#this is so compelling like yes suffer

[gideonisms]

started watching suits and it's so funny to watch these people play social games with each other for no fucking reason like welcome to my world. anyway you're all insane

[gingermintpepper]

In light of my recent Asclepius and Apollo musings, I feel like it's the perfect time to post this, actually.

How do you build a human being? 

Bold question. Foolish question. But a question it is all the same. 

The memory of his father’s consternated expression is still bright behind his eyes, that unusually furrowed brow, the tension in his gentle jaw. He didn’t falter in his setting of Asclepius’ broken shin, hands perpetually steady and sure, but he hesitated for a conspicuously long moment as though reluctant to give an answer. In this body, he resembled Orpheus something fierce. The same flaxen curls of his hair, the same delicate eyelashes that stand stark against the dark brown of his skin. Often Asclepius wondered if his elder brother was nothing but a body built to suit their father’s preferences. The subtle wrinkle of skin around their eyes when they smiled was the same, and the steadiness of their hands, the soothing power of their presence. 

And Orpheus did not bleed like Asclepius did. The blood in Asclepius’ veins were as red as any human’s, any mortal’s, but Orpheus seemed not to bleed at all. Even when he’d suffered the same fall down the crumbling cliff as Asclepius had. Even when his skirts had ripped and jagged stone sliced into his shanks. 

Even so, Orpheus was unmistakably alive. His eyes were rich with grief fresher than any blood spilt from the worst of Asclepius’ wounds, his counsel too, was tempered with the wisdom of a life well lived. So even at the apex of his most perfect, inhuman beauty, Asclepius never once doubted that his brother was a human being. Just that he was more divine construct than flesh and blood. Just that their father had built for himself a son that would not break as easily as all the others. 

His father stayed silent for so long that Asclepius assumed it would be one of the million questions that would go unanswered. Then, just when the last of his bandages had been wrapped - 

“A human body is easy to build,” he’d had that faraway look on his face as he spoke, like he was speaking to the horizon. Or a version of Asclepius that was not quite here. Such things happened from time to time. “Any flesh would do. From men, or animals, or even monsters. Any flesh would do.” Their gazes had locked then, and Asclepius would never forget the flecks of gold which swirled in his father’s blue eyes, the weight of divine words rattling at the boundaries of their mortal apparatus, “But the breath of life, a living soul? That is beyond your means as a mortal man. You ought never seek it.” 

(Asclepius would remember these words when he revives a man for the first time at the age of nineteen. He’s surprised to find that his father is wrong for once. Souls are easy to source when they’re already eager to return to their mound of flesh.) 

[crimeronan]

orpheus sucked. i've said it before and i'll say it again: if you loved her you wouldn't look. rip to eurydice girl if you were married to ME i'd walk straight out of hell and keep walking and if i never saw you again it would be okay because i'd know you were alive and carry that with me and none of the rest of it would matter because THAT'S WHAT LOVE IS and anything else makes my skin crawl. your husband fuckin SUCKSSSSS dude i'm so sorry. i'm so sorry an ugly bitch would do you like that i'm SO s

[marsbotz]

“acid theory real” this, “acid theory bad” that. cant we all just get along. and kiss 💖

[bonewicca]

solution nine discourse on the for you page. here's my input: 👎

[askshivanulegacy]

SHIPPING MEME!! 2, 3, 4, 5 (>.>), 14, 15, 26!

THANK

2. Talk about three of the most important ships throughout your life.

HMMMM. I'm going to include platonic ships in this, and they're all ships I've RP'd. Also, there are definitely more than 3 super important ships, so these are definitely NOT all of them.

(Platonic) Zack/Angeal/Genesis/Sephiroth from Final Fantasy 7. My first-ever set of online RPs. Really how I got into RP and art and writing! Still love them. I want to pick up the new games at some point, and I still have old fics on my to-do list.

Blakk and Saare-ha. An unplanned ship, but so good. the RP here is how I got into SWTOR. Still my canon storyline and I hope to finish some day!

Blakk and Ahuska. One of my current major ships and responsible for a few other most excellent ships, as well as some most excellent projects. >3

All of these ships and ones I haven't mentioned are of course responsible for hooking me up with my most bestest online friendships. What could be better than stories and fandoms and friends? ♥♥♥

3. What’s your current OTP?

I have several ships with Blakk that I love: Blakk/Ahuska, Blakk/Der, Blakk/Zim, Blakk/Zim/Der/Ahuska. Ofc, as my main OC, I love all my ships with him, even if they aren't listed. ♥

ALSO, I love Watcher Five/Cipher Thirteen/Crow aaaaand whoever else may or may not get wrapped up into that. 8) Cipher 13 is my newest trash child and he's amazing. >3

4. What’s your current NOTP?

Ahahahaha ... Shuri and Namor (Wakanda Forever). There's SO many things about this ship that I find extremely disagreeable.

Namor's entire arc starts with a gaslighting trip ("it's your fault I'm attacking you because you won't join me in worldwide genocide"), followed by the lovely murder of Shuri's mother. Despite his supposed agreement to stand down from his warmongering ways, he ends the movie with a renewed commitment to beat Wakanda the moment he can find a way to do it. Not once does he express remorse or any genuine desire to co-exist with Wakanda. As long as they refuse to be his tool to take over the world and/or commit mass genocide, they are his enemy. Shuri certainly (and rightfully) showed no interest in him in the whole movie. She's honestly got better things on her mind, not the least of which is her mother's murder. It's a sign of her own character growth that she even let him live after his murder spree. But at the end of the movie, Namor had no character growth: he's the same as he was at the beginning, except beaten.

I look at this ship and all I can ask is WHY. Maybe there's room in a future movie for him to develop as a character (after all, this was Shuri's story, and not his), but right now it's a ship I just can't stomach lol. It's such a weird ship. It doesn't recognize anything that happened in the movie. I appreciate a good bad guy ship, but there's nothing compelling in Namor even as a character to achieve that the way he was portrayed. And the funny thing is that it's not even presented as the random OOC ship it is, or even a solid hate-ship, it's presented like there's a basis for Shuri and Namor to actually have a loving relationship ... and there isn't. She's a child. He's a centuries-old child throwing a temper tantrum that nobody else in his entire underwater kingdom probably understands. He murdered her mother and said it was their own fault. Just nope.

People can ofc ship whoever they want, but this is the first ship I've seen that I've been so opposed to even seeing the art on my dash. These tender, loving glances between Shuri and Namor?? Wot??? Like, did we watch the same movie?? Doesn't seem like it, lol.

5. Do you have any poly ships?

I DO IN FACT. 8)

(SWTOR OCs) Watcher 5/Cipher 13/Crow +/- Ulfran is a CURRENT FAVE. Ahuska floats around on the fringes. 8)

Derrick/Blakk/Zim/Ahuska is another fun one, and I've had a couple others over the years. >3

14. How do you feel about will they/won’t they?

An excellent trope, especially in slow burn action. >3

15. Have you ever “shipped at first sight”?

Not that I recall, actually. The characters have to reveal themselves first, along with their motivations and how they tie into the story. I don't ship just anyone, and I don't do it just based on the appearance of characters. I'm also not a super frequent shipper either. I default to canon relationships all the time with zero desire to change it and zero desire to delve into fanfiction. I have to really connect to the characters and want to see more of them before I think about shipping.

26. Have you noticed a pattern in your shipping? Is there a romantic dynamic you’re more drawn to?

Now that I think about it I GUESS THERE IS.

I seem to lean strongly into angsty bad boy + heart of gold, or angsty bad boy + power figure. Honestly, as long as there's a stabby, desperate, angst bucket, my shipping radar boots up. XDD

[wilwheaton]

fuck you pat robertson

Pat Robertson walks past thousands of souls, smugly and full of pride, and cuts to the front of the line at the velvet rope in outside the entrance to his version of Heaven.

The bouncer looks up from their clipboard, observing Robertson with thousands of eyes in a swirling cascade of light.

"Pat Robertson," they say. "We've been expecting you."

Pat Robertson silently congratulates himself. He swells with joy. All those people who died from AIDS, natural disasters, even 9/11 ... they all deserved it. They were sinners!

The bouncer speaks into their headset. "He's here." They listen. "Yep. At the front of the line."

The bouncer turns most of its gaze back to Pat Robertson. "Just wait here for one moment, please."

Pat Robertson steps to one side and waits.

After one thousand years, he begins to wonder if there was a miscommunication.

"Excuse me," he says to the bouncer, "I am Pat --"

"Robertson. Yes. We know. We're just getting everything in order for you. It will just be one more moment."

Tens of thousands of victims of gun violence walk past him and enter Heaven. The population of an entire village, lost in a typhoon that was intensified by climate change, is welcomed. And still he waits.

They file past him, all the people he looked down on. All the people he hurt, directly and indirectly, don't even notice him as they pass. It's like he isn't even there.

Another thousand years pass. Pat Robertson realizes he hasn't had a thing to eat since he died and he is so very hungry.

"Hey!" He shouts at the bouncer. "What's the problem? Don't you know who I am?"

The bouncer rolls half a million eyes at once. "We know exactly who you are."

"Well, alright, then!" Pat Robertson spits out, exasperated, "if you aren't going to help me, get someone here who will!"

The bouncer speaks into its headset again. "We're ready."

A gibbering mass of what is mostly human flesh -- or was, once -- slithers / rolls / flops into Pat Robertson's view. It is covered with mouths that bleed and weep and click their teeth together. Enormous open sores swirl and burst and close and reopen and drip pus and viscera across blistering skin. The faint memory of a smell surrounds it, something like very old cigar smoke and very expensive liquor.

Pat Robertson tries to scream. Arm-like stalks extend from the quivering shape. One resembles a hand at the end of an arm, dripping viscera.

In a flash, it grabs Pat Robertson's hand and shakes it. Something hot and acidic splashes up on his arm, blinds him in one eye. He feels weak. Afraid. Alone. Confused.

Hundreds of mouths try to speak. Dozens of them vomit acrid bile that splashes across his chest. Dozens more silently spit out the lies they've been cursed to repeat for eternity to an audience who will never hear them again.

One mouth speaks clearly. So clearly, it's inside Pat Robertson's head and everywhere else all at once. "I'm Rush Limbaugh," it says. "I'm your new roommate. Come with me."

And that's when Pat Robertson knows. That's when it all hits him, all at once. He's getting everything he deserves.

The line to get into Heaven does not see or hear or notice him, or the Limbeast. They can't hurt anyone, anymore.

The cancerous mass of hate wraps its arm around his shoulder and just like that Pat Robertson finds himself in a vast parody of a cathedral. It's built of bones and flesh and lies. The walls writhe, and he sees that they are not bricks and lathe but bodies wrapped in confederate flags and wearing red hats.

The pews are filled to capacity with the souls of people who followed him in life, hated who he told them to hate. Only their hate is now focused on him, hot and unforgiving. Relentless.

Pat Robertson looks for his companion, but it has vanished. It has left him alone to suffer.

A sermon rises in his chest and pushes against his throat. Pat Robertson is compelled to speak, and as he does each word tears through him like broken glass. He spews his hate and his lies, just as he did in life. Only in this place, he doesn't feel the glee and the satisfaction he always did. No, he feels the pain and the suffering and the agony of every human being who he deliberately hurt. He. Feels. All. Of. It. He tries to stop speaking. Of course, he can not. He can not ever stop.

And Pat Robertson's eternity begins.

[fuckyeahisawthat]

Furiosa thoughts

About 48 hours after watching, I think my take on Furiosa: A Mad Max Saga is coalescing into: I enjoyed it as a Mad Max movie but found it disappointing as a Fury Road prequel.

Any Mad Max movie made after Fury Road was always going to suffer the fate of being compared to Fury Road, which is the best action movie ever made. So like, compared to any other action movie you can think of, Furiosa: A Mad Max Saga (we'll call it FMMS going forward) is very very good! It just isn't Fury Road.

The rest is under the cut for spoilers:

The action sequences were compelling. (I was aware I was hunched forward in my seat in tension/anticipation almost the entire time.) Some of them were even brilliant. That long sequence where the Octoboss and the Mortiflyers (yes those are their names) are attacking the War Rig with all kinds of airborne contraptions? Phenomenal. I was like yes okay now we are in a Mad Max movie! Other than that one sequence, though, in which we see Furiosa and Praetorian Jack begin to trust each other, I thought they rarely achieved the kind of wordless advancement of character relationships through action beats that is the lifeblood of Fury Road. So the action was good, but it was just normal-good, not Fury Road transcendent.

I did miss John Seale's cinematography. While I thought the action choreography was great, the shot selection was just not as dynamic and interesting as in Fury Road. I also really did not vibe with so much of the musical themes being recycled from Fury Road. The Fury Road score is SO memorable and the music is such an integral part of the momentum and feeling of every scene in the movie; I can play that score and see every beat of the action unfolding in my brain now. I wanted new score that felt like it was a part of this new action that we were seeing.

I loved all the new worldbuilding details and finally getting to see inside Gastown and the Bullet Farm. Those locations and their unique features were utilized really well for the action that took place in them. Loved the new details we got about the Citadel. The grappling hooks just dipping down to yoink people's vehicles during battle? Fantastic. The hidden Citadel ledge with the little pool of water?? That was such a fanfic-ready location. Pretty sure I already wrote at least one fic set there back in like 2016.

The Green Place! Very different from what I imagined but so much worldbuilding in just a few shots.

In general I thought the new cast rose to the challenge. Alyla Browne who played little kid Furiosa I thought was phenomenal actually. That's a tough role, both emotionally and physically, for a child actor and she slayed it. Casting Indigenous model and actress Charlee Fraser to play Furiosa's mother certainly made the Stolen Generation parallels more obvious. I'll have a lot more to say about Dementus down below, but Chris Hemsworth brought a great combo of bonkers and menacing.

I never doubted that Anya Taylor-Joy could bring the emotional intensity needed to the role--she can do crazy eyes like nobody's business, and with the growl she put in her voice she really did sound like Charlize Theron a bit. I found her physicality convincing for a young Furiosa. But she is not Charlize, through no fault of her own. Charlize is tall and she has broad shoulders and she just takes up so much space when moving and fighting as Furiosa and I think it was always going to be hard to replicate that. As long as they didn't try too hard to bridge the gap between the characters I was fine with it. But that one scene at the end where she's bringing the Wives to the Rig I was very viscerally like that is NOT our Furiosa. (I almost wish they would've used Charlize's stunt double for that scene the way they popped Jacob Tomuri into Max's place.) They could have simply left a time gap--based on the "15 years" she says to Dementus and the 7,000+ days we hear about in Fury Road there should be at least a 4-year gap between the film timelines, although in terms of bridging the look of the two actors it feels like it should be more like 10 years.

If FMMS had been a self-contained movie about a character named Furiosa in the Mad Max universe, I think I would have found it very satisfying. But as a prequel to Fury Road there were a bunch of ways I thought it was lacking on a story level.

I think it's pretty clear that this is not the backstory, or at least not the complete backstory, that Charlize Theron was imagining while playing Furiosa. Which...there's nothing objectively wrong with that; word of God and what actors think about their characters doesn't supersede what's on film for determining what is canon. However, Fury Road positions Joe as Furiosa's main antagonist, and while we don't get the full story behind the incandescent rage she directs at him, we know that rage is there and is a big part of her motivation. In interviews at the time, Charlize talked about the idea that Furiosa had been stolen to be a Wife but then was discovered to be infertile and discarded, how she survived by hiding in the Citadel and eventually rose to a position of power, how she saw her actions not as saving the Wives but as stealing them, and that her motivation at least starts out as more about hurting Joe than helping these women.

We get only the tiniest suggestion of Furiosa's backstory in Fury Road ("I was taken as a child, stolen") and the rest we piece together by implication. She is a healthy full-life woman working for a man who keeps healthy full-life women as sex slaves, hoping one of them will produce a viable male heir for him. She is effectively a general in his army, projecting his power on the wasteland, a position no other woman seems to occupy. She tells Max she is seeking "redemption." Redemption for what? She doesn't say. But "whatever she has done to win a position of power within this misogynist death cult" seems like a pretty obvious answer.

And that's interesting! That's an interesting backstory that engages with some of the core themes and moral questions of the Mad Max universe. These movies deal a lot with the tension between self-preservation and human connection. Do you screw someone else over to protect yourself? Even if it means putting them in the terrible position that you yourself have clawed your way out of? Even if it means enforcing your own oppressor's power over them? Or do you take the risk of helping people and caring enough to connect with them, even though this carries an emotional and physical risk?

FMMS doesn't really engage with Furiosa's relationship to Joe like, at all. It's not like Joe comes off looking like a good guy. He's just hardly in the movie. I don't know if this would have been different if Hugh Keays-Byrne were still alive. I don't know if there was pressure from the studio to cast an A-list male lead actor alongside Anya Taylor-Joy (who's a hot commodity now but wasn't what I would call an A-lister when she was originally cast). I don't know if, once Chris Hemsworth was cast, that affected how central his character's role became, since he is certainly the biggest name attached to the film. I would have actually been fine with Chris Hemsworth or another actor of his ilk playing a younger Joe, and us getting to see some of the charisma that attracted followers to him.

But the end result is that we have Dementus, who is a perfectly fine Mad Max villain, and quite entertaining at times! But not the most compelling antagonist you could give Furiosa.

The four Mad Max movies that feature Max go through an interesting evolution. In the first two movies, the villains are people "outside" society--criminals and roving gangs--and the people Max is defending are "civilization." So we have Mad Max where Max is a very fucked-up cop, and Road Warrior where Max is the prototypical western gunslinger, riding in to town to protect the settlement from an outside threat, but ultimately unable to accept any of the comforts of civilization for himself.

Then in Thunderdome and Fury Road, the dynamic switches. Now the antagonists are warlords and dictators. They are civilization. And the people Max ends up helping are trying to escape them.

To me, Dementus feels much more like the earlier kind of Mad Max villain. If there's another Mad Max movie I can most compare FMMS to, it's the first one. Dementus is Furiosa's Toecutter. (Kills her family, gives her her signature disabling injury, movie ends with her seeking revenge on him but it doesn't feel heroic or triumphant.) The whole end of FMMS when Furiosa is implacably hunting down Dementus? Extremely Mad Max 1.

But violent revenge holds a different symbolic place in Furiosa's story than it does in Max's. The end of Mad Max is a tragedy because Max tells us it is. He explicitly states, early in the movie, that he needs to stop being a cop or he'll become no different than the violent criminals he's pursuing. So he leaves his job and goes on an extended weird vacation with his wife and child, trying to get away from the violence of a collapsing society. But that violence finds him anyway, and by the end of the movie, Max has become the exact thing he said he didn't want to be. It's a tragedy not because the people Max kills in revenge for killing his family don't deserve it, but because seeking violent sadistic revenge is damaging to Max. That is not what he needs in order to heal from the loss of his wife and child. What he needs is to take the risk of human connection again. This is what he starts groping toward in the following two movies and fully realizes in Fury Road.

But Furiosa doesn't have the same arc. Her story in Fury Road is about how a few people struggling against their oppressor can be the catalyst that brings down a whole regime. Furiosa getting to rip Joe's face off is fucking satisfying, and it's supposed to be! So it's a bit weird, then, to spend an entire movie giving her a backstory that not only is not about Joe at all, but implies that seeking and getting revenge against Dementus for killing her mother and Jack is what made her into the person we see in Fury Road.

Aside from questions of revenge, what I thought Furiosa's goal was going to be is set up in the beginning of the movie. "No matter what happens, find your way home." Very clear objective there. And then we see her try to get home like, 1.5 times. I thought we were well set up to follow the tried and true film story format of "simple goal, big obstacles, high stakes." I wanted to see her trying over and over again to get home, and being thwarted in different ways every time. I wanted to see grief and guilt over her mother's death turn her mother's last command into a mission for which she would sacrifice anything (and anyone) else. I wanted to see her justify working for Joe and accumulating power in the violent world of the Citadel as what she has to do in order to get home. I wanted to see "Have you done this before?" "Many times." But we didn't really get that either.

Ultimately, I think the least frustrating way to think about the film--which the film itself encourages--is as one of many possible Wasteland legends about a character called Furiosa. Maybe it happened this way. Maybe it didn't. Maybe this is the Furiosa we see in Fury Road. Maybe it isn't. It all depends on how much you believe of the History Man's tales.

[meanbossart]

A personal headcanon of mine is that Cazador had a special interest in Astarion before turning him into a vampire possibly a romantic obsession.

I was curious about what your personal thoughts were on the relationship between Cazador and Astarion?

Let me stop you right there - Yes.

Now, I'm a little reluctant to elaborate on this one, because I think it can be seen as a little reductive of the characters and their stories to condense what could be a political plot into something as superficial as another "if I can't have you, no one will" storyline - not only would that be less interesting to some people, but it once again reduces Astarion's character to his attractiveness - while the former, for once, actually made him "desirable" for his achievements and influence - even if it doomed him after all.

But at the same time, this theory compels me for that reason exactly. It sets the origins of the whole issue and what would, overtime, erupt into this complex he has of himself and how others perceive him.

I'm not a stickler for details as long as you can tell me a good story, but it's notable to me that the reasons why Cazador set his eyes on Astarion so early in his reign are never really elaborated on further. How much influence did he really have as a young magistrate, and what kind of rulings could he be passing that would affect Cazador so much for him to take such a risk in abducting someone of his standing right as he had himself come into power? Cazador is an idiot, but he's an idiot who managed to say alive and hidden for two centuries - this move was either exceptionally well thought-out, or Astarion wasn't that liked as a magistrate, or Cazador had far pettier motives to take such a risk.

Not to mention, Astarion is awfully elusive whenever you inquire about the hows and whys of his abduction. Dismissive, even. Like it's something he doesn't want to talk about. I could take that down the boring route and say "oh, the writers just didn't care to develop this part of his story", or I could do the far more fun thing and read into it.

Then, of course, there's the vague suggestions that Astarion stood out among the spawn for one reason or another - he's referred to as the runt of the litter, and yet as Cazador's favorite as well. Going through Cazador's journal following Astarion's disappearance, there seems to be something besides frustration about him leaving just as he's about to ascend - there's resentment, there's desperation. Why the fuck does Petras act as if Cazador would ever do anything good for them if they were treated as Astarion describes? How the fuck were any of them under the impression that this ritual would benefit them whatsoever, while Astarion seems to have always known better? While I have no doubt that they all suffered under Cazador's control, there seems to be indication that Astarion suffered specially badly. The question left is why.

I don't think they were ever lovers or anything like that, I don't think Astarion ever even knew Cazador well enough to give him a passing thought, but I think it would be absolutely rich for a newly born, still spite-fuelled vampire lord to make very emotionally-driven decisions. The type of decisions that he looks back on and curses himself for. For having ever had such a weak mind.

Think of it, you come into all this power after years of pain, sorrow and suffering. You set your hungry, lonely little eyes on the prettiest girl at the ball - she turns you down spectacularly. She laughs you off under thinly veiled pleasantries. You are beside yourself - you were supposed to have everything you ever wanted, to be untouchable, to be desirable, to have some sort of supernatural allure about yourself - you were under the impression that now, all of your problems had been solved and everything that life has to offer would be thrown at your feet, like you perceived it to be like to your own, deceased masted; then the rug gets ripped from under your feet. But, a moment after, you realize: when you want something very badly, you can now just take it.

So you do. You get a shiny new toy. Fresh off your dull, painful past-experiences it seems like this toy is all you need to bring the long-lost zest back into your life, it is your first taste of true power and control, your dear beloved, your reluctant companion, and you paint a picture of what life will be alongside it (though slightly stooped beneath you - you can't be equals, of course) decades, no, centuries into the future.

But the toy doesn't ever grow to like you. In fact, it hates you for what you are, what you chose to become and what you chose to make of, and to it. For a few years, you try. Then eventually you get bored of it.

In a few more, you begin to not be able to stand the sight of it. It reminds you of a time when you were naive, when you were stupid. Worse yet, it is now your ball and chain as you made it. The only use you see remaining for it is to tear it apart again and again and again until you've forgotten why you're even doing it. You don't even want to touch it yourself, you get others to do it for you.

I don't think Cazador harbored anything but that indifferent resentment towards Astarion through the vast majority of those two centuries, and, horrifically enough, I don't think Astarion even knew why for a good deal of it himself. I can picture him going over and over any passing interactions they ever had (if they even had any) desperately trying to piece together why me, what could I have done differently, how could I have avoided this hell.

Then, at some point, in the brief moments when his mind is somewhat cleared and after he has heard enough vague, cryptic remarks out of Cazador's mouth about his looks, about his attitude, about how he must think he's too good to do what he does, it hits him: If I had just said yes, none of this would have happened. It would have been a brief moment of disgust, but then it would have been over.

And you beat yourself over it almost much as you feel shame. You're embarrassed. Because you've now had to endure all this torment just because you said no to the wrong man - a matter of picking the bad choice at 50/50 odds. Not only that - but you were apparently so worthless to the world that this small mistake was enough to doom you for all eternity: It was, apparently, all you were worth. And he has made that abundantly clear by what he puts you up to now.

So, when someone asks you why it happened, you give them a better reason. One that at least highlights other things you were good at. They probably wouldn't believe you if you told them the truth, anyways.

[lovelyyandereaddictionpoint]

Hello this is my first time doing an ask. Would you be able to write Trey, Ruggie, and Jamil. (Maybe Azul if you can) Reacting to there darling cooking dinner and having obviously less food than them.

I'm sorry if this makes no sense. Also I love your writing. 🐙💜 Octo heart <3.

A Giving Reader | Yandere Twisted Wonderland

Money is tight for an otherworlder and it’s a beautiful chance that you get a roof over your head at the very least. Maybe a small but oh so generous allowance is enough for one student at Night Raven. But you weren’t a student on your own–you were only one half of the puzzle. And you’re allowance doesn’t exactly understand that Grim’s lack of control doesn’t stop past the doorway of Ramshackle. It’s not all Grim but expenses pile up and sometimes you’ll make the ultimate decision to maintain the reserves you do have. And just because you’re struggling doesn’t mean the friends you cherish should suffer…it’s just that some sacrifices are meant to be:

Trey Clover

“Hey Trey I just wanted to thank you for all the sweets you give me, so here’s a lunch I made!”

“Wow thank you (Y/n)! That’s so nice of you. Guess that’s why you told me not bring lunch today…(Y/n)?”

“Yes?”

“Where’s your lunch?”

“Oh don’t worry about me! I’ll be fine!”

“I’m buying you lunch…and dinner.”

He’s annoyed 

Because you didn’t rely on him in the first place

He was sure that by giving all the sweets he did it would convince you he was perfect to share all your problems with

But it seems your selflessness knows no bounds

And luckily neither does his love

He’s happy the science club will finally be of use to him

He just needs something that will compel you to tell him all that’s going on

Sure he can talk to Grim but then that might get the monster to start talking with others

“But I don’t need–”

“Yes you do. I have to make sure your eating! How else are you going to live long enough to be my spouse.”

Ruggie Bucchi

“Thanks for helping me roll our jerseys, (Y/n).”

“No problem! Hey I also made you dinner I left it on the table for you!”

“T-t-thanks..”

“Yay! Dinner!”

“(Y/n)...aren’t you eating too?”

“I’m actually going to keep at it! So enjoy dinner.”

“...”

He knows exactly what your doing

He’s seen his grandmother do that same thing 

He hates that you do that

He hates how much you remind him of himself

And he knows you’re too much of a goody two shoes to do whatever it takes to survive

Good thing he isn’t 

Guess he better fill up your cabinets more often 

And have Leona pay for more of your meals

Until then he’s got no problem hazing and stealing from whoever to make sure you’re eating

“I’m not going to let you go hungry. Laugh with me!”

Jamil Viper

“You really didn’t have to cook for me, (Y/n).”

“Seriously Jamil don’t worry about it, it’s the least I could do. You’re always cooking for us when we go to Scarabia.”

“...(Y/n) is that really all you want to eat?”

he refuses to let such a thing go 

He almost finds it insulting that you serve him without feeding yourself properly

Especially since he knows just how much you can eat

He pays attention

He’s peeved because he has access to all sorts of resources as Al Asim’s servant 

And he knows Kalim would shower you if he even caught wind of it

He knows just how little you want to share

You’re so gullible and naive he almost feels bad that he has to take control from you

Not really

“Tell me what you’d really like (Y/n)? And I want you to believe that only I can give it to you.”

[callmewisteria]

Norm is absolutely one of my favourite characters in the Fallout universe. The fact he loves his family and wants what's best for them being what drives him to look for the truth of what has happened to them and why is fantastic. The ultimate difference between him and Chet, too, is a great show of his character. It began with him choosing to help his sister find their father and ends with him coming to the same realisation as she has – their father was not the man he said he was and much of their life has been a lie. Watching him decide to take the hunt for the truth into his own hands, even when it could be the end of him, is incredibly compelling.

What makes Norm so enjoyable to watch, too, is just how human he is. All of the characters in the show are that way, which is part of what makes it great (yes, even the ghouls as they were at one time human). The distress he feels at seeing what happened to Vault 32 being swept under the rug, and the anger he feels towards Betty and the others for doing it seemingly out of a desire for control and power more than anything else is tangible. The fact it drives him to take the risk of sneaking into Vault 31 shows his bold and couregous side, and also that it's driven by not only his own curiosities but his desire for the truth. It’s a great parallel trait he shares with Lucy and, as she comes to find out, their mother. The anger he feels towards his father and also the desperation he feels to survive are a great contrast of his truth seeking and his baser humanity.

All things considered, Norm's competing feelings of a desire for truth, a desire for safety, curiosity, and a love for his family are what make him a great character. The fact he shares those traits with Lucy but expresses them in different ways creates a strong parallel narrative for their characters, and also does a great job showing the two sides of courage. The fact neither he or Lucy are impervious or shy away from moments of weakness and subsiming emotion latch onto the naivety from their upbringing and also their humanity. With them both now having to reckon with the truth about their father, a reunion between them will I'm sure be great and also remind them that not all of their family members are bad. Reckoning with the truth about their mother and Lucy's love for her being what compelled her to end her suffering before breaking down at the gravity of it is another layer of complexity to their family dynamics that both of them will need time to sit with. The contrasting feelings of how they knew their father versus what they've come to learn about him serve well to separate them from others like Chet; where he, their cousin, chooses to remain wilfully ignorant, they chose to put aside their fears and look for a truth they knew was out there.

Chet is a coward because he chooses to ignore the truth he has seen with his own eyes.

Lucy is brave because she is willing to go to any and all lengths to find her father and is then willing to end the suffering her mother is under because of him; she is openly emotional and driven by that and the love she feels for her family and is horrified and shattered by her father being a different man than the one she had always known.

Norm is brave because he is willing to do anything for his sister and father and, when faced with the choice to stay in blissful ignorance, because he chooses to seek out the truth even when it could hurt him; he, too, doesn't shy away from the pain the truth about his father causes him and, like Lucy, has to learn to live with the competing memories of their father and the reality of who and what he is.

Hank is a coward because, while he goes to the extremes to attempt to preserve himself and his family, he refuses to accept the fact his actions have consequences for the way his children (and, previously, their mother) had seen him and instead tries to force things to go back to the way they were before his children could learn of his ability to be selfish.

And Rose was brave because she loved her children so much that she would and did do everything for them, even when she had to put her love for their father aside and risk herself so that she and her children could have a chance to live in truth rather than lies. Her children share that with her, even though they didn't know it, just as much as they share her love, empathy, and desire for the truth even when living in wilful ignorance could have been easier.

Tl;dr – the entire MacLean family being driven by love for each other but expressing it in different ways that ultimately drive them apart is not only great at showcasing the different sides of courage and cowardice but showing the way Lucy and Norm are so similar and are driven by their love for their family just as much as their desire for the truth and that neither Lucy or Norm shy away from their emotional and impulsive reactions to it presents them as not only fully human but two sides of the same coin; they are both couregous even though they take two different paths to the truth.

[physalian]

“Likable” vs “Compelling” Protagonists

Protagonist does not mean “good guy” it means “the person the story is about”.

Antagonist does not mean “bad guy” it means “person in opposition to the protagonist”.

We know this, yes?

So when I’m talking about “likable” protagonists I do not mean that your MC has to be witty, funny, charming, etc—they have to be compelling.

I didn’t much care for Death Note, I thought Light got away with way too much without consequences for his actions, but he was very much the villain and the protagonist. He was an arrogant narcissist with a god complex and you watched the show not to see him win, but to see how badly he would eventually lose.

This was because, despite my dislike of his story, Light was a compelling character. You don’t necessarily agree with his motivations, but you do understand why he does what he does and why he believes what he does about himself and his world.

In contrast, one of my favorite anime is Code Geass. Lelouch (who is often compared to Light) is *constantly* getting kicked in the ass by his own hubris. He's arrogant as well, but he makes mistakes everywhere and suffers if not immediate comeuppance, then drastic consequences later down the line. Which, to me, made a far more compelling character than someone like Light playing with cheat codes.

Most of the time, “likable” and “compelling” go hand in hand, because your protagonist is the “good guy” that we’re supposed to root for.

So one of the worst mistakes I think you can make is writing a hero who just doesn’t want to be here.

—

I recently read a story where MC needed to win a competition, baseline unsponsored underdog story, and everyone loves an underdog. The problem was the MC’s attitude. Nothing pleased them and in their internal monologue, nothing was good enough and everyone else was the problem. They actually hate competitions and can’t wait for this to be over…even though no one forced them into it with a gun to their head. They hate all their competitors for behavior they themself exhibit. They hate their lone sponsor for being a sleezeball, and yet, chose to enter a voluntary competition, knowing this sponsor’s behavior, and still blaming the sponsor for their problems.

The entire time I was reading all I kept thinking was, “Then go home, bitch!”

This was not a high-stakes competition, and the MC didn’t have dire enough circumstances for the reader to believe this was a "life-or-death, even if it sucks, MC has to win," type situation. Not like Hunger Games. This was all completely voluntary.

So I started wondering if the author meant the MC to be the villain with all these personality flaws, but they’re still the underdog with no wins under their belt to support their level of entitled arrogance and no notable skills that make them inherently better than the competition.

So I was rooting for the MC to lose, and I don’t think I was supposed to. Even if I was, the mixup between “underdog hero” and “catty bitchy villain” was too confusing for too much of the story. MC didn't have to be here, didn't want to be here, so... why was MC here?

—

Some suggestions for compelling motivations for your protagonist boils down to this:

Define as quickly as you can these three things for your protagonist of any walk:

What the protagonist wants

How the protagonist plans to get it

And what’s in their way

Specify the stakes, if not physical, then personal. It doesn’t have to be life-or-death, but if they’re entering a risky situation, whatever it is has to be extremely important to them. Luca doesn’t have as high stakes as, say, Toy Story 3 but the moped race is important to the heroes, thus a compelling motivation.

Make this a journey they actually want to be on. Even if it’s grimdark or horror, if your hero is complaining the entire time and wanting to go home, yet plowing forward anyway because the plot’s dragging them on a leash, your audience will be as invested in the story as that character. If they don’t actually have the commitment to see their quest through, why should the audience care?

Alternatively, make this a journey they cannot afford to walk away from. Whether that be pressure from without or within. Frodo didn’t have to take the One Ring to Mordor. He chose to, because it was, in his mind, the right thing to do. He suffered his entire journey with the Ring and got homesick and depressed and discouraged, but he never called his own journey stupid and dumb. He could have put the Ring down and walked away or given it to somebody else, but he chose to carry on, because that’s who he is.

Even reluctant chosen ones have an ulterior reason for remaining in the story. Your long-lost princess might not want the throne being thrust upon her, but she’s chasing something else that accepting the throne and going along with the plot will give her. Maybe it’s power, respect, vengeance, money, protection, connections. So she’ll tolerate the nonsense so long as it still gets her what she wants and her struggle might be trying to not let herself get corrupted by the allure of politics and “the game”. Or, she's playing along merely to stay alive and actively trying to escape and return to her simpler life.

Popular example: Percy Jackson is a reluctant chosen one throughout his entire story in every book, even Last Olympian where he insists that he's the unknown prophecy child. In The Lightning Thief he doesn’t give a damn about the quest for the Master Bolt, he’s there to get his mom back, and cooperating with the quest will give him the means to achieve his goal, and along the way, finds that he doesn’t quite hate it as much as he thought he would.

—

So. Yeah. In no way, shape, or form does your protagonist have to be “likable”. If someone tells you they aren’t, they probably mean that your protagonist is contradictory, or lacks compelling motivation and drive, and lacks a clear goal or aspiration that will define their story. Or, they lack drive to even participate in the story at all.

Or they simply mean that your charcater, who you intend to be likeable, has a nasty flaw that would turn readers off, but a beta should be able to tell you that one easily. If they can't come up with a solid reason why your charcater is unlikable, it's probably a motivation issue.

The earliest draft of a WIP that shall never see the light of day had my protagonist sent on a glorified space field trip by her parents, and wasn’t happy to be there. This not only made her unlikable, but also uncompelling. She didn’t want to participate in the plot and only did it to hold up her end of the deal, she wasn’t excited about the actual trip nor making friends, and eventually grew into it far too late in the story.

I then changed it to have the trip be her idea, and she ran away from home to chase this dream she had. Doing so gave her much more agency as an MC and gave her an immediate motive and goal so you wanted to see her succeed right from the get go.

Even villain protagonists have a goal, and generally they very much enthusiastically want to be in this story. You don’t have to like them, but you do have to want to root for them, if not for their success, then their eventual downfall in a blaze of glory.

—

Interested in a fantasy novel without a "chosen one" protagonist? Eternal Night of the Northern Sky is up for preorder in ebook, paperback on sale 8/25/24. Subscribe for updates if you'd like~

[coraniaid]

The scene where Willow confronts Faith is Choices is kind of fascinating to me, because ... well.

I like Choices quite a lot, and I think Willow's dislike of Faith is perfectly understandable and in character (and her speech has some fun but probably not intentional foreshadowing for later seasons), but it's hard not to notice that the narrative expects you to be rather more unambiguously on Willow's side than I think is really warranted.

I mean, Willow might not have been the most popular girl in high school, but she has multiple close friends, a nice boyfriend, a stable [and fairly comfortably middle-class] home life, she "represents the pinnacle of achievement in Sunnydale High" in the words of her school's principal, she's trusted enough to teach at the school, in a year she'll be able to go to any college she wants (and, unlike some people, she can afford to go anywhere she wants), she used to hack into government computer databases (before she ever met Buffy!) and now she's teaching herself dark magic "for fun" and she hasn't [yet] ever suffered any real repercussions for either of those things.

On the other hand, from what little we hear about Faith's past we know she grew up poor and that her mother used to get drunk and beat her, that she didn't have any friends and dropped out of high school young, she is very strongly implied on multiple occasions to have been the victim of some pretty horrific abuse before being called as a Slayer, and after being called as a Slayer she got to watch the one adult who ever told her she mattered get killed horribly in front of her before fleeing across the country to a town where she doesn't know anybody, still has no friends, doesn't have a job or go to school and lives alone in a motel in the bad part of town. And when she accidentally killed a man, while trying to do the whole slaying vampires thing she's supposed to be doing, the Watcher's Council -- who never actually bothered to send her a new Watcher of her own -- decided to have her abducted and dragged away to England [a fate which surely nobody deserves].

Yet a part of Willow clearly thinks (and almost outright says) "oh, well, yeah, but she hangs out with Buffy sometimes when I don't get to and she slept with the guy -- not my nice boyfriend! -- who I used to have a crush on (and who I was briefly cheating on said boyfriend with), so it's clearly impossible to say which of us really had things worse and I don't need to feel sorry for her". And -- again, while this is great characterisation for Willow -- it's kind of hard not to notice that the writers think she has a compelling point.

Yes, sure, Faith has defected to working for the Mayor and has a knife drawn on Willow this scene (she's not anything like a blameless victim at this point of the story) and it takes a certain level of physical bravery for Willow to stand up for herself despite that. But ... I mean, come on. "You had friends like Buffy" is only true if you accept it to mean "you had exactly one friend, who was Buffy". "It's way too late" for Faith to seek forgiveness ... how many people has Faith killed at this point? One, by mistake? Giles has killed more people than that. "Some people think you had a lot of bad breaks?" Yeah, actually in Faith's shoes I'd want to hit Willow after she said that too.

I realize that part of the show's central thesis -- something that explicitly came up as recently as Earshot -- is the idea that everybody, regardless of how comfortable their life might seem from the outside, has their own sorrow and pain and (only occasionally metaphorical) demons to fight. But while that's not entirely wrong, it's also ... not entirely complete? Everyone has it bad sometimes, but some people really do have it worse than others. Pretending otherwise is ... not a serious position to take.

Willow's life could be better, but she's not gone through anything like Faith has. I'd argue she literally can't imagine how bad Faith's life has been. She really doesn't have as much moral authority as the show's writers think she has at this point.

[Compare this part of Season 3 with the first half of Season 6, when the show is overflowing with sympathy for Willow's abrupt descent into magic addiction but has no sympathy at all for Amy Madison, whose own magic addiction is just implied to be because she's inherently a Bad Person who Willow needs to avoid and whose own horrific past and abusive mother and complete lack of support system is just entirely forgotten about. Or, indeed, to the weird take of Dead Man's Party, which has Buffy apologize to Willow for ... what? Having problems of her own that don't revolve around Willow? Being too busy mourning the loss of everything she ever cared about to tell Willow how uniquely special and amazing she was for learning rudimentary magic? Not being grateful enough for Willow restoring Angel's soul without bothering to ask Buffy if that was something she still wanted her to try?]

So, the overall effect is ... yeah, it's a good scene. But it's almost a good scene despite the writer's intentions, not because of them. It's much less of an ambiguously triumphant moment for WIllow than I believe we're meant to read it as.

[tossawary]

When writing fanfiction, there are a lot of unknowns surrounding Mobei-Jun that I answer based on what I think is compelling, funny, and/or contrasts well against SQH | Airplane Bro. (Sometimes, based on what contrasts interestingly and/or hilariously against Luo Binghe or Shen Qingqiu.) The choices I make for MBJ also depend on what suits that particular story.

An interesting question: "What kind of literature does Mobei-Jun like?" He's Airplane Bro's Ideal Man / Dream Guy! It's fun to think about what Mobei-Jun's relationship might be to fiction.

One choice that I've pulled a few times now is having Mobei-Jun be functionally illiterate, mostly because I think that situation is an interesting / amusing contrast to the guy who technically wrote the world into existence. Airplane Bro was cranking out thousands of words per day to eat, selling out his honest passion for literature, and Mobei-Jun can't / doesn't read.

There are lots of different potential reasons for this! Maybe Mobei-Jun is dyslexic. Maybe he desperately needs reading glasses and doesn't realize it. (Yes, maybe half of his glaring is just squinting.) Maybe his education was really bad because his family tried to murder him too many times. Maybe he just doesn't have any interest in fiction or in reading as a hobby in general, because paper / writing is rare in the Demon Realm for a variety of reasons and he's been busy building more relevant skills.

(Airplane Bro is shocked and offended, yes, but mostly because Mobei-Jun somehow successfully hid being unable to read from him for two or more decades. All of those "you read it" and "you write it" orders suddenly make so much sense.)

Another direction for "Mobei-Jun's relationship to media" that I've been enjoying lately as a premise is that Mobei-Jun is the sort of person who would have genuinely enjoyed "Proud Immortal Demon Way". But, like, in a weird way. Like, maybe Mobei-Jun isn't there for the women or the power fantasy, but he's fascinated by the cage of dissatisfaction, misery, and cruelty that the protagonist is building around himself using empty pleasures and merciless vengeance. Mobei-Jun is there for the tragedy. Everyone else in the comments section would think that he's a weirdo for different reasons, including Airplane Bro, but Mobei-Jun is (by accident) operating on a level where he sees the vision.

Alternate direction on "Mobei-Jun would like PIDW, actually": maybe he would like it because he actually loves trashy drama and stupid catfights. He's there for the comedy. He grew up in an environment where his father stole his uncle's wife and his own uncle tried to kill him multiple times, after all. In PIDW itself, right-hand man Mobei-Jun somehow successfully suffered years upon years of Luo Binghe's harem nonsense, and maybe Mobei-Jun was having the time of his life watching Sha Hualing start shit in the harem, actually!

Maybe in a Modern AU, Airplane Bro would try to sound intelligent and cultured by talking to his rich boss / boyfriend about classy literature, only to find out that Mobei-Jun basically only watches reality television competitions where people are constantly trying to tear each other's hair out for money. If people aren't screaming in each other's faces over a spilled glass of wine, throwing plates at each other over a stolen boyfriend or a ruined wedding, or backstabbing each other via wardrobe sabotage to get ahead, then Mobei-Jun is bored. Fighting matches or extremely dangerous sports are also fine, though, sure. (Airplane Bro doesn't like any of this stuff. He's a fantasy novel guy. He has no idea how to react to this.)

Another funny direction for "Mobei-Jun's relationship to media" is that maybe "Proud Immortal Demon Way" wouldn't actually be weird ENOUGH for Mobei-Jun's tastes. Maybe Mobei-Jun would be like that guy who claims "if I can guess the twist, then it's not suspense - suspense is when I don't know what's going to happen next, period" and reads long-running, amateur, foreign, abstract web-novels that he has to put through an online translator himself. Maybe in a Modern AU with this opinion, Mobei-Jun loyally watches telenovelas and Bollywood soap operas. Airplane Bro comes into the room and says, "Wow, not even any subtitles? You can understand what they're saying?" and Mobei-Jun says sincerely, "No. You have to figure out what's happening without them. This is the intended viewing experience."

[connorsui]

▪︎▪︎ 𝓐 𝓓𝓪𝓲𝓵𝔂 𝓓𝓸𝓼𝓮 𝓸𝓯 𝓨𝓸𝓾 ▪︎▪︎

Nanami Kento, known for his structured life and efficient routines, finds himself drawn to a quaint bakery he never used to frequent.

Nanami x baker! Reader

Contains: Love at First Sight, Fluff, Shy Nanami (nanami cute tho) , Awkward Confessions (he tryin let him be) Slow Burn, a taste of readers cake (not literally tho.....he wishes)

Warnings: nah suffer the taste of coffee down ur throat

A/N: I'll admit I wrote this at 5 a.m......it's more of an imagine than anything..

Nanami Kento wasn’t accustomed to deviating from his meticulously structured life. Every day unfolded with the same precision: he awoke at the same time, enjoyed the same brand of coffee, and fastened his tie with practiced efficiency. This routine wasn’t born out of necessity but from a preference for order and predictability.

However, his carefully crafted schedule was upended when he started walking down a narrow side street he’d never noticed before. The street housed a quaint bakery that had caught his attention a week ago.

The first time he entered the bakery, it was pouring rain. Not the gentle kind, but a relentless downpour that drenched him in seconds. Seeking refuge, he was welcomed by the warmth of the bakery and the enticing aroma of fresh bread. But it wasn’t just the atmosphere or the bread that compelled him to return. It was you.

You, with flour dusting your apron and a smile that could brighten the dreariest of days. You greeted him as if he were a regular, despite it being his first visit. You handed him a croissant and coffee with a care that made his heart skip a beat.

Becoming a regular wasn’t part of his plan, and neither was experiencing love at first sight.

The routine quickly established itself. After that, first encounter together. Some quick name exchanges and smiles of each morning at 7:30 a.m., Nanami would enter the bakery, greeted by the comforting aroma of baking bread. You’d be there, ready with a warm smile.

“mornin'!” you’d say cheerfully.

“Good morning,” he’d reply, receiving his usual order: one croissant and one black coffee, just as he liked it.

It was a simple exchange, but the warmth of your greeting became a highlight of his day. The predictability was comforting, and he convinced himself that was enough.

On the fourth day, Nanami noticed something different. A bit of flour had settled on your nose. It was a small detail, but it stood out to him. He found himself wondering how it had ended up there and if you were even aware of it.

He wanted to tell you, but the words caught in his throat. He was merely a customer, a stranger who visited daily. He wasn’t sure if he had the right to comment, so he accepted his croissant and coffee silently and left. The image of you with flour on your nose lingered in his mind all day.

By the seventh day, Nanami realized he wanted more than just the brief pleasantries exchanged each morning. He wanted to engage with you beyond the usual routine.

When he walked in that morning, you were behind the counter, arranging pastries with careful precision. The bell above the door chimed as he entered, and you looked up with your usual bright smile.

“Good morning!” you greeted him.

“Good morning,” he said, his voice tinged with nervousness. “Do you have any recommendations today?”

You looked pleasantly surprised. “Actually, yes! I’ve been working on a new recipe—a strawberry danish. It’s not on the menu yet, but if you’d like, I can give you a sneak preview.”

The prospect of trying something you’d personally crafted was too tempting to resist. “I’d love that,” he replied, trying to maintain composure.

You handed him the danish with a look of anticipation. “I hope you like it. It’s a bit different, but I think it turned out well.”

As he took the pastry, your fingers brushed against his briefly. The touch was fleeting but electrifying, lingering long after he left the bakery.

The danish was excellent, but what stood out was the way your eyes lit up when he complimented it the following day.

Nanami found himself concocting reasons to visit the bakery more frequently. He convinced himself it was for the variety of pastries, but he knew better. The real attraction was the moments shared with you—the easy conversations, the warmth of your presence.

One morning, as he prepared to leave, you called out to him.

He turned to see you hurrying over with a small brown paper bag. “I’ve got a special treat for you today.”

“Oh?” Nanami said, a touch of curiosity in his voice. He accepted the bag from you, his fingers brushing against yours briefly. “What’s the occasion?”

“Just a little something to brighten your day,” you said with a playful grin. “I hope you like it.”

“I’m sure I will,” he replied, trying to steady his suddenly quickened heartbeat. “Thanks for thinking of me.”

“Anytime!” you said with a smile that made his day feel a little bit better. “Enjoy!”

The pastry, as always, was perfect. But it wasn’t just the food that captivated him; it was the connection he found in those brief moments with you.

On the tenth day, Nanami arrived early and saw the bakery’s closed sign. He felt an unexpected pang of disappointment. The thought of missing even one day felt unsettling.

As he was about to leave, he heard your voice.

“Oh! You’re here early!”

You approached, apron tied around your waist, a smile on your lips.

“I didn’t want to miss you,” he said, the words escaping before he could stop them.

You laughed, a sound that made his heart flutter. “You’d have to get up pretty early to miss me! I’ll be open soon. You can come in and wait if you’d like.”

He followed you inside, feeling unusually at ease in the quiet bakery. You hummed softly as you prepared for the day, and he watched, captivated by the grace of your movements.

“So,” you broke the silence, “how do you like the new pastries? Be honest!”

“They’re wonderful,” he replied. “You’re very talented.”

Your cheeks flushed at the compliment. “Thank you. I’m glad you think so.”

A moment of silence followed, one filled with unspoken thoughts. Nanami wanted to say more but found himself content just being in your presence.

By the twelfth day, Nanami knew he couldn’t continue his routine without expressing his feelings. His visits had become more than a habit; they were a necessity. He needed you to know how much you meant to him.

That morning, you greeted him as usual, handing over a new pastry you’d been experimenting with. “I hope you’re ready for something a little different today.”

“Thank you,” he said, taking the pastry. Instead of leaving, he lingered by the counter, his heart racing. “There’s something I’ve been meaning to ask you.”

“Oh?” You looked up, curiosity evident in your eyes.

He took a deep breath, feeling the weight of his words. “Would you like to have coffee with me sometime? Outside of here.”

Your eyes widened, and for a moment, he feared he’d made a mistake. But then your expression softened, and you smiled. “I’d love to. How about tomorrow? After your usual visit?”

A wave of relief washed over him, and he couldn’t help but smile back. “Tomorrow sounds perfect.”

I consider this an imagine now

[vixensdungeon]

You've probably asked yourself

What are psychology mechanics in tabletop roleplaying games?

Or maybe you haven't, because that's a term used by like two people because it was made up by me. But others have come up with it before me! Warhammer, for example, uses "psychology" to mean effects like Hatred and Stupidity that modify the behavior of units on the battlefield. And that's thesame basic concept we're talking about.

Psychology is a game mechanic that represents a character's inner life and modifies their behavior. Some would call such a thing a "roleplaying mechanic," but those people are silly with a limited idea of what roleplaying is.

Psychology mechanics fall broadly into three categories, or three C’s. They are:

enCourage: if you do X I’ll give you a little treat Coerce: do X or suffer the consequences Compel: you do X

Encouraging mechanics seem the most in vogue in modern design, though I think the other two have their place. (I briefly considered naming the first one Consent but that wouldn't reflect how the mechanic acts upon the character, and in truth the player consents to all three by playing a game with such mechanics in it)

One game I think is particularly famous for its psychology rules, that being Call of Cthulhu with its Sanity mechanic, and I think King Arthur Pendragon deserves a nod for its passions and such, but we’re going to talk about a different one. Paradigm shifting in its time, seen as traditional these days, it’s Vampire: The Masquerade, the cool game for sexy goths!

To help us delve into the World of Darkness, we’ll employ the guidance of Malcolm Fisher, a Lick currently operating somewhere in England. Say hi, Malcolm!

I knew the vixen was trouble the moment she walked into my life, with an air of mystery and danger, and thighs that-

Ahem, yes, thank you. I think we don’t need to hear from Malcolm anymore, wouldn’t you agree? Instead we’ll use his character sheet to explore the various psychology mechanics in Vampire.

Vampire 5th Edition doesn't actually have an example of encouraging mechanics that I can remember (correct me if I'm wrong), so we'll briefly dip into its predecessors for that. Malcolm has two archetypes, a Demeanor and a Nature. In his case both match: Enigma. Whenever Malcolm acts in accordance to his Nature, in this case by perplexing other characters through actions that turn out to make sense in hindsight, he regains spent Willpower. This encourages Malcolm to act a certain way.

V5's compulsions are, despite the name, a coercive mechanic according to the terminology I made up. When Malcolm suffers a bestial failure on a roll, he might suffer from a compulsion. We'll assume that in this case it's not the one specific to his Clan, Malkavian, but rather one of the generic ones: Paranoia (still appropriate for him). Any action not taken to disengage from any perceived threat suffers a penalty. This coerces Malcolm to act a certain way by punishing him for doing otherwise.

Finally we have the big one, Frenzy. This prevents a player from saying something to the effect of "I would simply not flee in terror from fire." I'm terribly sorry but that's not for you to decide. Unless one decides to ride the wave and not resist the frenzy, the Storyteller takes control of the character. Seeing a large bonfire after a particularly draining investigation, Malcolm fails his Willpower roll and falls into a terror frenzy. He will flee from the fire in the most expedient manner, whether the player wanted to or not. This compels Malcolm to act in a certain way, because he has no other choice.

And there you have it. That's the general gist of psychology mechanics.