#this is an extreme example but it says something i think

[eiralunaire]

Headcanos of Damian Wayne.

1. Small Gestures of Tenderness.

Although Damian would never admit it out loud, he always feels inexplicably more relaxed when he's around his girlfriend. He often watches her in silence, observing the small details, like the way she laughs, her expression when she's focused, or how she always has something to say, even when she doesn't feel like talking. There's something about those moments that makes him feel, for the first time in his life, that war and fighting aren't everything.

2. Defender of Her Well-Being.

Damian, who has been trained to be cold and calculating, can't help but become extremely protective when it comes to her. If someone looks at her wrong, even in jest, he'll step in without thinking, making it clear with his gaze (and sometimes his threat of "don't do it again") that no one can hurt her. He's convinced that it's his responsibility to take care of her, but it's more of an internal desire to make sure nothing bad ever happens to her.

3. The Typical Sarcastic and Jealous Behavior.

When it comes to other men, Damian is relentless. Although he would never express it in an obvious way, he feels extremely uncomfortable if any kind of unwanted attention is directed towards his girlfriend. It is common for his sarcastic tone to appear when some guy talks too close to her. "Really? Do you think she wants to hear that?" he would say, with an almost imperceptible smile on his lips, as he takes a step forward.

4. Thoughtful (albeit weird) Gifts.

He is not the type of boyfriend to buy expensive jewelry or flowers (because he doesn't know how those things work), but what he does do is remember the little details about what his girlfriend likes. One day, unbeknownst to her, Damian shows up with a rare book she mentioned in a casual conversation, or with that chocolate she is known to like a lot. The truth is, he's become an expert at listening to her, not just because of his tactical intelligence, but because he genuinely wants to please her, even if his way of showing it is... unconventional.

5. Intimate Moments of Vulnerability.

When Damian is with his girlfriend, his guard is down in ways that only happen with her. It can be something as simple as watching a movie together, or lying next to her after a long day of training, but in those moments, he doesn't have to live up to his last name or his lineage. It's just him, Damian Wayne, simply enjoying her company. It's a luxury he doesn't usually get with anyone else, but with her, it's something that constantly draws him in and comforts him.

6. Interactions with His Family.

Despite his reserved attitude, Damian has found himself talking more to his family about his girlfriend, albeit in a slightly brusque manner. With Bruce, for example, his attitude towards her is a kind of possessiveness that makes it clear that he wants her in his life, but he also knows that his father will never really understand what he feels. With Alfred, however, he seems more relaxed, because he knows that the butler sees what he sometimes can't recognize: how happy their relationship makes him.

7. Subtle but Efficient Jealousy.

Damian can't help but show jealousy, although he does it in a subtle and almost childish way. For example, if his girlfriend talks a lot with another guy (even if he's a close friend), he may make comments like: "Since when are you so interested in what he has to say?" or suddenly offer to take her back to her apartment, as if there was some "urgent" business to attend to, to prevent her from staying too long with that person. It's his way of saying "I want you all to myself" without having to say it directly.

8. He Likes Deep Conversations.

Damian isn’t a man of many words, but when he’s with his girlfriend, he finds it easy to open up and share things he never thought he’d say. He likes to talk to her about topics that have nothing to do with war or fighting, like his views on the future or what he thinks about life. Sometimes, he catches himself talking more than he planned, but he doesn’t mind, because he knows he can be vulnerable with her, something he’s learned to deeply appreciate.

9. The Vulnerability of Being “The Man”.

When he’s with her, Damian feels weird about not being able to show off everything he knows how to do. I mean, with his combat skills and tactical intelligence, he could defend her from anything, but what really attracts him to her is how she calms him down and makes him feel more human. In her mind, that makes him more than just Bruce Wayne’s son or trained assassin. He makes her feel a little more normal, like any other guy in love, and that thought baffles him, but he loves it at the same time.

10. Sudden Moments of Insecurity.

Despite all his training and his confident facade, Damian sometimes feels insecure in their relationship. There are times when he doubts himself: Is he really up to par with her? Will he be enough for someone like her, who has so much to offer? Although he would never admit it, he has those moments of uncertainty that make him more human. However, as time goes on, he realizes that all he really needs to do is be himself, and sometimes, even a more vulnerable and caring Damian can be what attracts her the most.

11. The Unspoken "I Protect You".

Although he never says it outright, Damian is obsessed with the idea of ​​protecting her. If she is ever sad, he turns into a wall of ice, willing to face anything to make her feel safe. This leads to more possessive behavior, but he doesn't see it that way. It's his way of showing her that even though he's not the traditional boyfriend type, he'll always be there for her, even if that means walking away from conflict and just offering his company.

[justsumtransdude2000]

Because you asked so nicely;

When we talk about twinkification we first have to establish what 'twink' as a concept is, and while I don't like playing semantics I do think the way we define this word is extremely important, mostly because twink, in the modern era has become one of two things. On one hand, it has become a term to use about any feminine man, sometimes even regardless of sexuality or even gender presentation. On the other, it has become another way for straight white women to call gay men slurs without actually saying said slurs. I don't think I should have to explain to you why both of these definitions are incorrect, harmful, and water down the way we see twink. Twink, according to Wikipedia (and before I hear any bullshit about it being wiki, if you will oh so kindly look at the long source list, there are many credible and also queer sources for the article) refers to a skinny, often young, hairless gay man. This definition has evolved from its (highly debated) original one of either 'twank' (a gay, male prostitute who is also a bottom) or twinkie, as a reference to the food because twinkies (I shit you not this is what the article says) lack nutritional value, sweet to the taste and creme filled. Now, the article says that twink is merely a physical marker. I, as a gender non conforming trans man who considers himself othered from the community of gay men (for reasons of both transness and bisexuality), cannot speak on this, or how the word is currently used in gay culture. I can, however, as a chronically online piece of shit, speak on how the word has developed in fandom culture, and how the twinkification of a character is not just physical, but also a stripping of said characters main attributes. But, to summarize, the word twink refers to an effeminate gay man who is (traditionally) young and a bottom. He is skinny, tall and sassy. Twink, in the real world is used only as a physical marker, but in fandom space is almost completely different to its real world usage.

Now that the semantics are out of the way we can get to the meat and potatoes of this essay. Twinkification, as a process applied it fictional characters, is bad because it strips them of their core identity traits to make room for sass, their skinniness (which is turned into a personality trait, or, at the very least a main characteristic) and their bottomness (please see the previous set of parenthesis). As to be as precise as possible with how this can/does happen I will use characters from a fandom I am familiar with as an example; Regulus and Sirius Black, as characterized by the Marauders Fandom (which is, in fact leagues different from the Harry Potter Fandom). However, to be as precise as I personally want to be, I also have to explain the significance of both of their characters, and how them being changed fundamentally is not that out of place because of the fandom, so that I can (eventually) prove that the way they are often characterized not only does not resonate the sentiments of the fandom, but actively works against it.

Firstly, the Marauders Fandom does not abide by canon, unlike other fandoms that may work in a very dissimilar way. This fandom operates on the basis that, because the canon is written by a TERF who gets physically enraged when in proximity to a trans person, taking her original characters and making them as queer as possible actively works against her, and is therefore not only a way of protest, but also a way to enjoy some peoples favorite media, guilt free. (There are multiple different sides to this arguement, and while I have my opinions on what constitutes protest and how guilt free one can actually be while not actively doing something for the communities JKR often hurts, that is not what this essay is about). This is the viewpoint all the characters, and therefore my argument, hinges on. To truly understand the twinkification process we need to first examine how these characters are treated in canon versus in the fanon universe. Sirius, for example, is canonically very unefeminate. While he is sassy, often throwing quips and firing back at people when he has the chance, he is not sassy in the same way that twinks are. In fact, I would argue Remus is much more effeminate and twink adjacent, but I'll put a pin in that for now. Going back to Sirius, though, he is almost the antithesis of a twink when it comes to a real world perception of the concept. He has wild, long hair in his first appearance, and while he is also skinny that is because he is malnourished, not because it is his natural state. He also has thick facial hair that he keeps throughout his appearances in the movies and (if I'm not mistaken) the books. He is hairy, vulgar at times, sarcastic, and doesn't do anything I (personally) would deem as 'bottom behavior.' His fanon appearances are, however, quite different.

Throughout fanon Sirius is often depicted, physically, in the same way he is when he is severely malnourished and on the run from soul sucking demons, which is to say, the fanon is not based on him when he is at his best both mentally and physically. He is often written or drawn to have gaunt cheeks and skinny, bordering on malnourished, features. His hair is long, but kept very proper, his nails are trimmed short (sometimes) and often colored, he is very often depicted as a bottom in the very popular fanon ship between him and Remus Lupin, and dresses extremely differently depending on the depiction. It is here, however, I do have to admit I do not have a strong case for his twinkification, because of the fact that he is often written to be genderfluid or nonbinary, and its a very common headcanon to hold. That being said, he is still often robbed of his personality to be the traumatized, rich, twink who is alll the way down bad for one Remus Lupin. Even in his own fics he is often characterized as lazy, dumb, and only carrying the following personality traits; sarcastic, traumatized, skinny, and slutty waist (I am truly tired of hearing this phrase! I mean it! Stop sexualizing every part of a goddamn body you hornballs). This is all to say that; twinkification is not only about the body but also about the soul.

Moving on, however, to my much stronger evidence; Regulus Arcturus Black. Regulus has 0 canon appearances, on account of being dead, and has a few cameos of which only his memory is present. The only things we know are; he was a death eater because he was (as described by Sirius Black, his brother,) 'too soft' not to fall into the ideology his parents had picked out for him, he was a Slytherin, he was on the quidditch team and likely a seeker. There is a singular picture in the film adaptation that makes him appear, in my opinion, quite well built. However, when adapted into fandom many things are changed about him. He and his brother are implied to having been abused by their parents, causing Sirius to move out in the summer between 6th and 7th year (I could be wrong on this as the canon and fanon timelines have become muddled), something that canonically is often translated into physical abuse. Because of this Regulus is betrayed as the lesser willed sibling. While Sirius definetly has a fight response the the abuse in fanon, Regulus has a freeze or (more accurately) fawn reaction, which unfortunately leads people to portray him as weak (there is a lot to say about that and how this fandom in general views abuse victims, and as someone who is an abuse victim myself some of you guys really could benefit from, I dunno, logging off a while). He is often also portrayed as sarcastic, depressed and skinny which I must emphasize is more often than not a personality trait and not a descriptor. Because we don't know much about his canon personality there is no telling if this directly contradicts his canon self, but we do know that he was, for lack of better term, kinda evil. He was a death eater and only really stopped being one because Voldemort hurt his closest friend, a house elf named Kreature. Why do people do this though? The same reason people do anything in fandom - for the sake of a ship. A very popular fanon ship is Jegulus the ship between Regulus Black and James Potter. James in this instance is a jock, one of Sirius' friends and a (for lack of better term) Good Guy, TM. People like this dynamic because, you guessed it, poor gay sadboi gets rescued by Good Guy TM and the abusers die, or whatever, Regulus is stripped of his autonomy in his own choices because it's no fun if he actually chose anything because that would make him flawed and while fandom praises morally grey people they actually hate staring into the abyss and seeing anything relatively human staring back at them because then they are reminded that their black and white thinking will not help them brave the winter that is going outside and interacting with people. Moreover, Regulus is often stripped of an identity outside of Jegulus, his personhood being removed along with his autonomy so that he can be forever codependent on James, until death do them part. He is also often described as pretty in an almost feminine way, white, short and gay, with high cheekbones and gaunt cheeks and - fuck how many other ways can I say he's skinny? To get to my point, Regulus is twinkified by his autonomy and personhood being stripped away from him systemically to make room for fandom's favorite OTP. By taking away the bad things he's done, and then labeling him morally grey because he is mean but in a way that reminds people of their own high school bullies, we are stripping him of the things that make him him, and cutting him down to a borderline homophobic caricature of an 'evil twink.'

Finally, why do I think this happens? A lot of reasons. The shift in public perception from gay people being evil baby eating crossdressers to them being okay in most parts if America and Canada has also shifted how covertly homophobic people are allowed socially to talk about us. Because of this they have had to find sneakier ways to call us slurs, and have settled (or had settled, for a while) on twink. But, because straight people primarily control culture and therefore perception of us, the general reaction from gay and queer people was important. Hence the normalization of calling any gay man with a pulse a twink. But I think that has little to do with fandom and more to do with the general okay attitude towards it.

I also think it happens because of people's general want for that morally grey, but not in a too bad way, characters. They want that golden spot of getting someone who is mean and does kind of bad things like stealing and smoking cigarettes and calling them fags, but not someone whose actions they actually have to reckon with and actively try not to normalize. Basically it is really hard to defend racism, even if it's in a fictional setting.

Furthermore, I want to talk about peoples need for a sanitized type of queerness. A gay man who is feminine, but won't put on a dress because crossdressing is still generally weird and too gay right now and just not in. Someone who is sassy but not female because then it isn't gay. Someone who only breaks gender norms a little, because if they actually broke out of the box that is gender a lot of people would not be able to tuck themselves in at night knowing that characters in a fictionally setting are defying norms in a universe they are not a part of. Because, at the end of the day, it's cool to have 'deconstructed gender' until you have to confront how it has benefitted you, so to get around it? Strip characters that you want to be gay but not too gay into a caricature that you can see in any late 90's early aughts romcom/sitcom.

I am sorry that this took so long and also sorry for writing it. I am a yapper, and you asked, so really it's your fault (damn am I Regulus because the writer is stripping me from accountability with my own choices)

People who twinkify Regulus/Sirius and make James/Remus (respectively) big and strong haven't unpacked heteronormativity and still believe - maybe even subconsciously - that every relationship has a 'man' and a woman.' In this essay I will-

[raven-at-the-writing-desk]

To add onto that Malleus popularity speculation, I think another major reason why that you never mentioned is the simple fact that characters of Malleus' archetype are just more popular in general in the west amongst working age women.

There are plenty of adult novel containing male supernatural love interests. Fae and vampire romance novels are still extremely popular amongst adult readers. A Court of Thorns and Roses is technically an ADULT novel, NOT YA. Even m|m supernatural stories even fall into this category with Stolas/Blitz from Helluva Boss being an extremely popular over here. That pairing is from an adult animated show. Stolas shares a lot of similarities with Malleus.

Hell, even if you step into western contemporary romance novels, the male love interest tends to be more brooding and angsty with flawed leads. Everything from classic literature like Jane Eyre to modern shit like anything Colleen Hoover writes. (Don't get it twisted. I'm NOT saying that Malleus is anything like those leads. Just using those very popular example of brooding bad boy love interests in adult contemporary fiction in the west.)

Meanwhile in East Asia, those sorts of leads tend to be geared towards teenagers. Working age women want a more stable, realistic love interest that would take care of them like Trey.

Westerners seem to prefer more complex, intense romantic relationships, where the stakes feel higher and the emotional payoff is more significant. They will naturally write Trey off as a "big brother" character instead of seeing him as a romantic lead material thanks to being more used to seeing characters like Malleus as the love interest in stories.

I could be way off base, since I'm not Asian and far from being an expert on Japanese culture, but that's my two cents based on my observations. This is also based on broad generalizations. Neither culture is a monolith.

[Referencing this post and (more specifically!) my speculation here!]

Oh, for sure 💀 I made a post a while ago talking about how Malleus (especially from the yumejoshi/self-shipping perspective) reminds me a lot of the new "Shadow Daddy" archetype that has emerged in the romantasy genre. I mean, just look at how many of the Shadow Daddy traits Malleus ticks off:

is a nonhuman being (usually fae)

500 yrs old (or at least several hundred years old or a significant age gap between the Shadow Daddy love interest and typically female main character)

looks young and hot/conventionally attractive despite the age

is OP (usually with shadow/night/darkness related magic)

is royalty or in some kind of position of power

dark hair and/or skin (sometimes both)

“morally grey” and/or has issues (you can fix him)

brooding

looks or is rumored to be intimidating but is actually lonely and misunderstood, with a heart of gold

animalistic in some manner (usually with bat/raven/dragon-like wings)

has a tattoo or some kind of bodily markings (Malleus has the scales under his hair; you could also count the OB facial markings I guess)

Outside of romantasy novels geared towards older teens (18-19) and adults, the west seems to really love brooding bad boys as love interests in a lot of its media. Something else I noticed is that the "good guys" or the "boy next door" types like Trey tend to be "the other man" in heterosexual love triangles, which miiight also explain why he gets looked over in the western fandom. (I discussed some of my own observations, which are similar to the points mentioned here, in the posts linked above.)

I wouldn’texactly phrase it like westerners preferring "more complex, intense romantic relationships [... with higher stakes and more significant emotional payoff]", as that unintentionally implies that there has to be brooding or angst in order for the story or character arc to be "good". I feel a lot of it actually depends on the execution rather than the tropes present. For example, I've seen many "Shadow Daddies" that exist purely for wish fulfillment rather than emotional or story/character complexity (which, to be clear, there's nothing wrong with if this is the kind of thing you enjoy!). Wholesome or "normal" romances also have the capacity to be complex, intense, high-stakes, and emotionally significant too! Again, it all depends on the quality of writing and what one's personal preferences are. You'll find outliers regardless of culture as well--as the asker has stated, no culture is a monolith!

[bonefall]

I was thinking about your tags, and while I understand the caution, it feels like it would still be a stretch to baseline equate common traits among the clans with eugenics. I know that humans can rly quickly go from everyone has biological differences = there are innate qualities that are "good" and "bad", and there's a quality of fascism in that, but when the clans are fairly isolationist, it seems like it'd be natural for there to be trends among its members.

this is also just me prompting for your thoughts on biology and politics surrounding that, since i appreciate your thoughts on fascism in warriors overall.

I think you're missing a piece in your takeaway that I'm more conscious of-- it's not that I'm wary of population genetics and natural trends; it's that the Clans have an obsession with "blood purity" paired with that.

When you introduce "subspecies" Clans to that, cats who are truly biologically suited to a particular environment, you are inevitably narratively connecting the rhetoric to this worldbuilding fact. Unless you're going to massively overhaul the theme and setting of Warrior Cats, to me it's like looking at xenophobic characters that say "mingling with out-groups is bad" and announcing, "I AM GOING TO GIVE THEM PHRENOLOGY BUT REAL."

Even canon is wise enough to not do this-- Graystripe shows in TPB that it's the oily diet that makes RiverClan's fur so water-resistant. WindClan's lanky legs never get more extreme than a general population trend; enough Clans have skinny warriors that you wouldn't "clock" mixed cats like Jayfeather and his siblings.

But in making those Clan differences MEGA extreme, suddenly, you have taken the irrational social bigotry and turned it into a potentially legitimate practical concern about adeptness in an environment. Not just against an individual, but against that individual's population.

As an example of what I mean, imagine if RiverClan had special, extreme adaptations to living in water. Let's say they're webbed-foot cats who can close their orifices like seals and their coat is twice as thick to keep the water out.

Outcrossing to another Clan means hybrid kittens display the opposite of hybrid vigor-- hybrid depression.

Without webbed feet, other cats are always slower swimmers than their counterparts

Hybrids have thinner fur, making them lose heat in cold water much faster, requiring them to eat more to stay healthy or get sick more often.

They may not have the same muscles to close their orifices, meaning they're more likely to damage their senses by swimming in dirty water.

You can reduce disadvantages with accessibility technology in a more advanced setting like BB, but... they are still born significantly disadvantaged, compared to a ""pure blood"" RiverClan cat.

Doing this also says something you might not have realized you've said at all; Your population is proof of evolutionary pressure. Highly specialized genetics like this (not just trends but HIGHLY specialized) implies there's been something preventing the genetics of other Clans from intermixing with RiverClan.

Which has two implications;

The hypothetical RiverClan cats achieved a positive goal by self-inflicting a selective breeding program onto themselves. (...eugenics. that's eugenics.)

The hypothetical RiverClan environment is so harsh and demanding that it will naturally, swiftly eliminate unfit phenotypes. (The river totally cancels out any secret outcrossing)

(as a side note, ppl tend to misunderstand evolution. Darwin wasn't totally right with "survival of the fittest," I prefer Bill Nye's description of "survival of the good enough." But that's a topic for another time)

Either way, I find those implications DEEPLY unfitting for BB. This is a project which has major themes of exploring bigotry, showcasing its irrationality and digging into how it's perpetuated and exploited in spite of that.

I think BB's themes have a better clarity of purpose if the physical differences between Clans are kept subtle. Never more extreme than what you'd see between ethnic groups-- with frequent reminders about how culture, environment, and politics shape behaviors more than genetics do.

Don't misunderstand me-- I'm not saying that every setting with physical differences between races/sapient species is doomed to this. I actually have good things to say about certain artworks that lean into it (Steven Universe, Beastars, Oren's Forge). I'm saying this specifically about WC and my work within that context.

If you're curious though, I actually have a loose set of "rules" in my head to try and keep my Clans' population differences within my own critiques! I've given a lot more thought to this than I've shared.

There are no "unique" Clan mutations, any trait could appear within any hypothetical kitten.

It's a matter of prevalence. ThunderClan is like 80% Sweetness Tolerant and the other clans are between like 15% - 60%. It's not a sign your mate cheated on you if your kitten likes honey.

But it is something that an accusation can be based on, if your mate is insecure or the Clan's politics are going sour. A "pedigree" RiverClan cat could still have a mane, and it can get used against them.

Some traits do help or hinder ability slightly (ex; thick tails making RiverClan cats better at steering in water), but typically not significantly. I Just Keep It Reasonable.

Most importantly, I just make an effort to have most traits be based on social behavior. Reflect enough and eventually you sorta train your brain to think differently. As a bonus, it helps with cultural worldbuilding.

Related: If you found this insightful, I also dove into fascism and TigerClan in a way that's relevant to this.

[letteredlettered]

Hello!! Firstly, I'd just like to say I've recently discovered your drarry work, and I have been reading your entire catalogue of it for the last week. Pulled all nighters can't stop reading it, reading it. I devoured The Boy Who Lived Twice in one sitting and I couldn't believe how well crafted it was. Blew my mind.

Now, all of this is to say, your prose has this elegant straightforwardness that is so succinct, so clear and so evocative. Your dialogue is absolute *perfection*. What are your influences? Books or authors you feel made an impression on you? I'd love to know what you read, because god I love what you write.

Thank you! I'm so glad you like my fics.

Jane Austen is a huge influence. Whenever my prose feels indistinct and overburdened, I return to her. She says things extremely sharply and cleanly.

Sarah Rees Brennan was a huge influence on me in terms of POV. I tend to write a very tight third person, so tight that the reader can generally see things the viewpoint character cannot. Check out the first book of The Demon's Lexicon series for one of the best examples of this I've read.

I spent a lot of time with Robin McKinley as a kid. I don't think that our styles match very well; she can do an ethereal, fairytale tone that I've kind of given up on. But what I loved best about her was that she could do that tone but then write something incredibly down to earth. I would check out Beauty or Deerskin for my favorite examples of this.

I actually also came into the style I write now writing for Buffy the Vampire Slayer (BtVS) fandom. While most of the stories I wrote in that fandom didn't have very sharp dialogue, I remember writing a story (a WIP still languishing on livejournal, sadly) where I realized I had "found" my voice and style. It was extremely dialogue-heavy. BtVS was famous at the time for its extremely fast-paced, idiosyncratic, snappy dialogue. The dialogue is now considered dated, and the creator is a douche, but imo it's still great writing, especially the early shows. I still go back to it sometimes to figure out a conversation with multiple people, or to work on my humor.

As for authors that have made an impression on me, I'd check out George Eliot. My favorite book is Daniel Deronda. It has wonderful dialogue, especially for an older book. Dickens, Dostoevsky, and Hugo all made pretty big impressions on me as well; I think these big, hefty books with really big ideas really influenced my language, even though I would by no means call my style 19th c.

I'd also check out Rainbow Rowell. I wouldn't say she influenced the style I write with now, because I had it before I read anything by her, but she's one of the few contemporary authors I read and think, "Yeah, I'd write it like that." I think anything by her is a great read that can give you a lot to think about in terms of style.

In my mind, Sally Rooney is a little like Rowell in terms of a cleans style that packs a sharp analysis. I'd call Rowell more comfortable, funny, and genuine, while Rooney is a bit aloof and literary. I actually don't like the stories in her books very much, but I found Conversations with Friends particularly refreshing in terms of writing style.

C.S. Pacat's Captive Prince series also left an impression on me. It has a clean, simple style, with a narrator who doesn't see everything the reader does. And I also did learn a lot from the use of the word "said," in those books--it was something I already knew! and yet.

I think some fanfic that made a big impression on me is The Paradox Series, by wordstrings (Sherlock/John, Sherlock BBC), Spice, by eimeo (Kirk/Spock, Star Trek TOS), Children, Wake Up by hollycomb (Kylo Ren/Hux, Star Wars: The Force Awakens) and Tarnished Gold, by prim_the_amazing (Shen Yuan/Luo Binghe, Scum Villain's Self-Saving System). The styles in these fics vary, but each bowled me over at different points with how beautifully something was articulated or how spectacularly a scene was crafted. I think about Spice all the time in particular.

I'd also say that if you're thinking about dialogue in particular, I also love both Oscar Wilde's and Tom Stoppard's plays.

If you are a writer, I did write a series on writing dialogue. Check out the tag "lettered writes dialogue". The first post is here.

[cute-little-fly]

Again, the problem of this finale is that it was rushed. It is all reduced to that. We needed more scenes and more final and concluding remarks about the plots that needed to be concluded or at least given some closure. But, I will try to conclude something with the crums we had.

Piltover obviously opened the gates because they needed the muscle. But then, did you noticed how the councilors looked at Zevika at the council? At the end, everything was the same…I think that in this universe they will be the same, and Zevika maybe could join Ekko and try to fight to get the Undercity people’s voices heard and some basic rights but that will be about it. At least, from what I felt about the little they put about it in the ending… Also, I feel that what the final fight wanted to say is that when real danger arises people forget about differences and unite, but at the end, they give you the punch that after the danger passes it all keeps being the same… the prejudices and all of that… which is disappointingly realistic.

The enforcers are authority. There can be good people and bad people among them, but at the end, they are at the service of the greater power and good enforcers won’t make any difference. For me this message was conveyed through Maddie and Vi in different ways.

At the beginning Maddie seems like just one junior officer that joined the cops because she wants to make a difference, young and naive, all of that. She admiring Vi that acted upon herself to what she believed was right. But then, she is completely willing to be Ambessa’s spy, uses the power that gives her to revenge on Caitlyn and doesn’t really care that what Ambessa is doing might be dangerous to everyone. Like, is basically how easy someone corrupted can use police authority to oppress or for their own means no matter how naive and good intended they seem to be at the beginning. She didn’t cared about Martial Law, because she believed in authority.

Vi on the other hand was an oppressed person that did it because of guilt and to help Caitlyn. That didn’t resulted in anything good for them and just made everything worse. Vi said she always chose wrong. I think she regretted joining the enforcers. This is not precisely told, but I think you can do that interpretation and what her new Pitfighter Vi skin in the game says is basically that… for me that counts as a confirmation since now they say all of that is canon. Some people question that she keeps the badge and what that could mean, she still might be defending Piltover against barons and shimmer but by her own volition and not tied to the enforcers. But this lady thing is my guess, since they left that so open.

I don’t know what beliefs the people that made Arcane have, and is obviously a product of a big company that usually is not allowed to be that extreme in its political views… but, at the end, we have to remember that Arcane is made by a lot of people. We are able to interpret all what happened through different lenses because even if it can have biases is not a propaganda show.

It doesn’t matter that the creators are aligned with that message or not (I don’t think they all think the same). At the end, they showed nuance and we have many examples of police brutality or authoritarian in the show depicted as wrong. They don’t show Caitlyn and Vi going back to the police and Caitlyn won’t never ask that to Vi again and they don’t show them doing that at the end. If the show was a cop propaganda I think vi would have ended up as an enforcer again, the same as Cait. I wonder what they will do after this, but they ended it open ended for a reason.

Is it just me or did the Arcane finale completely forget about the dynamic of oppression between Piltover and Zaun? Why are the Piltover police suddenly being depicted as a relatively heroic force that will open the city gates to Zaunites after after two seasons worth of them being depicted as cruel and apathetic people of immense privilege who spare no mercy towards the Undercity? Is it just me or is the final season of Arcane totally contradicting its progressive messaging?

All I can think about is when the tides of war finally roll out of the shores of Piltover and Zaun, what will happen to Zaun?

[jaegersmoon]

what are ur steps to writing a complex character? i’m having so much trouble w that

✧ write the characterization out on paper so you can visualize it

write out their likes, their dislikes, their personality type, what makes them impatient, what scares them, give them habits and put the reason as to why the habits are there, is it a coping mechanism? a trauma response? did they get it from a parent that died and they don't even realize they adopted that habit until someone points it out? seeing all of this will help you make connections that maybe you were blind to when it was all in your head.

✧ let them be imperfect !!!

when writing complex characters, it can be so easy to fall victim to the concept of trying to make them perfect, of no flaws, because it is your creation and at the end of the day, you are the one making the choice for them but remember that flaws are what drive the complexity of a character. let go of the idea of them always being well versed (bc that isn't reality) and let them make poor choices, be stupid, have horrible coping mechanisms, shut people out, get them into situations other characters wouldn't touch and then let them struggle to find a way out.

✧ don't let the character think like you, but rather think like the character

it's extremely common to use certain life experiences and build them into events in your book. if you do this when involving a complex character, allow them to make choices that you wouldn't ever make. let them over react where you would under reacted or under act when you would over react. let them blow something out of proportion, snap at a character, and say things that you never would and then give it a ripple affect... let it take damage to a strong bond because of their inability to listen and then have them suffer the consequences of that choice in order to allow them to grow enough to fix their present flaws.

the more you write, the more you will learn how to embody what character you're writing and your brain will almost slowly turn into theirs and it will become easier to make choices that accurately fall around their flaws rather than your own.

✧ let them piss you / the readers off

as a writer who is publishing works to the public, it can sometimes be intimating to think about readers reactions when decides on certain choices a specific characters makes, weather you're going to make them mad or not or make them wanna throw their phone. if you do? then good bc you're making them feel something and in my opinion, complex characters are not made to be made to be liked 100% of the time. sometimes they do things they shouldn't or they make choices that makes their development spiral backward, but that's the point. take eren for example, he is a very complex character, has he done things to piss me off? yes. do i love him despite all of that? yes. do i love him because of that complexity and those flawed choices? yes. zuko is another good example of this.

another example, i hated how jean was at the beginning of ob, it was so painful me to write and is even painful for me to reflect on, his flaws made me so angry, but i had a vision as to where i wanted him to end up and i knew if i wanted to develop him and flush him out the way i have, i needed to start him in the trenches and give him a solid reason as to why he was stuck in the hole he dug for himself.

✧ complex characters need a reason that they are complex

where did they come from? what did they experience that made them this way? what triggers their anger? what things are they sensitive too and why? every complex character should have depth as to why they have become who they are. understand their triggers and create boundaries (i.e jean's back, yn's thighs). also give them layers upon laters of identity that you can later leverage out of them and say "this character hates this specific thing because of x y and z and because x y and z happened to them, this is where they fall short in this specific part of their life.

✧ allow them to contradict themselves and let it happen a lot

let them say something and then do something that goes against what they said and turn it into an inward battle. many times the biggest villain of a complex character is themselves.

for example, when keith called yn to tell her to come back to stohess because of lucas she was aware of his flaws and that she wants nothing to do with him but when he mentioned her brother, she took off running and reverted back into the little girl she used to be when they were at the dinner table and he was telling her that he loves her and wants them to be a family and she was inwardly questioning if he actually meant it even though in the back of her head she knows its not true. this is where her complexity comes in. it would be easier just to write her as a 'fuck you dad' type of girl but that isn't who she is. she loves people to a fault and at the end of the day, despite her horrible experiences with keith and all the suffering he put her through, she will always have a piece of her that yearns desperately for her father and the family she lost and will always be hopeful that vacancy will somehow be filled and that is something she truly hates about herself hence why she so often says she knows better than to hope (and yet, she still does).

; hope this helps bb, please remember i am not at all trained in any of this, what i know is what ive learned by doing so take it all w a grain of salt lmfao <3

[thefandomsfervent]

Hi, I hope you don't mind me asking about Personal Pigments because I am so confused and do not take my cues well (from text or speech). I hope you don't take this the wrong way.

In personal pigments, what happens to Jayce and Viktor if Viktor and Reader do end up in a relationship? Because it's heavily implied (at least from what I understood) is that there's a romantic subtext between Jayce and Viktor that even the Y/N notices.

Is it platonic with romance mixed in with extreme respect for each other ++ their work and admiration?

What happens to the trio's relationship with each other? Do they all end up with each other if that was the case?

For other people reading this, there will be spoilers for personal pigments (a vik x reader soon to be jayvikxreader fic) so if you're not caught up to chapter 17 don't read this yet!

Hi anon! No worries, somethings aren't going to be clear to everyone because we all communicate differently, I appreciate the ask! I'll explain my intent more clearly with chapter examples and also answer your questions. I hope the word vomit isn't too bad lol.

You are correct that reader can tell that Jayce and Viktor are romantically involved! In Ch. 10 reader teases/asks them about their "partnership"and Jayce confirms that they are "not, not together". It's meant to be vague in the sense that J and V don't really know either but that they don't care at that moment to define it, they just know that they like each other without having to do anything about it because they are always together anyways. A closeness that didn't need a label because they both saw other people (flings) prior to and during their time as Hextech partners.

For J and V is been an undefined romantic but not yet sexual/physical situationship this whole time, where reader admires them and their work. In turn, J and V start to notice and admire reader. Since it started out as a non-poly fic/ V x reader fic we're seeing more from his POV so far about his feelings for reader. We will see more from Jayce's POV soon but some hints to it are in Chs 10(him noticing V admiring reader) and 12 (saying he missed reader and teasing V for missing reader). These are meant to be read as either platonic or romantic. Things move to a more romantic/ sexual turn when J notices reader watching his moments with V a bit closely in Ch13 and teases reader. We also see J think of reader's words as an innuendo and teasing V.

Ch 14 is where JayVik really comes to fruition as a J and V teeter the edge over a physical/sexual boundary with teasing. They've teased each other before as seen in previous chapters (descriptors or allusions to) but this time it's done with explicit intent to rile up. This chapter ends with Jayce saying "audiences are important" while looking at reader because that's where V is looking. This is meant to imply that J knows that V is interested in reader, and that J himself is also interested. Reader starts Ch 15 seeing the teasing and finding themself wanting to know more but staying away as the JayVik relationship is undefined but present. In Ch 16 while reader is gone on a walk with Mel, Jayce and Viktor finally define their relationship (albeit murkily) as something that is open and they kiss and celebrate. Getting drunk and leading to chapter 17 where Vik masturbates to the idea of both reader and Jayce. In this chapter we also see Reader becoming more aware of JayVik as a potential (since reader doesnt know for certain yet) to be relationship. At this point reader is still dense and likes both of them as friends while finding Viktor to be the most occupying of readers thoughts.

Reader is a bit slow on the uptake. And Jayce is loverboy who can and will love everyone. Since he enjoys reader as a friend, and enjoy V as something more, he likes that V enjoys reader as something more and wouldn't mind developing it with the three on them together. Canonically he has an undefined but very bf/gf like relationship with Mel that I do want to include.

So your questions: what happens to J and V if V and reader start dating? They stay together!

Is it platonic with romance mixed in with their extreme respect for each other ++ their work and admiration? Yes. It started as platonic for J and V that quickly grew to an undefined more before reader was ever present. Now that reader is there J and V admire each other and both admire reader. The two of them (i imagine anyway) respect and are drawn to people with drive. And reader admires their work for Hextech but also J and V's relationship as friends/more than friends because of their inherent trust and kindess for each other. For J and V it became romantic before reader but is defined now with reader because they both want to openly pursue her and potentially others (Mel in the case of Jayce).

What happens to the trio's relationship together? Do they all end up together if that's the case? I fully intend for this to be a slowburn on reader's part specifically. The short of it is all three of them together with potential for Mel to join as a fourth. She may remain as a hinge partner for Jayce that reader crushes on, just depends on how things develop as I keep writing.

Thank you so much for reading and asking, I hope this clarified things. Feel free to ask more questions, I may or may not answer them if the answerscwould reveal too much of the story I have planned. I do want to stick very closely to the canon though. Currently we are inbetween Act 1 and 2 of Season 1 during the 7 year timeskip.

[biggest-gaudiest-patronuses]

neurotypical people will be like "yeah loud noises bother me too" and meanwhile i once had to sit in a closet clutching a pillow sob-rocking for 2.5 hours because a fire alarm went off for a few seconds

[thebaldursmouthgazette]

We DO narratively know about it. From all the times in the games where we’re told about it. I’m not using the art book as my only source, I’m using it to reinforce the stuff that is in the game. I’m using it to say that even if you could argue the times we are told it explicitly in game weren’t saying that, we can see from the concept art that that was the story being written. If it WAS Mythal, that was a change from the initial story made late in production on veilguard (decently late, considering all in game dialogue on the topic seems to have been written with solas doing the ritual in mind) and therefore nothing from previous games (which all your examples are) disproves it, because they were written with the initial story in mind.

You are doing a disservice to the lore by taking it all at face value. These are explicitly not accurate stories. Completely separate to this debate, we know for a fact that they are all propaganda that present the evanuris in an inaccurate and flattering light. It is not a stretch to entertain the possibility that they attribute “victories” to them that were not actually theirs.

That’s not to say these codex entries don’t tell us anything or have any value, they do. But what they tell us is the attitude the ancient elves had towards the evanuris, not an accurate record of events. The lullaby tells us that it was known and celebrated among ancient elves exactly what was done to the titans, it doesn’t necessarily tell us who did it. We know it was attributed to Mythal, but we also know there’s plenty of reason why this might not be the whole truth.

Now as for whether solas had the power to do the ritual, he had the power to make the dagger, something it took Elgar’nan and Ghilan’nain took most of the game to replicate (likely a year, as that was the timeline of the other games and there’s several points where clearly a few months have passed. But at the very least, several months). Now they have the veil limiting them, but also there’s two of them and they have the blight boosting their powers. There’s a lot of differences, but it’s clear making the dagger would have taken a LOT of power. Probably more than the ritual itself, considering we can use it fairly easily at the end of the game but our team is unable to create a copy. I don’t think the argument he didn’t have the power to do the ritual holds much weight, if any.

In terms of themes, it actually makes way more sense thematically for solas to have done the ritual himself. Look at how he uses mental gymnastics to absolve himself of his other wrongdoings. Always some excuse. If he had just made the dagger, and told Mythal not to do it and she did it anyway, he would say he wasn’t to blame because he tried to convince her, it’s her fault for not listening. He doesn’t do this. He doesn’t try. It’s extremely important to the themes of this game that he did it. He chose to do it. He did the ritual himself, of his own free will. He may have been ordered to, but the action was his and one he chose to take.

You know in retrospect sundermount is a hell of a name for a mountain

[deus-and-the-machina]

hythlodaeus be like "teehee I hope I can be of some use" *clean headshot* 😊

bitch they wanted you for the aether-centric governmental position I know you think your curmudgeony cunt husband is amazing but stop selling yourself short its a slippery slope to sacrificing yourself to make god smh

[bmpmp3]

sorry to be a bit of a hater but i do wish youtubers weren't so scared of making their videos just like, "reviews", whys everything gotta be a "video essay" all the time. every day my recommendations are filled with 40 minute videos titled "_____: An Underrated Masterpiece" where the first like five minutes are reading the wikipedia definition of "masterpiece" in a somber voice with dramatic themed text on screen. please just tell me how good or bad you think something is and use the rest of the runtime to explain why. you dont need to put on all these airs

[rolandkaros]

forever hilarious to me that tennis is promoted as this prestigious highbrow big-brain sport when most tennis fans these days are like. yeah this is my favorite player. yeah i don't know why they're like that. yes they are stupid. no i will not choose somebody else.

[hellofastudysession]

am i rlly going to write a death note literary analysis when i could be doing other things

about the discourse going on in the tag abt "death note is acab and thats why the characters couldnt better the world with the note (/written in somewhat jokey matter)" vs "death note is trying to say we all have potential for evil, especially if you get a chance to insta-hurt ppl without repercussions, and it doesnt matter if youre a cop or not", i personally feel like it ignores the things that i like abt death note, which is "both of these things are true", and simultaneously "both of these things do not matter". the first part of this is dedicated to the first point, the latter to the last.

first point. i think its an important part of the message and themes (unintentional or not, and i lean on the former because... come on, can you really say the author intended you to not think of the cops as good people, at least compared to light and l) that light is a cops son, and that almost everyone who gets the death note is cop adjacent/thinks like a cop and is already corrupt/powerful when they get it (mello raised to think hed be just like l, yotsuba group is self explanatory; you cannot look me in the eyes and tell me teru "churchill" mikami, who was hand selected by light out of a bunch of rabid kira supporters, is a normal citizen). i appreciated the cop post bc its rlly important to not gloss over that aspect.

all of this would be an argument for "only someone like them would do something like this, and i am not like them, so im above them and immune to thinking about what id do with it", but... misa is the MOST important outlier in all of this bc her murders are solely selfish in nature and shes not doing any of this for "the greater good"!!! her nature of being an exception and still a very very bad person is really really important...

or it would be if death note gave a shit about her character at all!!! im not talking about her tragic side, im talking about exploring the ramifications of her killing people the way lights murders are (somewhat) explored. that would strengthen the message greatly! but shes dismissed and that weakens it overall. firstly, she's dismissed by the characters when l only sees her as a way to get to kira and basically shelves her the rest of the time. secondly, shes dismissed by the narrative when her character is gradually ground down to a stump and (not to sound perilously close to the bad takes ppl meme about) she never faces repercussions for her actions. every other character using the death note is treated relatively seriously, but misa just dies bc her love is dead. im not saying this isnt a... fitting punishment or that it isnt in character, but it doesnt fit snugly into the theme other people are talking about of "you reap what you sow" at all.

we do have something of an equivalent to misa's grayscale motives. surprise surprise, its light yagami. first is light's characterization in the musical (i will also note that misa never kills anyone in the musical). light's thinking is coplike, yes — he literally starts his first song by talking about "throw[ing] away the key" — but also, oddly enough, could be read as progressive and therefore sympathetic to tumblr ("let the corporations make the regulations / and hold no one accountable when everything gets wrong / let the rich and famous get away with murder / every time a high-priced mouthpiece starts to talk, his client gets to walk"). compare to the anime and manga, where his bigotry and pride and disgust come from a place of lukewarm dissatisfaction and boredom. the musical has much less time to play around with lights character, so it gives the audience something to immediately hook on. more on how that actually plays out later.

in the animanga, none of this is justified from the start. animanga light could say he was just killing people to make humanity way, way worse, and that wouldnt matter, because at the root of it, it was always his boredom that made him pick up the note. of course he actually believes in justice and believes hes doing the right thing (no, he believes he's doing the wrong thing, for the sake of the world... the right thing, because he is god...), but it was boredom at the start. all animanga light says about justice and righteousness and the law is a front in the end, bc he is exactly like l and misa — amoral. selfish. searching for entertainment. hedonistic. we know this. he kills naomi misora*. he kills lind l. turner. everything hes saying deserves to be dismissed from the beginning.

"but doesnt that mean you agree with the discourse post you wrote this post to argue against?" like i said, i agree with both of them! but i... still think its not right to reduce death note to the message of "the power to kill people is bad". because that is not exactly what the story is saying, even though that's literally its whole plot and therefore reaching that conclusion is self explanatory (lmao). let's look at the concept of mu. nothingness. "there's no heaven or hell". The Real Slay The Princess (Death Note Essay) Starts Here.

in light's final moments in the death note manga, while screaming about not wanting to die, he remembers that the first day they met, ryuk told light that "there's no heaven or hell. no matter what they do in life, all people go to the same place. all humans are equal in death". it is retroactively revealed that light knew this the whole time, operated under this knowledge for all the years we watched him — the knowledge that nothing he does is actually bad, that nothing any human does is actually bad, that shinigami are not "evil", that the universe does not care. that no one cares except humans. this oblivion absolutely terrifies him more than anything anyone could ever do to him. its what he thinks of before anything else as he flails there, screaming, dying. one could say everything he does after that day is him trying to escape that fact, or wrest control over it. but it doesnt work.

here are the lyrics of requiem, the musical's final song, sung over the bodies of l and musical light, a light who was at least somewhat good-intentioned at first: "sleep now, here among your choices / then fade away / hear how the world rejoices / shades of gray / gone who was right or wrong / who was weak or strong / nothing left to learn". this is the final message the death note musical and the manga chose to leave us with. there is no judgement. even after all that acknowledged hurt, after all the damage done, there is no judgement.

in the manga and anime alike, the world is just as fucked when light picks up the death note as when he dies. sure, we as readers can guess otherwise logically (and be optimistic, believing the world was never fucked regardless), but that's not what death note wants you to think. it ends with matsuda and another member of the task force noting how the world is worse again even though they killed kira (matsuda is clearly much worse for wear, but still determined), we see the shitty motorcycle band again, it ends with misa and a whole kira cult on a mountain even though kira died a long time ago...

its extremely important that light is never killed by any human or any aspect of the law. he is always killed by ryuk: a chaotic force completely detached from human sensibilities, one that does not care about good and evil. same with l; in the anime, manga, and musical, he is always killed by rems senseless, morally gray love (and you could argue in the kdrama that hes killed by love there too lol). justice is just a set dressing.

this is not just because death note is a tragedy, because good and evil can still matter in a tragedy. the theme of "nothingness" and "good and evil doesnt matter here" is also shown in a situation relatively unrelated to light winning or losing, or being good or bad. and its in fucking lawlight of all things. we all know ls not a good person. we know lights not a good person. this is tip of the iceberg death note knowledge. but the moment they start to interact, none of that starts to matter. textually, their relationship becomes more important than the people theyve killed and hurt. and the thing is? the thing is? THAT WORKS STORY-WISE. THAT'S ENTERTAINING. AND IT'S NEVER TEXTUALLY CALLED OUT IN A LASTING WAY. l and lights relationship, no matter how much i meme it, is genuinely important to the themes and "mu" because it makes it clear that despite all the pretensions, despite everything, this was never about good and evil. and it still works in the story. this is why death note is simultaneously a comedy — isn't the battle of good and evil supposed to matter more? well, fine, i'll keep watching this anyway. that suspension of disbelief comes crashing down the moment l dies, though, and a relationship built on nothingness (the "mu" sort, meaninglessness, not "character development" nothingness, theres plenty of character development) gives way to just nothingness (again, "mu", not light's post-l depression nothingness), forever.

(an aside: there is no one to root for in death note, and the only things to root for are either interesting character relationships, convoluted plots, or complete and total destruction: for everything to end so no more damage is done.)

not to say that death note does not encourage its readers to consider what damage they might do with the death note (obviously.), or that its characters never do. look at matsuda, a much easier heroic figure to latch on to than soichiro because of his unique place in the cast dynamic and because he's willing to consider both sides of the situation and kill light instantly for all he's done. its just that the story's own stance on the subject is... complicated by the existence of shinigami worldviews and by its own insistence that the world cannot change for the better.

also, this is not to say that this is executed well by the death note manga at all. it is a very strong tool, artistically, to establish and then violently remove any emotional connections between characters and make your story only about the exceedingly convoluted lengths characters go to to survive and catch each other so the reader can realize how ultimately pointless all of this is, but like... is that a good story choice if that's all you do? i would say not really. add in a good dollop of misogyny that destroys the second-to-last character who might actually be an interesting contrast to the rest of the cast's dull one-track focus on winning and justice, and youve got yourself a shitty story that... honestly still achieves what it went out to do, just not in a way id ever want to replicate.

anyway, back to the parts death note's actually trying to say. no matter what any human does in their life, no matter how they try to hurt or help the world, they all die in the end. hey, light, they all die in the end. once dead, they can never come back to life. and the seasons turn. and the world rejoices. and you say "goodbye"...

that's all.

no analysis of death notes overarching theme would be complete without nears final monologue, the definitive roast of light, the "you're just a murderer" speech: "what is right from wrong? what is good from evil? nobody can truly distinguish between them. even if there is a god." if we take this as talking about the actual god in the room (ryuk) as well as light, then near admits that humans will never be able to withstand these overwhelming forces and that, using justice and happiness and selfishness, they are just scrabbling to find meaning in things they ultimately have no control over.

but of course, near does not stop there. "[...] even then i'd stop and think for myself. i'd decide for myself whether his teachings are right and wrong." nears alright with not having control over everything, because near can still control nears own actions. these forces can and do exist, but they have no sway over nears own humanity — unlike light, who caved.

one of the creators of death note said they believe its message is "life is short, so everyone should do their best". the first time i learned this, i was like, thats... nice and optimistic, but an awful reading of the story! "life is short, so everyone should be desperate and striving like light yagami", who literally cut off other ppls lives for his own life? what character in death note are we supposed to strive towards when we "do our best"? they all do awful things with their lives! honestly, maybe they shouldnt have tried their best, if this is what their best is!

but with the view of "mu"... it makes a bit more sense. just a little. maybe.

there is no good and evil. there is only what humans think, and no matter what we do, we all die in the end. it is easy to be crushed and terrified by this in the same way light is, but what is more important than justice and righteousness and finding meaning is... doing your best. not being a person that hurts others too much. not letting yourself get swallowed up by an ideal. not going too far. and simultaneously, trusting yourself.

it leaves a few questions, though... was the currently dead l even a little bit right about his blatantly amoral approach, then? was there a point to this pain, and me slogging through this dumbass manga, and all the people that have lost their lives to a selfish teenage cop's son and the whims of everyone chasing after him? was there a point to any of this...?

the manga** never answers this. it stays clinically impartial until the very end. the musical is anything but clinically impartial (and i love it so much for that), and its ryuk that has the last word.

"there's no point at all."

of course theres no point. none of this was ever supposed to happen. that is what matters more than all the hurt and the crimes and the pain.

and that's... actually okay, because it's over now.

yes, death note has many really important themes present in its story, but its viewpoint is nihilism first and foremost. thats why its so fun and easy to play around with all the other messages, because no matter what fun or torment or awful things or righteous justice or absolute nothingness or sentimentality happens in between, there is always an end.

there is always the end.

[skaruresonic]

(Pat Boivin voice) "yes, Woolie, you can win any argument if you just change what words mean"

This literally could not be any simpler. Mega Mack is a chemical. The level is called Chemical Plant. The Egg Poison boss ("Water Eggman" in Japanese) drops this chemical on Sonic with the specific purpose of killing him, thus classifying it as a chemical weapon.

[proudfreakmetarusonikku]

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