exceptions.

A hero with a peculiar punch, or a quick draw, might use it more than once.

The idea is to avoid monotony.

ACTION:

Vivid, swift, no words wasted.

Create suspense, make the reader see and feel the action.

ATMOSPHERE:

Hear, smell, see, feel and taste.

DESCRIPTION:

Trees, wind, scenery and water.

THE SECRET OF ALL WRITING IS TO MAKE EVERY WORD COUNT.

FOURTH 1500 WORDS

Shovel the difficulties more thickly upon the hero.

Get the hero almost buried in his troubles. (Figuratively, the villain has him prisoner and has him framed for a murder rap; the girl is presumably dead, everything is lost, and the DIFFERENT murder method is about to dispose of the suffering protagonist.)

The hero extricates himself using HIS OWN SKILL, training or brawn.

The mysteries remaining--one big one held over to this point will help grip interest--are cleared up in course of final conflict as hero takes the situation in hand.

Final twist, a big surprise, (This can be the villain turning out to be the unexpected person, having the "Treasure" be a dud, etc.)

The snapper, the punch line to end it.

HAS:

The SUSPENSE held out to the last line?

The MENACE held out to the last?

Everything been explained?

It all happen logically?

Is the Punch Line enough to leave the reader with that WARM FEELING?

Did God kill the villain? Or the hero?

Excerpts from Marilyn Cannaday's biography of Lester Dent, "Bigger than Life: the Creator of Doc Savage" (Bowling Green State University Popular Press, c1990), transcribed by Jason A. Wolcott, 1995.

Sources: 1 2 ⚜ More: Notes & References ⚜ Plot ⚜ Character ⚜ Worldbuilding

[buckets-and-trees]

Red, White & True: DC, Tampa, Athens [5/?]

Characters/Pairings: Steve Rogers x curvy Millennial Female!Reader, Peter Parker, Sam Wilson, Bucky Barnes Word Count: 6.1k Summary: Late September means things are only accelerating as election day grows closer. Steve is picking up momentum in the polls, and things heat up on multiple fronts before you hit a bump that may shake up the progress between you and your husband.

Content/Warnings: marriage of political convenience, slow burn

Notes: You get another West Wing cameo in this chapter (but totally unnecessary to have ever watched the show). This takes place in a post-Endgame scenario where Steve stays and generally most of TFATWS happened.

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[SEPTEMBER 26 - WASHINGTON, DC]

The late September sun streams through the floor-to-ceiling windows of the campaign's official DC headquarters, casting long shadows across the bustling office space. You're leaning against a desk, watching with amusement as Peter Parker, the youth outreach coordinator who's also become the campaign's unofficial creative director of the TikTok segment of the social media team, attempts to explain the concept for the video to Steve.

"Okay, Cap," Peter says, his enthusiasm palpable as he holds up his phone. "We're going to do a quick transition video. It's super easy, I promise!"

Steve stands in the middle of the room, looking slightly uncomfortable but determined. He's dressed casually in jeans and a plain white t-shirt, a stark contrast to his usual campaign attire. The goal is to remind the voters that Steve is relatable to the everyday American at the end of the day.

Steve nods, a mixture of bemusement and determination on his face. "Alright, Peter. Walk me through it."

Peter's face lights up. "Okay, so you're going to start in your casual clothes, then you'll spin around. As you spin, we'll cut and you'll change into your suit. When you finish the spin, you'll be in full Captain America mode, then we’ll have you spin and change one more time, and we’ll end the video with you in your presidential get up."

"And this will... resonate with young voters?" Steve asks, raising an eyebrow.

You can't help but chuckle. "It's about showing your versatility, Steve. From everyday guy to national hero to the next president in the blink of an eye."

Steve shoots you a playful glare. "Easy for you to say. You're not the one spinning like a top."

Peter positions Steve in front of the camera. "Okay, Cap. Just spin naturally, and we'll take care of the angles and editing.”

As Steve prepares for his first take, Bucky saunters into the room, a smirk playing on his lips. He sidles up next to you, crossing his arms as he watches his best friend awkwardly position himself in front of the camera.

"I'm sure Steve must be loving this," Bucky murmurs, his voice low enough that only you can hear.

You nod, suppressing a chuckle. "It's written all over his face."

Indeed, Steve's expression is a fascinating mix of determination and mild discomfort, his brow is furrowed in concentration.

The rapport that’s been developing with Bucky over the last few weeks has also been nice. It’s its own brand of friendship, and it’s not rock solid yet, but it’s growing.

"Alright, Cap," Peter calls out, phone at the ready. "On three. One... two... three!"

Steve begins to spin, his movements a bit stiff in the first take.

Peter's enthusiastic voice cuts through the air. "That was great, Cap! Let's try again,” he encourages, not leaving a beat for Steve to feel awkward or like he’s done it wrong. You can tell his approach will make all the difference with Steve.

As Steve prepares for another take, you can't help but admire his willingness to step out of his comfort zone. It's one of the things that's made him such an effective candidate - his ability to adapt and connect with people across generations.

"Okay, this time, try to relax a bit more," Peter suggests. "Just have fun with it!"

Steve spares a glance at you and Bucky, then takes a deep breath, shaking out his arms. "Right. Fun. I can do fun."

Bucky snorts beside you. "This ought to be good."

As Peter counts down again, Steve starts his spin. This time, his movements are smoother, more natural.

"Perfect!" Peter exclaims. "That's the one. Now, let's get you into your tac suit for the next part."

Steve nods, heading towards the makeshift changing area set up in the corner of the room. As he disappears behind the partition, Bucky leans in closer to you.

"You know, I never thought I'd see the day when Steve would be doing social media stunts," he says, his voice a mix of amusement and pride. "He's come a long way from the kid who could barely talk to girls in Brooklyn."

You smile, picturing a young Steve Rogers, all skinny limbs and earnest determination. "I bet he was endearing," you say.

Bucky chuckles. "Oh, he was. A real charmer. Couldn't string two words together around a pretty dame, but he had a heart of gold." He pauses, his expression growing more serious. "It's good to see him like this, you know? Engaged with the world, trying new things and connecting with people again. For a while after the Blip, I worried he’d ride off into the sunset forever before the sunset was even really here. We’re out of the century we were supposed to live in, but we’re still here, y’know? Didn’t think it would be this, but it’s not all bad. Pepper wasn’t wrong in choosing him for who he is inside.”

You nod, understanding. “When I met with her about the campaign, she’d sent me the policy materials, the plans, the opposition research detailing his strengths and weaknesses as a candidate, and I was on board to take any position she offered me on the campaign team. I never imagined working on a presidential run, but her vision, her approach? I knew I wanted to be part of it.”

Bucky arches an eyebrow. “I thought… wait…” he’s mulling over what you said. “So, when you came in, you didn’t know she wanted you to marry Steve?”

You laugh and shake your head, “Oh, no! Because that would have been crazy! Who would agree to that?”

Bucky's eyes widen slightly at your revelation. "But you just... agreed on the spot when she proposed it?"

You pause, considering how to respond. The truth is, it had been a whirlwind decision, one that you sometimes still can't believe you made. "Not exactly on the spot," you say carefully. "But...pretty quickly, yeah. It was a lot to take in, but something about it just felt right, you know?"

Bucky nods slowly, a thoughtful expression on his face. "I get it. Steve has that effect on people. Makes you want to follow him into any fight, even if it's not your own."

Before you can respond, Sam walks in, eyebrows raised at the scene before him. "How’re things going here? I hear we’re starting a dance troupe?"

Bucky chuckles. "Social media campaign. Apparently, the kids these days like watching people spin around and change clothes."

Sam shakes his head, a grin on his face. “Glad I’m not going to miss it.”

“I’m suggesting you go in as back up dancer.”

“Don’t threaten me with a good time, Barnes! You know I’d do it!”

You laugh at the easy banter between Steve’s two best friends, but then the man himself emerges from behind the partition, now clad in his tactical suit. The sight of him in the red, white, and blue outfit isn’t new, but as it’s the first time you’ve ever seen him dressed as Captain America in person, it unexpectedly takes your breath away a little.

Steve takes his position again, looking more at ease now in his familiar uniform. "How's this, Peter?" Steve calls out, adjusting the shield on his arm.

Peter gives him a thumbs up and starts the countdown. This time, Steve's spin is confident and fluid, ending with a slight smirk that's pure Captain America.

"Nailed it!" Peter cheers. "Okay, one more outfit change and we're done."

“Hang on!” Sam calls out. His eyes light up as he looks between you and Steve, a grin spreading across his face. "We've got a golden opportunity here."

You raise an eyebrow, curiosity piqued. "What do you mean?"

Sam rubs his hands together. "Picture this: Captain America, in full uniform, getting a kiss from his lovely wife. It's the perfect Instagram moment!"

Steve's eyes widen slightly, a faint blush creeping up his neck. "Sam, I don't think-"

"No, no, hear me out," Sam interrupts, warming to his theme. "We've been pushing the whole 'relatable Steve' angle, right? Well, what's more relatable than a guy getting a kiss from his wife? Plus, it ties in the Cap persona.”

Peter's face lights up at the suggestion. "Oh man, that's genius! The engagement would be off the charts!"

Steve looks slightly uncomfortable, shifting his weight from one foot to the other, and you don’t know how to feel about it either. "I don't know, guys. Isn't that a bit... much?"

Bucky chimes in, a smirk playing on his lips. "Come on, give the people what they want."

“Et tu, Brute?” you direct this to Bucky, not at all surprised at the enthusiasm from Sam and Peter, but genuinely shocked he’s jumping on board as well.

Sam turns to you, his expression a mix of excitement and mischief. "What do you say? Want to break the internet with a kiss from Captain America?"

You hesitate, feeling a mix of emotions. On one hand, the idea of kissing Steve - even for a staged photo - sends a flutter through your stomach. On the other, you're acutely aware of the artificiality of the situation and the potential implications for the campaign.

You glance at Steve. His expression is unreadable, but you can see a hint of uncertainty in his eyes.

Sam, sensing your hesitation, softens his approach. "Look, I know it might seem a bit much, but think about it. We've been working so hard to show Steve as both the hero and the everyday man. This could be a perfect blend of both."

Peter nods enthusiastically. "I think a good candid shot would be a great way to humanize the campaign. Show that even Captain America has a soft side."

You look back at Steve, and he gives a small nod. You see a mix of emotions in his eyes - uncertainty, but also a hint of something else. Trust, perhaps. "If you're okay with it, I am."

"I’m good," you agree, your heart rate picking up slightly.

Sam claps his hands together. "Great! Peter, get ready with that camera."

As Peter positions himself, you step closer to Steve. He reaches out, gently placing his hands on your waist. The tactical suit feels cool under your fingertips as you place a hand on his chest. You can feel the slight tension in his muscles.

"Ready?" Steve murmurs, his voice low enough that only you can hear.

You nod, managing a small smile. "Let’s do this," you reply once more because this is its own ‘public appearance’, and so the customary exchange only seems fitting.

Steve’s hands move from your waist around to your back, and he takes a deep breath, looking into your eyes.

You stop breathing for a moment, suspended there in his arms.

“Kiss her, punk!” Bucky shouts, and the electric moment is broken, but you both laugh, and then Steve dips you dramatically and kisses you soundly as you clutch his shoulders. The three men cheer enthusiastically and cat call you when the kiss goes on just another moment or two.

As Steve stands you back up, you both burst into laughter, the tension of the moment dissolving into genuine mirth and camaraderie. His arm is still around your waist, steadying you as you regain your balance. The warmth of his body radiates through the tactical suit, and you find yourself leaning into him slightly, your soft, round body pressing into his hard muscles.

"So, Peter," Steve calls out, his voice still tinged with amusement, "did we nail that shot, or do you need us to try again?" There's a playful glint in his eye as he says this, and you can't help but grin up at him.

Peter, looking slightly flustered but undeniably excited, nods enthusiastically. "Oh yeah, Cap! That was perfect! The internet is going to go crazy over this!"

You start to step away, ready to return to your spot by the desk, but Steve surprises you by gently pulling you back, his arm wrapping around your waist once more. The room seems to fall away as he gazes into your eyes, a softness in his expression that you've rarely seen before. Time slows as he leans in, his free hand coming up to cup your cheek.

His touch is feather-light, his calloused thumb brushing across your cheekbone with a tenderness that makes your breath catch. The scent of him envelops you - a mixture of leather from the suit, a hint of aftershave, and something uniquely Steve.

Your heart races as Steve leans in, his breath warm against your lips. For a moment, you forget about the cameras, the campaign, everything except the man in front of you.

Steve's lips brush yours, soft and tentative at first. It's different from the performative kiss moments ago - this feels real, intimate. You respond instinctively, your hands sliding up his chest to rest on his shoulders. The kiss deepens, and you feel a warmth spreading through your body.

Suddenly, you're jolted back to reality by the sound of a throat clearing loudly.

You and Steve break apart, both slightly breathless. The room crashes back into focus, and you're acutely aware of the others watching. Sam has a knowing smirk on his face. Peter looks like he might explode from excitement.

"Well," Sam says, breaking the silence. "I think we've got more than enough material for social media now."

You step back from Steve, feeling the heat creep up your neck. Steve clears his throat, looking slightly flustered himself.

"Right," he says, his voice a bit rough. "I should, uh, go change for the final spin shot."

As Steve disappears behind the partition again, you catch Bucky's eye. He gives you a subtle nod, his expression unreadable. You're not sure what to make of it, but there's no time to dwell on it as Peter starts setting up for the final shot.

You return to your spot by the desk and try compose yourself. Your lips still tingle from the kiss, and you can't shake the memory of Steve's touch.

Bucky sidles up next to you, his voice low as Sam and Peter talk next to you. "That was quite a show," he murmurs, a hint of amusement in his tone.

You glance at him, unsure how to respond. "It's all part of the job, right?" you say, aiming for nonchalance but not quite hitting the mark.

Bucky gives you a long look, then nods slowly. "Right. The job."

Before you can say anything else, Steve emerges from behind the partition, now dressed in one of his presidential suits - a sharp navy number that accentuates his broad shoulders. You can't help but admire how he carries himself. He exudes a quiet confidence, as ever, a perfect blend of the everyday man and the leader of the free world.

"Alright, Cap," Peter calls out, "let's nail this final spin!"

Steve takes his position, and as he begins to turn, you find yourself holding your breath. The transformation is mesmerizing - from casual Rogers to Captain America to Presidential Candidate, but all of them undeniably Steve.

[SEPTEMBER 27 - TAMPA, FLORIDA]

The campaign has rented out an entire floor of a hotel for debate prep, transforming the spacious suites into makeshift war rooms as Tampa provides some key and convenient access to key southern cities by plane. Maps, charts, and policy briefings cover every available surface, and the air hums with the energy of a team on a mission.

Jake Sullivan, Steve's chief strategist, has pulled out all the stops for this crucial phase of debate preparation. He's brought in Amy Gardner, a seasoned political operative known for her sharp wit and take-no-prisoners approach. Her presence adds an extra edge to the already intense atmosphere. You watch as Amy commands the room, even though she sits rather casually in an armchair ten feet from Steve, who stands behind a makeshift podium.

Her presence adds an extra edge to the already intense atmosphere. You watch as Amy paces the room, firing off rapid-fire questions at Steve, who stands behind a makeshift podium.

"What's your plan for addressing climate change?" Jake asks, his voice stern.

Steve responds confidently, "We need to transition to clean energy sources while also supporting workers in traditional energy sectors. My plan includes..."

Amy cuts him off, her tone brusque. "Too long. You've got 60 seconds max. Hit the key points and move on."

Steve nods, taking a deep breath. "Right. Clean energy transition. Support for affected workers. Immediate action on emissions reduction."

“Too succinct,” she says.

Steve frowns, clearly trying to find the right balance. Squaring his shoulders, he goes again. "Our climate plan has three key components: First, an aggressive transition to clean energy sources like wind and solar. Second, robust support and retraining for workers in affected industries. And third, immediate action to reduce emissions across all sectors. This isn't just about saving the planet - it's about creating jobs and securing America's energy independence for generations to come."

Amy nods approvingly. "Better. Now, pivot to how this contrasts with your opponent's stance."

Steve's brow furrows in concentration. "Unlike my Republican opponent, who continues to deny the reality of climate change, my plan acknowledges the crisis we face while also prioritizing American workers and innovation. We can't afford to stick our heads in the sand any longer."

"Decent," Amy says, her tone softening slightly.

“Only decent?”

“You didn’t address the Democrats’ policy. Your battle is to convince enough voters in America to break with over two hundred years of choosing between red or blue.”

You can see Steve is fighting back a sigh of frustration.

"Mr. Rogers, your opponent claims your lack of formal political experience makes you unqualified for the presidency. How do you respond?"

Steve takes a moment, his brow furrowed in concentration. "My experience may not be traditional, but it's been forged in the crucible of protecting this nation and its values. I've led teams through impossible situations, made tough decisions with global consequences, and always put the American people first. That's the kind of leadership experience that truly matters."

Amy nods, but doesn't let up. "Good, but tighten it up. You need to hit harder on your unique qualifications. How do you respond to critics who say your experience is outdated?"

"I'd say that my unique perspective allows me to see both where we've been and where we need to go," Steve begins, his voice steady. "I've seen this country at its best and its worst. I understand the challenges we face because I've lived through similar ones before. But I also understand the incredible potential of our future because I've seen how far we've come."

You can’t help but feel inspired by that answer, but Amy's eyes narrow, her expression sharpening. "Not bad, but you're still playing it too safe. Your opponents will come at you hard. Let's ramp this up."

She stands and begins pacing in front of Steve like a shark. "Mr. Rogers, your critics say you're nothing more than a science experiment gone right. How can you claim to represent the average American when you're literally superhuman?"

Steve's jaw tightens, a flicker of frustration crossing his face. "I may have enhanced abilities, but my values and my heart are as human as anyone's. I grew up in Brooklyn during the Great Depression. I know what it's like to struggle, to feel powerless. The serum didn't change that part of me."

Your heart swells, but again Any interjects again.

"Weak," she says, her voice cutting. "You're not connecting. Try again."

Your mouth drops open slightly. That was powerful. You know it was.

Steve takes a deep breath, his knuckles whitening as he grips the podium. “I’m not a monkey on a unicycle.”

“Well, what a great start. No one wants a monkey in the White House,” she deadpans.

“I don’t need this. We did just fine in the first debate without you,” Steve nearly growls.

“Oh, I didn’t know we were aiming for just fine, I thought you wanted to win.”

Steve's eyes flash with a mixture of anger and frustration. The tension in the room is palpable, like a rubber band stretched to its breaking point. You can see the muscles in his jaw working as he grinds his teeth, trying to maintain his composure.

"I'm not here to play games or put on a show," Steve says, his voice low and controlled, but with an undercurrent of steel. "I'm here because I believe in this country and what it can be. I've fought for it, bled for it, and yes, even died for it. So don't tell me I'm not connecting."

Amy opens her mouth to retort, but Steve cuts her off.

"I've seen this nation at its best and its worst," Steve goes again, his voice growing louder, more impassioned as he speaks. "I've watched it rise from the ashes of the Great Depression, triumph over fascism, and push the boundaries of human achievement. But I've also seen it torn apart by fear, prejudice, and greed."

His eyes blaze with an intensity that seems to electrify the air around him. The room falls silent, everyone transfixed by the raw emotion in his words.

"I may have been enhanced by science, but my heart, my values - they come from growing up as a scrawny kid in Brooklyn who couldn't stand by and watch bullies win. They come from the men and women I fought alongside, who gave their lives for the ideals this country stands for."

Steve's fist comes down on the podium with a resounding thud, causing several people to jump.

"I'm running for president not because I think I'm better than anyone else, but because I believe in the promise of America - a promise that's been broken too many times for too many people. I've seen what this country can do when we come together, when we fight for what's right. And I'm here to tell you, we can do it again."

Steve's voice rings out, filled with passion and conviction. The room is dead silent, everyone hanging on his every word.

"So no, I'm not a traditional politician. I don't have decades of experience playing political games or making backroom deals. What I have is a lifetime of standing up for what's right, of putting others before myself, of believing that we can always be better. I'm running because I believe in the power of ordinary people to do extraordinary things when given the chance."

He pauses, his chest heaving slightly as he looks around the room. The silence is deafening, everyone ensnared by the raw power of his words.

"That's what this campaign is about," he says, his voice softening but losing none of its intensity. "It's about reminding every American that they have the power to shape this nation's future. That their voice matters, their dreams matter, this country over politicians and political agendas. It’s not a show to me.”

Steve strides away from the podium and walks out, and no one stops him. No one even moves until the weighted door to the suite swings closed again. Jake and Elsa begin conferring. Amy seems unconcerned. You’re sitting with Bucky and Sam, who exchange a look, and Bucky moves to stand, but you’re quicker.

“Let me go after him,” you find yourself saying, surprised at how fast you were to seize this situation, almost like a natural instinct.

You hurry out of the room, scanning the hallway for any sign of Steve. You catch a glimpse of his broad shoulders disappearing around a corner and quicken your pace to catch up.

"Steve!" you call out, your voice echoing slightly in the empty corridor.

He stops, his back still to you, shoulders tense. As you approach, he turns slowly to face you. The fire in his eyes has dimmed, replaced by a weariness that tugs at your heart.

"Hey," you say softly, closing the distance between you. "That was... intense back there."

Steve runs a hand through his hair, letting out a long breath. "I shouldn't have lost my temper like that. It's just..." He trails off, shaking his head.

You reach out, placing a hand on his arm. "It's okay. Amy was pushing hard. Maybe too hard."

He looks down at your hand, then up to your face. “I’m fine.”

“I think you’ve told everyone you’re fine every day of your life, Steve Rogers, and no one needs to exist like that.”

Steve cocks his chin slightly. “But the President of the United States should have it together, shouldn’t they? People want a leader they can trust.”

You smile, but it’s not a happy smile, and his expression matches yours.

“Can I ask…?” you venture cautiously.

He nods. “Wife privileges. You can ask whatever you want. Wife duties, probably, to ask me questions I don’t want to hear.”

Wife. A flutter flares in your stomach, but you force yourself to concentrate on the moment, furiously tamping down your reaction.

He resumes walking down the hallway, but more slowly this time, and you fall into step with him as you pursue your curiosity. “A monkey on a unicycle is an oddly specific and highly uncommon comparison to bring up. Is that some reference from your time?”

Steve huffs and his eyes fill with a mix of nostalgia and resentment as he begins to speak. His voice is heavy with emotion as he remembers his past. “I used to sketch a lot when I was young. We didn't have much during the depression, but my ma always managed to scrimp and save enough to buy me a notebook for Christmas or my birthday. It stuck with me up through joining the Army.”

His expression turns somber as he continues, "And after the serum changed my body but I was put on tour to encourage people to buy bonds, it just felt...underwhelming. Discouraging. I knew I could be doing more, making a real difference. But I did what I could - I knew raising money still helped.”

You reach the end of the hallway and stand next to each other, looking out the window.

“When they sent us out to Europe to entertain the troops, it only got worse. The last day I performed, for the 107th regiment, I was heckled and booed off stage."

Steve's hands clench into fists at his sides, "I drew a silly picture of a monkey riding a unicycle; it felt like that's all I was worth to them - just another pawn in their production."

You want to reach for his hand, but it doesn’t seem like the moment. So you simply continue to listen.

“That ended up being the last day I performed a show. I found out part of the company had been captured, stuck behind enemy lines. I disobeyed direct orders, found the men, saved Bucky. After that, everything finally changed, and we got to go to work, doing good, fighting Nazis and Hydra.”

A slight smile tugs at Steve's lips as he finishes his story, "I never wanted to feel like that monkey again. But the closer we get to election day, the more this feels like just a production.”

You stay silent for a moment, mulling over the pieces of his past and the feelings he’s just shared. This isn’t an easy conversation, and it’s not the conversation you thought you would have coming out here, but you’re grateful the two of you are having it together.

You aren’t by any means a seasoned politician either, but you had seen and had to at some points play at politics in your own work. “It’s all a show, there’s no denying that. But you’re not the monkey unless you sit back and let that be the reality.”

“How do you figure that?”

You take a deep breath, gathering your thoughts before responding. "Steve, you knew from the beginning that this campaign would be a production. You agreed to it - all of it. Including," you gesture between the two of you, your voice softening, "this arrangement. Marrying a woman you'd never even met before."

Steve's eyes meet yours, a flicker of recognition passing through them. You continue, your voice gentle but firm.

"You didn't do all this just to be a figurehead or a puppet. You did it because you want to be president. You want to be the one steering the strategy, calling the shots, making real change." You pause, making sure he's really listening. "This campaign isn't just about winning an election. It's preparation for the presidency itself."

You turn to face him fully, your eyes never leaving his. "This campaign, as frustrating and exhausting as it can be, is its own kind of preparation for the presidency. Think about it - you're dealing with conflicting advice, responding to the platforms from the candidates and how they overlap and differ from your own, connecting directly with the people across the country, making tough calls on what is and is not a priority.”

Steve listens intently, his brow furrowed in concentration as he considers your words. You can see the wheels turning in his mind, processing this perspective.

"You're right," he says finally, his voice quiet but firm. "I did agree to all of this." He runs a hand through his hair, a habit you've noticed he has when he's deep in thought. "I just want it to mean something. To be more than just sound bites and photo ops."

You nod, understanding his frustration. "It does mean something, Steve. Every interaction you have, every speech you give, every policy you propose - it all matters. You're not just going through the motions. You're shaping the conversation, influencing people's thoughts and beliefs about what this country can be."

Steve's eyes meet yours, a mix of gratitude and something deeper there.

"She’s right, Rogers,” a voice behind you makes you both jump and turn.

“This isn't just about winning,” Amy emphasizes. “It's about learning how to navigate the complexities of leading a nation, finding your presence as the leader of the free world, as commander in chief, winning the trust of the American people.

“The debates, the press conferences, the tough decisions you'll have to make as president - they won't always be fair or comfortable. That’s why I pushed you. You won’t answer every debate question like that, but I needed to know you could go there. That’s the kind of president America wants, but they don’t know it until they see it. If you can shake them to their bones, you’ll change hearts and minds.”

Steve smiles at her half in kindness, half in disbelief. “You say all of that pretty casually.”

Amy shrugs and returns the smile. “Because it’s true. I’m done beating you up now that I know you can go the rounds. If you want me to leave, I will, but I’m game to stay if you’re game for slightly less intense verbal sparring.”

“Oh, I can do this all day.”

[SEPTEMBER 28 - ATHENS, GEORGIA]

The campaign plane hums with activity in the minutes before take off. This cabin is filled with members of the press corps, their laptops open and fingers poised over keyboards, eager for any morsel of information they can turn into their next headlines.

Steve looks almost relaxed. His tie is loosened and sleeves are rolled up to his elbows. The energy from the successful event you just wrapped up at the University of Georgia still lingers in the air. This was the fourth event of its kind - a town hall format called College Q&A limited to students and granting them access to dialogue with Steve. You can't help but feel a sense of pride as you recall how he connected with the students, his earnest answers and quick wit seeming to win over even the most skeptical audience members.

It’s become routine that Steve always takes questions from the press corps when he boards the plane before heading to the campaign team cabin, and he’s truly at ease with them in this interaction.

“We’ll take one more,” the campaign spokesperson announces to let both Steve and the reporters know it’s almost time for take off.

“Andy,” Steve calls on one of the familiar faces - the reporter from The Washington Post.

“Yes, Captain, do you have any response to Jeff Connor’s comments about your relationship with Mrs. Rogers?”

Steve's whole demeanor immediately turns serious, his jaw clenching. "I haven't heard Connor's specific comments, so I can't respond directly. My relationship with my wife is personal, and it's not up for debate or speculation."

He pauses, his eyes scanning the cabin before continuing. "What I will say is that she has been an incredible partner, both personally and for this campaign. Her intelligence, compassion, and dedication inspire me every day to be a better person and a better leader."

Steve's gaze softens a fraction as he glances in your direction. "I'm grateful she agreed to take this journey with me."

The press corps erupts with follow-up questions, but Jake holds up a hand. "That's all for now, folks, you know they won’t take off until we’re all seated and we don’t want to miss our take-off window. Thank you."

You, Steve, and the rest of your staff head into the first campaign cabin, and as soon as the door is shut, the atmosphere shifts. The professional masks slip away, replaced by a mix of concern, curiosity, and irritation. Jake immediately pulls out his phone, you assume to get the quote in question.

Elsa, your communications director, is already pulling out her laptop as she settles into a seat across from Steve. "That was the perfect response back there. Quick and heartfelt. It'll play well, especially given the context of Connor's comments."

Your personal aide Sophia is already handing you a tablet to read the quote. "Here, ma’am. It came out during the Q&A, and everyone got wind of it as we were boarding the plane."

You take the tablet, your eyes quickly scanning the headline: "Jeff Connor Speaks Out: 'I Hope They're Happy Together'" The article features a quote from Connor: "I wish them both the best. Marriage isn't easy, especially in the public eye. I just hope they've found happiness together."

You pass it over to Steve and then chew on your lip, pulling out your own phone.

It only takes him a moment to read as well. "Thanks,” Steve's brow furrows as he loosens his tie further and passes the tablet back to Sophia. “This seems fine, unless I’m missing something. But who is this guy, and why would we care what he thinks of our marriage more than anyone else?"

A beat of silence falls over the cabin. You can feel the weight of several pairs of eyes on you, a mixture of surprise and shock in their gazes.

“Okay, I’m clearly the only one who doesn’t know,” Steve concedes, a shade of irritation bleeding through his tone, “Anyone care to enlighten me?”

You take a steadying breath, then look up at Steve and say, “Jeff Connor is my former husband.”

next part: coming 11/29

I'll just say that I've been waiting for this chapter in the story almost from the beginning. 😌

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[thedouglastrap]

Something about this post is bugging me, but every time I to put my finger on it, I feel like the reason slips away. So I think I'll just try to sort through it here and see where that leads me.

Mechanical changes impacting play style makes sense, but I think I question the cause and effect here. Because the rules mentioned that "encouraged the GM to think of monsters as real living creatures", morale and reaction rolls, are things that seem (to me at least) less about making these monsters seem real and more about adding more angles to introduce randomness to random encounters. If a random aboleth shows up while you're walking from point A to point B, a reaction roll is a quick and dirty way to see how they view the players, but it doesn't account for what an aboleth is. Similarly, a morale roll is giving a method beyond the DM just making an arbitrary ruling sans dice. That's not to say that a good DM can't use the roll to breathe some life into an encounter, of course, but I don't know if I would say those rules being removed/put in the flavor rather than made a general rule was a primary contributor to a greater emphasis on combat, or if that was even an intentional design choice.

(as a side note: looking up what reaction rolls actually were were, I stumbled onto a blog about the whole OSR thing in ttrpgs, and decided to go down the rabbit hole for a bit. It seems like a lot of the conclusions being drawn in this post are close to issues raised over there, but they tend to include AD&D2e as a point where the shift happened, making it less a TSR/WotC difference)

Now, if there IS a greater focus on combat in that shift, I think it's probably due to the game getting crunchier over time during that shift. 2e seemed to start it off with a wide variety of optional rules, and 3.x cemented it. But notably, it did this for non-combat as well, which makes me think that it was less a design choice to make things more combat oriented and more to provide comprehensive rules, with combat being the most fleshed out part in service to the whole heroic adventure aesthetic.

I think one of the biggest issues I'm running into is the following point about how encounters have to be these justified forced combat encounters and the dissonance this can provide. I think part of that is because that conclusion just doesn't match up with the reality I was seeing playing 3.x or seeing other people talking about it. Not to say combat wasn't the focus, but plenty of non-combat encounters happened, enemies ran away, scenarios were derailed by roleplay rather than combat, etc. And sure, that's anecdotal, but I think it's relevant. The game does, after all, provide individual sections for monsters giving a basic rundown of what the creature is. Some are more bare-bones than other, but when Archons are listed as "never attacking first, but being easily provoked", that's a pretty clear indicator that forced combat should not be the default assumption. If players ignore that, sure, but that's no different than ignoring reaction rolls imo.

The real difference, I think, is the afforementioned shift from a focus on an open world where the party has more freedom to explore and do whatever they want while the world happens around them, to a focus on more structured narratives where the players are characters in a story that is unfolding around them. Its a shift away from "well the dice say there's an aggressive dragon swooping in, have fun with that" towards "I planned out the encounter you're gonna run into between startersville and plotlandia". That also kinda follows from the idea of encounter balance. Having a random dragon swoop in on a third level party isn't a balanced encounter unless the DM goes out of their way to make it one, but that takes more time and prep than rolling a few dice and opening to a statblock can account for. And yes, planned encounters like this can, if done poorly, just be a shooting gallery of forced fights with thin justifications. It could also be well crafted encounters where you could talk down the goblins instead of fighting by opening trade negotiations.

The play style that the difference in design encourages isn't so much "fight all the things vs treat your enemies like actual living things" as it is "how structured do you want this game to be", which is ultimately value-neutral. And the moral disconnect about what you're fighting seems like an entirely separate thing from that. Neither style inherently encourages or discourages that, and it feels uncharitable to say that WotC-era d&d is more skewed to be morally uncomplicated than TSR-era.

So there is a pretty clear shift in playstyle between TSR D&D and WotC D&D: for better and for worse, D&D 3e introduced the idea of encounter balance, de-emphasized mechanics that had previously encouraged the GM to think of the monsters as real living creatures (reaction rolls, morale, etc.), and it had the effect of making D&D a much more combat-focused game. D&D has always been a game that's opinionated about combat, it's basically the most expressive and detailed form of play regardless of edition, but combat in the TSR editions was not exactly zoomed in and tactical. The WotC editions purposefully made combat zoomed in, granular, and tactical.

And this has had an effect on playstyle: since combat is now the main form of player expression what players actually want is for their characters to get into combat. Because combat is the most fun part of the game. But the game has also changed from the largely amoral dungeon-crawling game into a game of fantasy heroics (even though a lot of the trappings of the amoral dungeon-crawling still remain, which contributes to the dissonance), so you can't just have the player characters going into combat for the sake of it. That would frame the player characters as kind of Fucked Up, and we can't have that in our supposedly heroic fantasy.

What you end up with is a variety of contrivances like "they're bandits," "they're cultists," or, my all-time favorite, "they attacked first" to make the action seem morally justifiable, even though gameplay is still motivated by a desire to fight. The monsters fight to the death and, importantly, can often not be reasoned and negotiated with, partly because combat is supposed to be the fun, engaging part everyone is here to do, but also because if they actually acted like reasonable people it could cause dissonance with the whole "the player characters are the goodest heroes."

As my friend @tenleaguesbeneath once called it: what is actually going on is that the player characters are hunting people and monsters who have been programmed to fight to the death and never negotiate for sport, while justifying it as self-defence.

It's a simple power fantasy, and I don't think there's anything wrong with it. Sometimes you want to play a morally uncomplicated game about killing guys with cool magic swords. But I think it's also fun to think about what the specific types of monsters players end up fighting reveals about Society the invisible, unexamined ideology lying under the surface that the designers of even modern D&D have failed to examine. And to me it often reads like a frontier justice fantasy. None of that is to detract from anyone's joy of the game, and for me it's just fun to think about and post about this stuff while Still Enjoying the Game, but if someone expressing that opinion makes you feel uncomfortable, why? That's pretty silly imo.

[tbshorts]

The Best Panels of One Piece, Romance Dawn (chapter 1-7)

Full video scripts below the cut

Chapter 1:

What are the best panels in One Piece?

Chapter 1, being the very first one, obviously has quite a few contenders. Luffy's very first Gum Gum Pistol is an obvious one, setting the tone of One Piece's battles with its mixture of goofy and badass. Plus, god damn, even in chapter one Oda knew how to do an epic splash page.

I also like this panel, where Lucky Roux shoots a mountain bandit in the head. This too is a major tone setter, driving home the seriousness and danger of pirate life. The story up to this point mostly plays as fairly lighthearted comedy, and seeing the jolly cartoon fat guy casually murder a man shocks the audience a little bit. Despite the cartoony artstyle, this isn't a kiddy pirate adventure.

But the crown has to go to the passing of the straw hat from Shanks to Luffy. It's a panel that has only ever taken on more meaning as the story has gone on, and the symbol of the straw hat has taken on more and more importance. It represents the promise between Luffy and Shanks to meet again, Shanks recognizing Luffy as an equal, and it's the passing of a torch. That straw hat means something, and Shanks is passing it on to someone who he feels is a worthy heir to that significance. “Romance Dawn” indeed.

Chapter 2:

What are the best panels in One Piece?

Chapter 2 is all about establishing Luffy's character now that he's grown up, and especially the scale of the odds he's up against. What does his dream to be king of the pirates really mean?

And this is where Oda shows his skill not just as an action and comedy artist, but as a storyteller. He introduces Koby the Cabin Boy, a character who mostly exists to contrast Luffy. Scared, self-defeating and cowardly, even his body language is Luffy's direct opposite.

When Luffy says he will be king of the pirates, Oda drops the angle down low, playing Luffy's chill, unaffected sitting posture against Koby's shouting. His arms are wide, foreshortening even out of the panel as the nervous boy tries to communicate the jaw-dropping scale of what Luffy has said he will accomplish. "Don't tell me you're after the One Piece"?

We feel the weight of Koby's astonishment here, the monumental nature of what Luffy has promised to do. The One Piece isn't a silly bed-time story for children, it is a real thing, and to go after it is to march to almost certain death. And the fact that Luffy is so casual about it, because he has accepted death, is not normal. Luffy is not normal, and Oda establishes this visually through acting in every interaction he has with Koby.

Chapter 3:

What are the best panels in One Piece?

Chapter 3 introduces Zoro with this amazing panel, which, given how much of a martyr he is for the crew and Luffy, WOW what a hell of an establishing shot. But it also establishes one of the great running themes of One Piece, which is the abuse of power, and the value of freedom. Helmeppo lords his status as a navy failson over the townsfolk, abusing his position and status in a way we will see villains in the story do over and over again.

And Luffy does what Luffy will always do to those who use their power in this way. When he learns that Helmeppo lied to Zoro, let him believe he would be free if he survived a month tied up, only to plan an execution behind his back…

This happens.

There are many reasons One Piece is a fun and satisfying narrative to follow, Oda's dynamic and exciting art is a big one for me, but the thing I love the most might the vicious delight the story takes in showing us the ruling classes getting the ass-kicking they so richly deserve.

Chapter 4:

What are the best panels in One Piece?

Chapter 4 gives us perhaps one of the weakest villain designs in the series, which is Axe-Hand Morgan. His obsession with power and control foreshadows many of One Piece's best villains, but… hoo boy, not Oda's best character design.

On a better note, though, we're getting one of the most important recurring story beats in the narrative, which is the effect Luffy has on people around him. Koby, who not two chapters ago was a cowering appeasing wretch, walks into the execution grounds to free Zoro because he can't stand to see the navy oppressing people this way. He accepted abuse from Alvida, but no more. Luffy changes the people around him, and the most important thing he does is set them free of their fear. He teaches people to pursue their freedom, even if it costs them their lives. He will do this many times throughout the story, and Koby won't be the last person who almost dies to chase the dream Luffy kindled in them.

Chapter 5:

What are the best panels in One Piece?

In Chapter 5 the obvious choice might be Luffy taking bullets for his friends in the nick of time, which is a very Luffy thing to do, but I think the best panel is something much quieter. We get a flashback to Zoro's backstory, and his rivalry with childhood friend and swordfighting prodigy Kuina, who is idly one of the most transmasculine characters in anime history.

The panel that strikes me the most in this chapter, though, is this one. It's just a little transitional panel, Kuina lying there, dead, with the words "humans are fragile things Zoro" hovering above. Oda uses crosshatching to just barely hint at the eye sockets under the cloth, which otherwise erases Kuina's face, erasing identity, erasing life. It's such a quiet and disquieting panel, such a matter-of-fact reminder of cold mortality in the middle of all Zoro's hotblooded shouting. It's a death that is so meaningless, and Zoro, in taking Kuina's sword with him, is trying desperately to make it meaningful. If he becomes the greatest swordsman in the world, then everyone will know that Kuina was his greatest rival.

I think it's the same reason so many One Piece fans want Tashigi to turn out to be Kuina in the end. Because the idea that people can just vanish from our lives, so coldly and so pointlessly… it's a scary thought to have.

Chapter 6:

What are the best panels in One Piece?

In Chapter 6, the easy answer, I guess, is the big epic Oda splash page of the Gum Gum Whip taking out a dozen Marines, but… I mean you know it has to be the introduction of the Three Sword Style. Dear Zoro, with his cool bandana and his intense looks and his tragic backstory… and here he is with a sword in his mouth.

This is the power of One Piece. Because on the one hand, this is stupid. This is objectively stupid. Holding a sword in your mouth is dumb, this looks dumb, this doesn't work, this is cartoon nonsense that doesn't make any goddamn sense.

On the other hand… this totally fucking rules. Oda presents it so perfectly with that hunched over power pose blocking ten swords at once, and the black bandana over his head, although I'll never forgive the translators for covering this much of the art over with sound effects. You miss the rope still falling from his body and the scabbards still in the air from Zoro unsheating them so fast. This panel bypasses every critical neuron in my brain, and speaks to the primal, stupid lizard and monkey part of my man brain that goes "ooooh, three swords cool!" And nobody does that like Oda.

Chapter 7:

What are the best panels in One Piece?

Chapter 7 sees our first parting of ways, with Koby remaining behind to enlist in the Marines. It's mostly an exposition chapter, a cool down from all the action with Axe Hand Morgan, but Oda once again uses what could be boring exposition to do good character building. Because Luffy and Zoro are pirates, they can't stay in a navy town, and as they leave, Luffy begins to spill the beans on how Koby was a cabin boy for a pirate, which might ruin his chances to enlist. And Koby, desperately torn up about saying goodbye to his first real friend… punches Luffy to shut him up. Which then becomes evidence that Koby isn't with them, isn't a pirate, so he can enlist.

It's the first moment Koby fully asserts himself, it's the first punch he throws for his dream as a Marine, but it is also a moment of revelation. However simple-minded Luffy seems, so straightforward and oblivious, here he reveals a deep understanding not only of other people but of the things they need, the push they need to find their courage. He pushes Koby's buttons to force him to commit to his dream, to force him to renounce piracy, and when Koby does… Luffy couldn't be more proud. And maybe a little smug.

[riddles-n-games]

Hey guys, I've been seeing another rift going on in the fandom regarding TGG and TIG characters, so I've decided to make a statement that can hopefully make things more cohesive.

I understand that not everyone likes the new spin-off and honestly, I'm considering just stopping after GU. Personally, I don't have anything against the characters of TGG but my problem is that they sound too much like our old mains. However, that's not their fault. It's the author's. There's nothing wrong with JLB wanting to expand the TIG universe but it is problematic when you are repeating the same character arcs of the old characters that are also present and interacting with these new mains. The problem that we face is the fact while even in The Naturals there are similar characters, they are divided by different series. However, that is not going on here with TIG and TGG. TGG is a continuation of TIG and our TIG characters are still present. Heck, one of our old mains is a player and a love interest here to one of the new mains. And therein lies the issue. When you have a connected series, it's important to have distinguished characters with different voices, not carbon copies.

What I expected for TGG characters was that she would move from the character tropes we've seen already in the series and come up with new ones. I mean, come on, she's a psychology major, we bring that up so often but what's the point when she keeps going in circles and never brings up anything new? I pointed a lot of this out pre-read because I already correctly guessed where this was going within just a few pages of reveal. Don't get me wrong, if she wanted to, she could do it but it doesn't feel like she has new plans or plots. Be honest with yourselves and don't just praise because she's your favorite author. You can be a reader, a fan, and a respectful critic all at the same time. Don't lower your expectations just because they can't deliver every time.

The trouble is that when you go back to TFG, in the acknowledgments, she herself wrote she wasn't sure there was going to be a third book. And now look, suddenly two books were announced a month or two after she released the last book of the trilogy which introduced our mains and not the most fashionably. I do believe she had ideas but I don't think they were the best fleshed out. You have to realize that just reading TGG, how many of you recognized the obvious plots, the romantic subplots, the character arcs, and even the semi-hidden plots just getting to the halfway point? And how many of you said, hey, wait a minute, we've had this plotline before? You did, didn't you? I want to give Jennifer the benefit of the doubt but I truly think she is in over her head because I don't believe she quite thought that this is how long the series would go.

In fact, I think that she is making more trouble for herself in trying multi POV for this new series when really I think it should have just been Gray taking over. It would have allowed us to see how he's grown especially after the heartache and mental health issues he's had to go through to get here. It felt like the obvious next step, even the summary for TGG made it sound like that. However, the only thing that seems new to me is the hypersexual atmosphere which also makes no sense to me because teens may go through attraction but that doesn't mean they're horny all the time and anyone who's gone through puberty can attest to that. So I ask again, like one reviewer on Goodreads put, were the romantic moments in the room with us? 12 hours is not love or romance, it's lust, that's it. Couldn't summarize it clearer. If she wanted to make it better, it could have been that she made the book stretch over a series of weeks which is why I wonder what the heck will happen to any character development if this book series is done in like 3 days?

As I said, a lot of things feel very repetitive, the plot, word choice, thought processes, quotes and sayings, etc. We are in a loop. She's in a loop. I think that the best thing JLB could have done is leave TIG alone for a few years after TFG, make a new series or whatever works outside this series she wanted to, give herself time to truly see if she has new stories to tell for TIG by writing a spin-off and then come back to give us that content. Because it's really telling how forced things have been in the last two books, even here with GU and I really think this empire is toppling. As they say, quality over quantity and thoughtful than full of thoughts that are just a variation of one another. That's what makes me think more and more she should have left it at TFG.

Thank you for reading and I hope this gives a new perspective that can help you see some things more clearly.

[gffa]

Hiiiiiiiiiiiiii

Do you take rec requests? If so, can I ask for your recs for Obi Wan centric fics where Obi Wan is just absolutely adored by everyone around him? Like people love him, think he's great, beautiful, talented, etc. you could also include fics where Anakin isn't one of his adoring fans but he comes around eventually. If you've ever read the Shoulder The Sky series by @kcrabb88 ? Where Anakin is kind of weird about Obi Wan in the beginning but he'd die for him at the end? Yeah like that.

Preferably no Obitine please, and also no order 66, if you would. They can be fix its or maybe they just don't get to order 66 in canon. Long and short is fine. I just want to read fic to justify my absolute rabidity over Obi Wan Kenobi.

Yknow if you're going to answer the ask? Might as well include every fic that you know that portrays Obi Wan very well. Whether everyone thinks so or not, I just want an excuse to fangirl over Obi Wan. Whether it's cute adorable initiate obi wan; smart skilled Padawan Kenobi, best master in the galaxy Kenobi, best general in the gar Kenobi, unfuckwithable Kenobi that everyone knows not to piss off, the Jedi's best member, whatever. Just fics of obi wan being great, whether people acknowledge it and love him, or acknowledge it and go still like prey animals when he looks at them

Hi! Oh, this is going to be a bit of a difficult set, mostly because avoiding Order 66 is a tough one, and I'm not sure how you are with various Obi-Wan pairings (which tend to have some good Obi-Wan fic), but I can at least start you out with a few recs sets I've done that have a lot of Obi-Wan fic and hopefully the Order 66 fic will be pretty avoidable.

My Star Wars fic recs tag (pretty much anything that mentions Obi-Wan in the subject will treat him well)

Obi-Wan Kenobi epic fic

Post-OBW's first two episodes-centric set

It's hard because some of my favorites:

Reprise by Elfpen (absolutely epic time travel fic that does the really good, hard work of showing us the timeline shifting and why it has to be done in baby steps)

Fire and Ice by Yesac (set in an AU where Order 66 happened, but Anakin won the fight and took both Obi-Wan and Padme hostage, and it's about the incredibly long road to recovery from there, which does have some love = attachment minor, minor notes, but has an Obi-Wan characterization that was fundamental to how I see the character)

Aren't necessarily about Order 66, but it does happen in both those fics, as something that's either being avoided or fixing the aftermath of them, and I'm not sure where you stand on such things, since you don't want Order 66. Same for

The Desert Storm by Blue_Sunshine (time travel AU where Order 66 happened in Ben's timeline, but not in the one the fic is set during)

Knightrise by deviantaccumulation (this one includes Order 66 happening on-screen, but it's an AU where more Jedi survive and they go into hiding together to rebuild)

where it's time travel to fix things, is that still over your line? Is it about the other characters that love Obi-Wan or the narrative of the story that loves Obi-Wan, because that would change a lot of the recs I make! Not that he's unloved in them, but Cataclasm by dendral is one of my favorites, but it has Obi-Wan off on his own a lot of the time, so the narrative loves him, but the people around him aren't in the room with him, etc. I also have a Jedi culture set of recs, which you can scroll through to find Obi-Wan mentioned in the summary, it's probably going to be about how much everyone loves him. But some good places to start for you would be:

ruth baulding's Lineage series and then her Legacy series. The first series is an epic length run of adventures when Obi-Wan was a padawan with Qui-Gon, and then the second series is his time teaching Anakin, with more adventures

Remedial Jedi Theology by MarbleGlove, a fantastic look at Jedi theology, philosophy, and interaction, with Obi-Wan in a prominent role.

Supreme Chancellor Obi-Wan Kenobi stonefreeak, which is crack treated seriously, very Jedi-positive, and while it's an ensemble piece overall, Obi-Wan is very much at the heart of the story and the focus will always come back to him. Just so much fun and very soft on the heart, this is a universe where everything goes right.

Tano and Kenobi by FireflyFish, which is a time travel fic where Ahsoka goes back into the past and becomes Padawan Obi-Wan's Master instead of Qui-Gon. The fic is kind of harsh on Qui-Gon, but if you love the disaster lineage or if you just want more Obi-Wan & Ahsoka, this fic will scratch the itch so good.

Unexpected Awakening (The Rewrite) Rhiw, another time travel fic where Order 66 did happen, but the fic is about Legends!Obi-Wan taking a different path from what happened in the first Jedi Apprentice book, instead of becoming Qui-Gon's Padawan the way he did in canon, he and Bruck go to Bandomeer and then get wrapped up in an epic story about Obi-Wan slowly changing the galaxy's course.

walk by faith/tell no one what you've seen by Killbothtwins, which is time travel with Obi-Wan after the end of the galactic civil war (the one against the Empire) going back to his 12 year old self and diverting the timeline, with a really great voice for Obi-Wan's character in this fic.

The Uses of a Sandwich by Laura Kaye (laurakaye) is a fun young Padawan Obi-Wan fic where he meets Qui-Gon's first apprentice and has a great sense of comedy.

Uncle Ben and Little Luke by phoenixyfriend which is de-aged!Luke and suddenly alive again!Obi-Wan and is just so much fun for a dynamic that doesn't get enough fic. (NEVER ENOUGH.)

Well Met by avocadomoon is one if you don't mind Obi-Wan/Padme fic, where they develop a friendship and later in life just slowly fall into a relationship, where it's about discussions and politics and philosophy and worldbuilding, it's such a subtle dynamic between them in a way that felt so natural to me. I also enjoyed the author's other fic Anamorphosis just as much, too.

[idolomantises]

I’ve seen people make excuses for the writing by mentioning it’s all just set up for spin offs and sequels but… I don’t want that? Why on earth would I want to wait 3 years for a show to say “oh by the way these characters will get proper conclusions in the spin offs”.

Just tl:dr I’m over this series and don’t plan on watching any of the sequels or spin offs. Maybe if they introduce a hot robot character I’ll check it out.

There’s not even a promise that every single character that has an inconclusive ending (which is all of them btw) will have spin offs and sequel shows. I’m pretty sure they’re likely going to just use a completely different cast since League has a lot of characters.

I’ve seen arguments that the season is bad because it has very few episodes and wasn’t spaced out, and while I do agree the pacing is terrible I also… don’t even think this show could have been salvaged if they gave it a full 4 seasons. Because either way, it was going to end with a lot of characters being badly written, sideline and having arcs unfinished so it can be explored in sequels and spin offs (if that even happen).

One thing I liked about arcane is that it avoided a lot of really bad tropes that I’ve seen modern queer media weirdly struggle with. Arcane avoided the pitfalls written female characters, female characters used to push male relationships and very clearly abusive couples that are dismissed just because they’re gay.

Then season 2 happens and Mel becomes a disposable black woman trope, Sky only existed for male angst, Maddie is literally there for shock value and adds nothing to the narrative, Vi just… turned into that and Caitvi is toxic yuri in a way that’s very unfun and frustrating. These two are seriously so incompatible for each other, but they make out and have sex a lot so I’m sure this destructive relationship with warring idealogies will be fine. Please queer shows for the love of god stop assuming gay characters kissing and fucking makes up for their lack of communication and horrible behavior to each other.

Honestly I’m really disappointed that all these things happened to Sky, Mel and Maddie because watching fans tear apart female characters for 4 years just for existing and getting in the way of ships only for them to be exactly that and for fans to cheer about their suffering pisses me off so bad like girl… what the hell happened did the writers have amnesia. How do you write this show right after season one and fuck up this bad.

Maybe we should stop making videos about how tv shows write female/queer characters well until they’re actually done because this is getting ridiculous.

And yes I want to come back to the issue with how black characters were treated because I do find it pretty gross for Mel and Ekko to be absent for most of the show but then come back to basically save the day so fans don’t complain about how they were obviously sidelined for the sake of other characters. I dont really care for Ekko/Jinx but I did enjoy their time together in the AU.

And another annoyance is that this show did such an incredible job at introducing moral greyness to the show but then got scared to really commit to giving these characters any consequences. And I don’t mean like death or going to jail, but I mean holding grudges. I think Jinx is a very interesting and tragic character but she’s also… a terrorist? She caused the death of their friends and father? Like she’s a grown woman making these decisions. Having characters run around and risk their lives to save her felt a bit frustrating because yeah circumstances lead to this but half of these circumstances are also her fault. I really wish the entire season was about Vi choosing whether or not she was ready to forgive Jinx instead of basically accepting her back because Vander is back.

And VANDER…. Actually I won’t say anything because the more I mention him the more it pisses me off.

I have more thoughts but I gotta draw some comics so I’ll just leave at that. Disappointing season that I think is a lot worse than fans insist it is. It’s not one or two issues, it’s just compounding problems that won’t improve.

Thoughts on Arcane season 2

I didn’t like this season

It’s not bad, but I found it incredibly rushed, cramped and deeply unsatisfying

While season 1 had several protagonists it was also pretty obvious that Vi and Jinx were the emotional core of the entire show so why on earth was their dynamic barely explored here

Vi went from being my favorite character to a character I found deeply frustrating and annoying. What the hell is her personality of getting her sister back and fucking the hot lesbian. She has no consistency whatsoever and it’s something I don’t think the show realizes how batshit the constant flip flopping in. What do you mean you sister tells you she’s going to kill herself and then you start fucking your messy situationship

I don’t really care for Jayvik but I found Jayce’s confession very sweet.

Mel my beautiful queen they’re gonna call you a Mary Sue

What the fuck was with all that Witch shit and Ambessa’s death was incredibly unsatisfying

Victor fans who kept begging the team to not make him a hot buff robot so he can still be a skinny twink pisses me off so bad because now we have an inferior twink robot design. I know fans probably didn’t influence this but I also need to complain about their lack of taste like what do you mean you didn’t want to see a hot buff robot man.

Ekko feels like an incredibly unimportant character and I’m pretty sure fans only like him because of what he can do for Jinx. A part of me wished he actually did hold a grudge just to see how fans reacted.

Season 1 was all about setting up emotional complexities and how nobody was truly evil and the show made it seem like there was no way for anyone to fully recovery from this but everyone is holding hands and singing kumbaya’s so alright nevermind then

This show was honestly a little too in love with Jinx. I did not enjoy her writing in acts 1 and 2.

The jokes were really bad this season

The songs oh my god the SONGS. I didn’t mind them in season 1 but in season 2 it started to remind me of love is blind and anyone who has watched that show would know what a massive insult that is.

Caitvi lesbian sex scene and I couldn’t even enjoy it because the writing was pissing me off

Caitlyn should’ve continued her little fascist arc.

Mel’s arc this season felt like weird fanfiction.

A bunch of random side characters die off unceremoniously after the show gave them so much unnecessary screen time

I hated Isha sorry. I’ve never seen a character more clearly made to die.

Jinx death means nothing to me because I know she isn’t dead so why even do all that lol

I will never call this show sexist but it has done a massive disservice to its female characters.