#this is so obvious to me but i keep seeing people not making the distinction

[scalproie]

really wish people would realize that every single character endings in t8 isnt canon

[angorwhosebabyisthis]

having a lot of thoughts about how people use 'normalize' when they mean 'destigmatize' or 'make the nature of into common knowledge,' and how they conflate 'the perception of this thing as normal' with the thing actually being a normal occurrence, and how it is in fact incredibly harmful to try to convince people that an ideal situation is normal when that does not map onto their lived reality or the dangers they need to be aware of to avoid. it is 3:33am though so writing up an actual poast about it will have to wait for later

[thecheshirerat]

On TAZ-

Wow that sounds like I’m about to summarize some sort of discourse but I promise I’m not. I guess I’ll say that I really like this show and I will keep listening even if my worst fears come to pass, so keep that in mind!

For reference, I started listening near the end of Amnesty.

I’ve noticed, with the past few arcs- really since Ethersea- the narratives have just… not been fulfilling their promises, so to speak. They’ve been placing a lot of guns that don’t go off. What I mean by that is, the characters are great. Excellent, really. Lady Godwin? HELL YES. Emerich Dreadway? Fuck yeah! And so on! And the settings and premises have been epic- the goofiness and also horrifying nature of Engrave, the mad and thrilling world of Steeplechase- these things are COOL AS FUCK.

and then the actual narratives keep flopping?

And honestly, I notice it most in the endings, because you can really tell when an ending doesn’t land. You feel the sense of disappointment. But with vs. Dracula, for example, I could kinda see leading up to it that the ending couldn’t really BE anything special, because they lowkey didn’t set themselves up for it.

They spent the campaign fucking around in Engrave, finding clues and solving problems and not really experiencing any particularly meaningful character arcs or growth or, idk, forming relationships? So there wasn’t much to pay off, I’m not gonna lie!

Of course it doesn’t feel quite as dissatisfying when you’re in the thick of it, because they’re funny and the stuff is cool and- oh hey! Lady Godwin’s been turned into a werehorse against her will?? that’s got some real potential for a LOT of allegories and exploration of some fun character development! And then it’s kinda played as a joke. And then they do that again and again.

And they actually said that that was a move they made intentionally, in the TTAZZ. I’m not quoting them perfectly here, this is from memory, but I do remember them mentioning that they wanted lighthearted comedy without the burden of real life story stuff. And I get that, honestly, but… it’s not the choice I would’ve made. I do think you can keep a lighthearted tone while also, idk, forming relationships and wholesomely engaging with some amount of emotion. And sometimes going way too deep is funny as a tone shift!

But I digress. One thing that’s also popped out to me is the almost complete lack of any kind of romantic storyline or even references. This becomes obvious if you’re in a fandom because everyone is always dying to ship SOMEONE, and you can tell when people are really getting desperate. I don’t blame them for not wanting to roleplay romance with their family, and I do think stories lacking romance are COOL and SHOULD BE ENCOURAGED!

However if you can’t find ANYBODY to ship together… that may mean you just don’t have character bonds. The growing popularity of the PC polycule is interesting to me; I wonder if it’s partially because

a) none of the pcs have significant relationships outside of their party and

b) even within the party, there doesn’t seem to be much chemistry between any given pair of characters…? I hope I’m making my point well here- the PCs all seem equally close and have more or less the same relationship to all of their compatriots with little distinction, meaning, essentially, no shipping fodder that doesn’t involve just all of ‘em.

Either way, it makes me wonder if I can blame the “Graduation has too many NPCs!” critique. They really stopped giving the parties tag-along main NPCs after graduation, with the exception of maybe.. Urchin? Kodira? Shlabethany? Poppy? and even they get relatively little “screen” time. Steeplechase has great NPCs, I love them to death, but none of the PCs seem to ever have one on one conversations with NPCs or each other that do not explicitly focus on the plot. And I think that’s part of why the characters feel so underdeveloped despite having spent a lot of time with them- because in this character-driven genre, we get very little insight into their feelings or motivations or even their rudimentary backstories.

I started watching Fantasy High recently and it made me realize a couple things about TAZ.

1) Recently, TAZ has sooo few core NPCs, and it’s weird that the characters aren’t doing more one-on-one purely character based scenes. And that makes it really tough to develop them.

2) TAZ is- and I should have realized this before- one of many good dnd podcasts. They’re probably looking for a niche they can master.

And it sounds like they’re trying to get back to that old “Here there be Gerblins!” energy. They’ve referenced it so many times in recent TTAZZes- they wanted to be job-focused, allowing story stuff to happen organically, so they tried a more open world vibe with Ethersea. They wanted to be less afraid to kill stuff, so they tried playing criminals (and were still afraid to kill stuff). They wanted to be silly and light on character, as they tackled with taz vs dracula. Now they’re trying to bring in the silly cartoon vibe with Abnimals. I think they’re trying to make that family-friendly, funny and goofy show their niche. Something other actual plays can’t be better at them at.

And honestly it kinda makes me sad, that they keep trying to go back to Balance while ignoring everything they learned during it. Because I loved Dust. Because I loved Amnesty. Because I loved Ethersea. I loved these past arcs! But they keep doing their brilliant characters dirty for some reason!!! And i don’t know why!!!!

You know that meme about people who ask questions in movies and then the person responds “Have you ever been to a movie before? You watch them and the information is revealed.” There have been so many times in TAZ recently where information has Not been revealed and if they keep doing it the audience will stop bothering to suspend their disbelief, because the trust just isn’t there.

What is Montrose’s deal? What on earth was Carmine Denton’s whole thing? Tell me more about Zoox’s feelings, about Devo’s past, about Amber’s future. Show me how Lady Godwin feels about the body horror that is her life- like, seriously! WHY DID WE HAVE TO COMPLETELY DISMISS THE OPPORTUNITY TO DISCUSS GENERATIONAL TRAUMA IN MUTT’S LIFE FOR A JOKE??

Do you remember in Steeplechase where the boys were getting medical attention or something- i don’t remember, but they were all in one room and only talking about The Plot. And Poppy literally banged on the door (speaking for both Justin and me, tbh) and was like “does anyone want to share any feeeeelings??” and they were like NOPE! and they moved on!!

like. cmon. you can’t just put a character like montrose out there and then leave them severely underdeveloped to the point that what would be interesting in proper context, with audience insight, becomes confusing and chaotic.

I just wish they would take their stories as seriously as we do.

It feels to me like they don’t believe in themselves, and it makes me sad. Maybe they didn’t get the response they wanted from Ethersea and so they’ve been trying to pivot, hoping to recapture whatever it was that earned them a loyal audience.

Again, I love them. They’re so funny and I’ll keep listening until the day they stop making this show, and when it happens I’ll cry.

But i KNOW they have more in them. Remember the “we’ll grow gills” monologue from Justin in the Prologues? Remember Travis’s SOLID acting with Devo? Or his awesome choice to give Lyndon/Beef a clearly delineated work/irl identity? His excellent narration and prose? Remember when Montrose described being lonely?! Remember all those moments where Shit Got Real and you cared??? The nanofather said some dope shit! dracula and victor and sweater dracula had such a wild dynamic! Clint’s acting in Dust 2- I can’t remember the characters name right now- was ASTOUNDING, I genuinely didn’t know he had that in him and it blew me away!

I’m not referencing Balance on purpose, both because the fandom is way to hung up on it and because I want to prove that you don’t even have to look at Balance, or even Post-Balance arcs, to see this kind of good cool stuff!

GAAAAAAAGHHHH!!! I want them to have fun. But also. We’re starving out here.

[blaydie]

ᥫ᭡ HERE FOR YOU — “The only reason I sat here is because I assumed you weren’t coming today.” Aventurine x GN reader.

Word count: 2.0k

Contains: GN reader x Aventurine (reader is intended to be male but there are no descriptions/pronouns. View them however you want), set in high school, reader is bullied, new friendships, fluff, protective Aventurine + more!

High school was a nightmare. Everyone was so entitled, living as if they were the only people experiencing life. Anyone they see is simply a side character to them, completely oblivious to the fact that much like themselves, they also see the world through their own two eyes. 

Making your way to the rooftop, you held your lunch firmly while pushing open the door with your foot. Surveying the area, you were just about to head to your regular bench when a brutal force knocked you down from behind. Your lunch box burst open and your food spilt across the floor, followed by a mingle of laughter as a group of people walked past, cursing at you as they went by.

Pushing yourself up from the ground, you sit back against the wall and release a shaky exhale. Despite being used to their cruel behaviour, it doesn’t make it hurt any less—both physically and emotionally. Your already bruised knees ripple with fresh pain; it’s unbearable. When you went to reach for your lunch, the sound of the door squeaking scared you off. You retreated to the wall, keeping your head hung low as the new batch of people walked by.

No one tried to help. They didn’t even look at you. Your eyes swell with tears, abandoning your lunch since the insects have begun swarming around it. You rose to your seat and limped around the corner, only to be met with someone occupying your usual space. From the angle you’re at, you could only make out his blonde hair—nothing stood out about his features or gave you any distinct way of identifying him. 

Since half of the bench isn’t in use, you walk past him and slump down, now staring into the distance at the landscape which surrounds the school grounds. The blonde boy glanced over at you, pulling his bag closer to his side. It was then that he noticed the trail of blood trickling down your leg.

“Hey. You’re bleeding.” He states the obvious, pointing his index finger at your beaten-up legs. 

“I know.”

“Would you like a tissue?” His brow raises from your nonchalant response, hand already digging into his pocket. 

“No.” You didn’t even look at him while replying, eyes focused elsewhere. 

The boy slides a pack of tissues to you, but his gesture is left with zero reaction. You didn’t move. Leaving the tissues where they were, he turned his head and noticed your cracked-open lunchbox on the floor, slowly piecing together the puzzle of what could have happened to leave you this way. 

“You usually sit up here, don’t you?” He inquires. He’s sure he’s seen sitting here alone on a multitude of different occasions. 

“If you’re one of them, just leave me alone.” You sniffle, red eyes burning as more tears spill out.

“What?” He places his bag on the floor and scoots towards you. “I’m not sure what’s going on with you, but I’m only here because I’m waiting for my friends.”

His tone sounded sincere, and your guard was already down—you figured you had nothing else to lose. You glanced up at him, meeting his eyes as he passed you a tissue, nodding his head as a gesture for you to take it. Reluctantly, you stretched your jittery hand out and took it, accidentally brushing against him while you swept up the blood pouring from your injury. 

“You can keep the packet.” He pinches it between his fingers and drops it onto your lap, a small smile on his lips. 

“What’s your name?” Your features soften when you accept the fact he carries no hostility. 

“Kakavasha. Most people call me by my nickname though. Aventurine.”

“Kakavasha, that’s nice.” You tell him your name in turn, thanking him for treating you kindly.

“The pleasure is all mine. Say, you don’t mind me asking what happened, do you?”

“Oh. It’s nothing. Just these kids who pick on me.”

“How come? Did you do something to them?” Aventurine leans in, almost as if he were inspecting you. You felt your face heat up, not certain how to respond to all of this at once. 

“I didn’t do anything to anyone. I’d rather not talk about it.”

“Very well. Do you have anything else to eat? You can’t not have lunch. And you’re definitely not going to pick that back up. Not on my watch.” He points over to your food, then hands you the pack of chips he left out. “These were for my friend, but I think you need them more.”

“I can’t take it from you.” You wave your hands, but that only prompts him to launch the packet over your way.

“Take them from her then.” He chuckles, returning his attention to the sandwiches he had nearly finished before you arrived. “Do you know Jelena? —Never mind. If you don’t know who I am, there’s no point asking.”

“Jelena?”

“Does the name Topaz ring any bells?”

“Topaz…? The girl responsible for managing the student council’s finances?”

“So you know her but you don’t know me. Why’s that? Here I thought I had a great reputation.” Aventurine sighs dramatically, sneaking a glance at you from the corner of his gleaming eyes. 

“I think it’s better to not be known. Too much attention from the wrong people can make you miserable.”

“Not known?! You really—” Aventurine takes a deep breath, preventing himself from saying something he doesn’t mean. “You really know how to comfort someone’s terribly hurt ego, don’t you?”

You begin to chuckle, your lips curving upwards for the first time today. In all honesty, his name doesn’t remind you of anyone you know, but his friend is highly doted on by staff members and even some students.

“I’m sorry!” You continue to laugh, leading to him eventually joining in.

“Veritas is a friend of mine too. Well, sometimes he is. I’ll introduce you to them both when they get here. I don’t know what’s taking them so long.”

“It’s okay, I can go. I don’t want to make it awkward.” You snuggle your bag to your torso, only to have it yanked from your grip. Aventurine places your backpack beside him, out of reach from your current position. 

“You’re not going anywhere. Don’t even think about it.” Aventurine scolds you. After learning what you’ve been going through, he would have to be completely heartless to let you wander off alone again. “Do you have a phone?” 

“It’s really old but I do have one.”

“Can I have it?” He looks at you while you flutter your eyelashes, sensing your raised guards. “So I can give you my phone number. I’m not robbing you.”

“Oh, of course. Sorry.” You unlock your phone and pass it to him. Due to the embarrassment created by its overly outdated model, you turn your head aside, not wanting to witness his reaction.

“Don’t apologise.” Aventurine pinches his brows together while he figures out how to navigate it, eventually figuring it out and keying his number into your contacts. “I’m sending myself a text.”

His fingers swiftly press down on the keys, then a notification sound pings out a few seconds after he hits send. Taking your phone back, you read the message he sent himself and grin.

“You’re not irrelevant, Aventurine <3” — Sent from your cell phone.

“I doubt you’re irrelevant. I’m the irrelevant one. I didn’t mean for it to come across like that.”

“I’m just teasing. If you didn’t know me, it doesn’t affect me. What matters is that you know me now.” He lets out a sigh of relief, tapping his fingers rhythmically against his thigh.

“How did you know that I usually sit here?” You tilt your head slightly, now nibbling on the chips he had so kindly forced upon you. 

“When we’re leaving to head to class we always see you packing your stuff up. We sit on that bench over there but we’re not allowed to until the maintenance is done. The only reason I sat here is because I assumed you weren’t coming today.”

“I thought you would fight me for my spot.”

“Would you like to fight for it?” He raises his fists playfully, then drops them back to his lap. “I’m joking. There’s no need to fight when you can join us.”

“You’re so nice.”

“I’m not the kindest person ever, but I do understand what it feels like to go through something shitty when you have no one else to turn to. If anyone gives you trouble, you can tell me.”

“And you’ll go fistfight them?”

“Well, maybe not that far. Just a few hurtful words here and there.” He stares down at his hands. “Purely because we have more chance of losing if we go in for a physical approach—”

“That line is getting ridiculous!” A girl exclaims, clearly frustrated as her footsteps rapidly approach your not-so-secret corner spot. 

“Relax. I don’t need to hear you screaming after enduring fifty other Neanderthals doing the same thing.” The boy next to her raises his voice, then both faces come into view. 

“Aventurine!” She speaks in a cheery tone, then slows her steps as her gaze locks on you. “Who’s this?”

“My new friend. Be nice, especially you.” Aventurine points at the boy with purple hair and he grunts. After introducing yourself, they both sit down and join you in eating lunch. Topaz had given you one of the cupcakes she got from the cafeteria after she found out what happened, and you were sure to thank her thoroughly.

“I thought Aventurine was immature, yet there are still people who pick on others for no given reason. It’s disappointing.” Veritas speaks, giving his opinion on the situation.

“Excuse me?” Aventurine scoffs, about to defend himself until Topaz butts in.

“Well said, Veritas! It’s shameful to treat someone so poorly at this age.”

“It’s fine, really. I’m used to it by now, it doesn’t hurt as much.” You interject, not wanting to gather pity.

“But it still hurts. Right?” Aventurine pokes your shoulder, knowing the truth despite you brushing it off. After all, he witnessed the tears of the incident firsthand.

“A little. I’ll be okay though.”

“Yes, you will. I won’t let it happen anymore.” He rubs your arm and then turns to the others. There are five minutes before lunch ends, and he has his priorities set. “I’m going to walk this one over here to class. I’ll see you both later.”

“Ah, you don’t need to! I can walk—”

“Let’s go!” Aventurine jumps up, carrying your bag and his, dragging you along by the forearm. 

The hallways were empty—everyone else savouring the last few minutes of their break. His pace was fast, your sore legs struggling to keep up. When he notices you faltering, he slows down. You had told him what lesson you had, and like promised, he dropped you off. 

“I’ll stay until the bell goes.” He stands in front of you, beaming at you with his arms crossed. 

“I can’t believe you.” You giggle, closing your eyes from the overwhelming sense of relief. With him here, you feel secure. 

“I can believe me.”

“I can call you Kakavasha, can’t I?”

“You can call me whatever you’d like.” He grins, running a hand through his hair. “Unless it’s something hurtful. I already have one Veritas, and that’s more than enough.”

As the two of you were sharing banter, the bell blasted from the speakers, signalling that it was time for Aventurine’s departure. Part of you didn’t want him to leave, but it was inevitable. He’s not taking your classes. Judging by the expression on his face, you can tell he’s somewhat disappointed by how fast time slipped by.

“Meet me by the lockers at the end of the day. We can walk together. And I’ll text you when I’m home, so reply.” He walks backwards, his eyes remaining fixed on you. He’s weaving through masses of people, refusing to break eye contact with you.

“I will. See you soon.” You wave, then step into class shortly after. 

Pulling out your pencil case, you sit in the back with a giant smile plastered to your face. Your pencil traces many different shapes, writing down Aventurine’s name with a small heart beside it. His friendship meant the world to you. After being alone for so long, you had forgotten how pleasant it was to enjoy being around other people. People who understand—people who try. 

[eachuisge-cc]

Honestly I'm astounded that nobody has taken that name yet.

Do you dislike the look of vanilla Skyrim horses? Are you tired of riding some kind of Clydesdale/Belgian/Cob thing around fantasy Scandinavia for no clear reason? Do you want your beloved and loyal horse to stand out from the crowd as much as you do? Well great news, this mod covers all of those things.

Basically I made some significant edits to the horse model including a fuller, longer mane and tail, redone feathering, somewhat more realistic conformation, and entirely redone ears because at a certain point it was just easier to make new ones. None of the changes affect how the horse fits the vanilla rig so it still bends and moves without distorting weirdly. The textures are entirely painted from scratch and have new normals to go with them that are meant to give the horses a somewhat softer, more natural look that still fits with Skyrim's general vibe. I used references of primarily North Swedish and Dole horses, but also borrowed from the wider range of colors and patterns in Icelandics because I couldn't give up the pintos.

Current Features:

Asymmetrical coats/markings, because I fully redid the UV while I was messing with the mesh (mostly because mirrored pinto horses in video games are the bane of my existence)

Distinct meshes for mares and stallions, the mare model is closer to the vanilla horse's conformation, while the stallion model has a slightly bulkier build and thicker neck, and a an unobtrusive low poly dong.

Five generic solid-coated textures that appear on most NPC horses in the world.

Unique texture for each purchasable player horse

Unique texture and model for Frost (he's now a mealy chestnut as his papers claim)

Unique Shadowmere

Unique Karinda (this mod does NOT add Karinda into the game, but her texture should show up if you have CRF or another mod that does add her, as long as it doesn't alter her texture or base model)

Unique Hearthfire stable horses (purchasable through the steward)

Unique unsaddled stable horse in Markarth because uh, I just felt like it

Unique coats for a growing number of modded follower horses (see the mod page for the list)

Future plans: see the mod page

Compatibility:

This mod should be compatible with most things, though for best results it should be loaded after any mod that affects vanilla horse records (this isn't always obvious; SkyTEST has no visible affect on vanilla horses, but if you load it after this mod the unique player horses will have generic coats). Most mods that add new horses use the existing vanilla records, so unless a modded horse has a unique model (and assuming it doesn't have a unique coat addon) it should be replaced automatically with the edited model and one of the generic coats. That isn't always the case, sometimes another mod gets weird with it and there's nothing I can do about that, but in those cases a patch will likely be needed.

This mod will NOT be compatible with any other mod that changes the appearance of the vanilla horses or replaces their models/textures.

I will not personally be making patches for other mods because there's no way I could possibly keep up with that and I'd rather spend the time and energy on the mod itself, however I encourage anyone else who wants to to make whatever patches are needed. Please message me if you do so I can link them here for people to find.

Huge thanks to SassiestAssassin, who has been an incredible help in navigating the learning curve of editing nifs (and is continuing to be a huge help with solving my inability to make patches), and also has a lot of fantastic mods you should check out.

Download:

Nexus Mods

[queerfables]

Why all the crowd scenes look the same, aka: Something is WRONG in Soho

I'm not even gonna tease and draw this out because it's so cool it doesn't need the fanfare. Ready?

Season 2 takes place over the course of 5 days. During that time, most of the passersby in Soho - maybe even all of them - stay exactly the same. It's the same people every day, wearing the exact same clothes, and they wander through the neighbourhood in paths that don't make any sense. You won't be able to unsee it. I can't believe it's taken us this long to realise.

Don't believe me? Rewatch the scene from 2x03, I Know Where I'm Going where Shax confronts Crowley outside the bookshop, appearing in a series of different guises. Pay attention to the people going past.

I've marked out five people you see on screen when Crowley first exits the bookshop at 39:37:

Numbers 1, 2 and 3 are following the path right. Number 4 follows the path left. Number 5 crosses the road.

Here the five people are again, at 40:19, when Crowley goes to return to the bookshop:

Number 5 is still visible in the distance, in the direction she walked in. This makes sense! But numbers 1, 2, 3 and 4 are rounding the same corner they just passed. It's as though 1, 2 and 3 all decided to turn and head back the way they came just 40 seconds ago, and number 4 has circled the block to join them.

This on its own would be super weird, but they're not the only people to do that in this scene. The man in the purple sweater from the first picture crosses the road, then appears back next to the bookshop, then starts walking back the way he came again.

Here's the part that made me absolutely certain, though. At 40:05, a man wearing an orange hoodie with blue sleeves walks past Crowley, who is heading towards the bookshop entrance.

The camera cuts to a view from behind Crowley, and a moment later, at 40:08...

He reappears in front of Crowley and walks past him again.

It's such a distinctive outfit, there's no mistaking it. They are absolutely fucking with the background characters and they are absolutely doing it on purpose.

Your turn. There are at least three other characters in this scene who pass by multiple times. Watch it again and try to spot them.

This scene is really chaotic and obvious, but the phenomena I'm talking about is much bigger than just one scene. Let's go back to the first thing I said: the background characters don't change. All our leads do. Maggie and Nina wear distinctive outfits, clearly demarcating each new day. Even Crowley and Aziraphale, who in season 1 were like cartoon characters with wardrobes full of identical clothing, vary their looks. Crowley changes his (very subtly) each day; Aziraphale is less rigid on timing, but he has a few different coats that he switches between. The background characters, on the other hand, wear the same outfits every single day. They walk by on the street but they never actually seem to have a destination. They sit in the coffee shop or pub and don't eat or drink anything, and nearly everyone leaves together exactly on closing time. It's eerie.

For reference's sake, here's a rough timeline of season 2, with pictures of Maggie and Nina's outfits to show the passing of time. I had to outsource this section because my post was too image heavy, lol. The main point I wanted to make is that five days go by.

Five days, and all the same faces keep showing up in the background, and almost none of them change their clothes. I'm not entirely sure what it means, but there's no way it's an accident. It might, in fact, be a game changer. To me this is proof positive that something is not as it seems. I've been a massive Clue skeptic, adamant that I'd only be convinced by the most unambiguous evidence, and honestly? This is enough to move the dials. It's too big for me to ignore. Whatever grand explanation of Good Omens we come up with has to account for this. I don't have it yet, but my current working theories are that Crowley and Aziraphale are under some seriously heavy surveillance, that time warping is involved, or that reality itself is not what it seems.

It would take a really long time for me to go through all of the background characters who turn up over and over but I do want to show you what I'm talking about. To wrap up, then, I'm going to pick out some memorable characters and walk you through a few of their appearances through the week. I highly recommend looking out for this yourself on your next rewatch and seeing how many other characters you can recognise.

Yellow Skirt

The first person I kept coming back to as being not quite right. You probably remember her from the first episode - she's the one who waves and walks past Maggie and Nina the night they're locked in together. Incidentally, she's also Person Number 3 in the scene with Shax.

Day 1 (2x01 - 36:20):

Day 2 (2x02 - 42:03)

Day 3 (2x03 - 06:36)

Day 5 (2x06 - 30:00)

Coolest Leather Jacket In The World

It's not so easy to recognise people wearing lots of nondescript dark colours, but I love his hair and his jacket, so he stood out to me. I think there might be a lot more people who are wearing fairly nondescript clothes who I just can't recognise from episode to episode.

Day 2 (2x02 - 16:44)

Day 4 (2x04 - 41:20)

Day 5 (2x06 - 29:20)

Dressed In Mustard

Ms Mustard shows up everywhere. If you want to see what I mean about their paths not making sense, pay attention when she comes on screen, because she'll often show up a few times in succession and walk very purposefully to nowhere in particular. The thing that she is doing, essentially, is behaving like an extra in a tv show. Which of course she is, but you're supposed to make that invisible by not having the same person go back and forth in the same scene, or changing up their outfit each in-universe day to give the sense time is passing. Not doing that is a really deliberate choice.

Day 1 (2x01 - 22:37)

Day 2 (2x02 - 42:03)

Day 3 (2x03 - 01:49)

Day 3 (2x03 - 37:07)

Day 5 (2x06 - 29:59)

Swishy Dress

This character shows up a lot in the first episode. I've struggled to find her in later episodes, though. None of the characters seem to follow the same patterns or show up to equal extents each day, which makes me think this isn't a straightforward time loop. I haven't actually cross referenced character appearances to in world times, though. Possibly this is a project for someone who's more across the time-related shenanigans than me.

Day 1 (2x01 - 22:43)

Day 3 (2x03 - 07:01)

Yellow Vest

I've only seen this guy a handful of times, always around the French restaurant. I wonder if there's significance to that.

Day 2 (2x02 - 41:06)

Day 4 (2x05 - 12:49)

Fuzzy Blue Coat

Another background character who shows up frequently. The blue doesn't stand out quite as much as the yellows and reds some characters wear, but it's very distinctive.

While we're getting a lot of shots of the street, it's worth noting that I'm pretty sure the vehicles we see are also just the same few cars repeating each day. A lot of them are in neutral silvers and monochrome, but there's a couple of blue cars, one red, and one black and white that I'm fairly sure I've seen over and over through the season.

Day 1 (2x01 - 22:45)

Day 2 (2x02 - 42:04)

Day 3 (2x03 - 02:00)

Day 5 (2x06 - 40:10)

Day 5 (2x06 - 48:56)

Day 5 (2x06 - 50:06)

One final note: Whatever this is, Nina's employee who you see in the background at the coffeeshop sometimes isn't affected by it. He's wearing different outfits each day. On the other hand, some of the other shopkeepers do seem affected. I'm fairly sure Mr Brown and Mrs Sandwich wear the same outfits a few different days, only changing because of Aziraphale at the ball.

And that's it! Thanks for reading and I hope your mind is blown as much as mine is.

EDIT:

Hey I don't mind anyone pointing out production reasons that this might be the case or disagreeing with my analysis (over-analysis, some might say 😉). Please be kind about it, though. I'm not ignorant of the practical limitations involved in film making, but some of these costumes were really distinctive in a way I thought might be intended to draw attention.

For those of you who do find this theory convincing, I feel I should mention that I was working under the assumption that this stuff would have taken a few days to film, even filming it all together. That would strongly suggest that the actors were deliberately costumed the exact same way over multiple days of shooting, which made me think it had to be purposeful. @coranax was kind enough to point out, though, that behind the scenes videos said the extras were filmed separately to the main actors because of Covid protocols. In that case, they could have done it in just one day and that weakens my confidence in its intentionality.

Finally, all of my points about the scene with Shax in 2x03 stand. That was not a case of accidental continuity errors, it was really elegantly choreographed to enhance the tension in the scene. I say that with confidence because the extras are doing exactly what Shax is doing: circling Crowley, appearing where he doesn't expect them, creating a whirlwind sense of being off balance and out of control. I think it's really cool and effective, whether there's a deeper meaning to it or not.

[myjisung]

crushing with han !

content. stray kids han, headcanons, gn!reader — fluff.

warning. none

wordcount. 500

a/n. after the love language and kisses series, here comes the crushing series! i will tell you all about how skz acts when they have a crush ( headcanons, they're all my opinion. feel free to disagree, obviously ). tell me who you would like to read about next in this series :o) i missed this account so badly... i hope to be active in the coming weeks! ♥︎

WOULD HE CRUSH FIRST ?

han is the type to start developing feelings the moment he sees that someone expresses romantic interest towards him. yes, he does sometimes admire people from afar and wonders about them but for a real crush to form, he needs the push of someone being interested first. so no, not really. you would most likely be crushing on han first.

HOW HE WOULD ACT.

when han has a crush, it can go two very distinct ways:

either he is crazily obvious about it. han would be blushing the second you walk into the room and giggle uncontrollably at his own clumsiness. he would trip over his words, second guess every answer he gives to your questions and tickle the back of his neck when deep in thought. his friends would be no help at all, staring at him from the other side of the room trying to make him realize that you can see right through him. but sadly for han, he simply cannot help it.

or, he would simply not even look your way. it comes from a place of deep anxiety more than one of trying to look cool. han is too aware of your presence and the way it makes him feel. so much so that he would rather be distant and not look like he cares deeply though it is counter productive. he would ( try to ) keep his cool, laugh nonchalantly at your jokes and look your way when your back is turned. in a few words ; han would care for you in concealed ways.

WOULD HE MAKE THE FIRST MOVE ?

not really. he might if you were dancing around each other for months. han would lose patience then and get over his fear of rejection to try and ask you out.

he would much rather you ask him out or raise the question of what you both were after a few exclusive hangouts. han would not be able to live through the embarrassment of being rejected though he is mature enough to take it. he is rather afraid he would pressure you into saying yes to dating him just because he put you on the spot.

but if it can be any motivation: if you were to ask him out, han would give you one of his biggest heart-shaped smiles. all teeth and adoration.

MISCELLANEOUS.

han is quite a big fan of crushing, if that makes any sense. he feels inspired to create when he grows to know and like someone more as days go by.

he is one to romanticize the entire process of forming a crush / a connection to someone new. which is why he lets the whole 'crushing period' go on for as long as he can. of course he yearns for a relationship, but there is just something so sweet and innocent about dancing around each other. the stolen glances, the shy smiles, fingers brushing against each other's when walking side by side or the jitters he feels everytime he texts you ; han loves it all.

the type to be exclusive when crushing or casual dating. han gives his undivided attention to one person at a time.

taglist. @aeinzzzketchup — let me know if you would like to be added / removed.

© myjisung. please do not copy, translate, repost or claim my work as your own.

[ane-doodles]

My COTL References

(you can use them as inspo if you want)

A little more:

Wow, I didn't think this would take so long, but I think it was worth it in the end.

I have had to look for all kinds of references to be able to draw the bishops in a satisfactory way (references from the game itself, from animals, body types, eyes, and even how to draw cat paws). I think I have done them justice.

Although I don't plan to draw a comic or write a fic, I did want to define my own reference when drawing them. That way my little doodles would have some coherence.

A couple of details from the designer (just me commenting):

• I had to look for references of many body types and choose the one I thought was most suitable for each character. It was a long road!! The most difficult to draw was Narinder.

• Heket's outfit is inspired by a dress I recently saw in a store, it looked like a tunic so I decided to use it as a model. I added the veil because I wanted to cover her head (it's difficult to draw), plus I think it gives her a distinctive touch and personality. She accidentally ended up looking like a very flirtatious nun.

• Kallamar's design was particularly difficult because in the game itself he doesn't have a torso! but for reasons of ease and patience here he is going to have one. It's funny that he's super tall, but he keeps hunching over trying to hear what others are saying (you know, he doesn't listen very well for obvious reasons).

• Leshy was my favorite design! He has all the characteristics that I usually give to a protagonist!! He ended up looking like a young boy who surely likes soccer. I drew him thinking that he would surely like to walk around, so he should be comfortable... but he will surely end up crashing on more than one occasion. The green looks so fluffy!!! ah! but I also gave him a sting (I thought it would be fun)

• Shamura was interesting. I didn't want to give it too many legs, but I also didn't want it to look strange. In the end I ended up taking inspiration from different insect characters I know (like the red guy from Adventure Time). His clothes are all torn, I think he would have a hard time adjusting to them and would end up destroying them very often.

• Although I have drawn Narinder before it is not easy without him looking like an anime boy with a cat head! so it took quite a while to try to get out of there, that's why his proportions look more animalistic now!! I like to think that his body was vaguely more human when he was a god, but that when he transforms into a mortal he becomes more animal-like. It was difficult to design his clothes, but I like the change of coat he has...I hope I don't change it again soon or I'll have to make him a wardrobe.

• I have no special notes about the lamb, except that I forgot to put the leg warmers!! I realized it too late, but let's imagine they are there. I liked designing the second fleece, obviously based on Narinder's.

• As you can see, each of the coats are made from the remains of the tunics that the bishops previously wore. I want to imagine that after they were defeated, the lamb recovered them and turned them into new garments so that they would feel more comfortable in the cult (but also so that they would be distinguished from the common people).

• I have planned jobs and positions that each one would occupy in the cult, but I don't know how close they are to canon since I haven't taken the time to research. We'll see!!

And that's it, if you made it this far, have a candy 🍬 , thanks for reading my ramblings.

[raven-at-the-writing-desk]

Fellow turns around after feeling the distinct sensation of someone’s hand in his pocket.

“…ah. Shishishi~ Nice collections of wallets you’ve got there, mister! Aren’t they heavy? I swear I was just trying to help you lighten the load! Isn’t that right, Leona-san?” -Ruggie, caught red-handed.

“…” -Leona, just passing by and torn between narrowing his eyes at Fellow’s presence at NRC or putting a palm to his face, absolutely done with everything.

So tell me, do you wanna go?

“Hey now, hands off my pockets!” Fellow shooed the hyena off, keeping protecting hands over his wallets. “I earned these fair and square. Find some other suckers to prey on—and next time, be less obvious about it!”

“Nishishishishi! I dunno, Leona-san~ Ya think we should let this criminal run free?”

“Tch, hell if I care. Don’t get me involved in your personal squabbles. I ain’t cleanin’ up after ya.”

“Wow, harsh.” Ruggie swiveled to Fellow. “You see how he treats me? Awful. After I work my tail off for him, too. The Mystery Shop’s a better gig. Sam still makes me clean, but at least he pays me for my time.”

The emerald of Leona’s eyes cut narrow.

With an impish grin, Ruggie continued. “Geez~ Rich people seriously are the worst!”

“They are,” Fellow agreed in a grumble. He thought of his own employer—well, ex-employer—a shadowy man screaming abuse at him through the phone. “So full of themselves and entitled to service.”

“See, you get me!!” Ruggie elbowed him in the ribs. “Us poors gotta band together and rise up against’m. Let’s eat the rich!”

“Oi, Ruggie,” his dorm leader growled at last, “Quit talkin’ about me like I’m not standing right in front of you.”

“Aww, did I hurt your feelings, Leona-san?”

“Yeah, you’re really breaking my heart,” he drawled sarcastically. “I’m choking up over here.”

“Charming boss you’ve got here.” Fellow’s laugh as light as fairy floss. “I’ll bet he’s a riot with the snooty elites.”

“Oh, like you wouldn’t believe. Well, when he feels like turning on the charm. Works wonders for a distraction while I liberate them of their valuables~”

“Really! That’s usually my job. Sometimes I pull double duty. Giddie ain’t exactly good at keeping people’s attention or being slick with his hands.”

“You have a partner? Convincing Leona-san to play along’s like pulling teeth. He whines all the time and makes demands like some overgrown cub—”

“Ruggie,” Leona snapped. Low, threatening—a command to stay silent.

“My bad!! My lips are sealed!” the hyena pledged. He comically dipped into a bow and slunk back.

Leona stepped up.

“Ohoh?”

Here comes the king.

The regal lion rolled his shoulders, inclining his head back—looking down on Fellow. “… Hey, scammer. I held my tongue before since you were slinking around town being sketchy—but now you’re in my territory, and I make the rules around here.

“I don’t care if you go around plucking wallets from unsuspecting herbivores. Just don’t cross me, not again. If you know what’s good for you, you’ll tread lightly. Got that?”

His tone was familiar. Assured and full of arrogance. A luxury afforded to this beat thanks to immense power and privilege.

Fellow gritted his teeth. He managed to force out a measured response, despite his surging hatred.

He knew this song and dance. How to keep his head down, how to swallow his pride and comply. Kowtowing was a skill, and Fellow had mastered it.

“Completely. I’ll be sure to stay out of your way, good sir!” he chirped with a pearly smile.

“Good. I’m glad we understand each other.”

Leona turned away, shoving his hands into his pockets. He strolled off without so much as another word or gesture.

Ruggie tore off after him. “Ah—wait up! You know I was just joking, right? Heeey, don’t ignore me, Leona-san!”

Fellow carefully watched their retreating figures. When their shaped had vanished entirely, he angrily kicked at the ground and shouted at the skies.

“I can’t stand these damn rich people!!”

[johns-prince]

John was being honest when he described himself as dead lazy, and so having a partner and bff like Paul was perfect for him since Paul is such a workaholic and can hardly sit still.

John needed a push, someone who could carefully and patiently nudge and drive him along, or at least light the fire under his butt, because if not he could become listless, lethargic, and stuck. I'd say this was pretty obvious during the 70s.

Paul was perfectly suited for John in this, like in so many other ways too. Paul seemed not at all bothered, but quite comfortable with this position in their relationship, as far as I can tell. I'm thinking back to Paul making his way to John's house in Kenwood, that he'd often have to wake John up, this involving cups of tea or coffee. Maybe they did some writing and playing, maybe they didn't, as Paul said it was his way to get out of London.

Or, how Paul, John, and Ringo (sans George) had to do a Christmas recording, and how Paul, the whole time, was gently and patiently urging John on to just do it.

I think they're a perfect encapsulation of their relationship, these moments and memories caught.

They both gave each other a harmless need to compete, and to accomplish, together. I mean I'm sure there were plenty of times Paul's patience wore thin with John, and I'm sure John was very intentional in needling that, but insofar that I can tell, Paul really did have exceedingly, almost near limitless patience and love for John as both a partner and a friend.

John needed that, he needed someone like Paul, who could truly and unapologetically put up with him, and love him, and still want to work with him every day, day and night.

Even when the band broke up, the divorce finalized, and John was both loving and hating Paul in tandem for the next ten years... Paul was desperate to write with John again, and John was desperate just to write, you see.

PLAYBOY: But wasn’t it clear that John wanted only to work with Yoko?

LINDA: No. I know that Paul was desperate to write with John again. And I know John was desperate to write … desperate. People thought, Well, he’s taking care of Sean, he’s a house-husband and all that, but he wasn’t happy. He couldn’t write and it drove him crazy. And Paul could have helped him—easily.”

— Linda on John and Paul in the late 70’s and 1980. (X)

While Yoko was definitely driven and career oriented, that didn't necessarily mean she influenced, inspired, or drove John on herself. Not in the way Paul did. I think that's pretty evident, considering he subsumed himself to "house husband", only occasionally baking bread before even that lost his interest, in which he'd keep to lazing about, sleeping hours on end, and mindlessly watching tv.

John was no house husband, the role he took with Yoko was pretty far removed from his potential, even with Cynthia it wasn't that bad.

With Paul, John even thought of writing musicals, and he apparently wasn't even that fond of musicals—but if Paul wanted to do it, like so many other things, then why couldn't John? If John had Paul, then he could do just about anything and everything, really.

“MM: In the early days, did John and Paul really write together?

MARTIN: Yes, but they also wrote separately. “Please Please Me” and “From Me To You” and “I Want To Hold Your Hand” were undoubtedly collaborative efforts. They’d sit down and literally construct the songs together. I can’t remember the first individual songs, although obviously even before I met them they were writing individually, but if you go through them you can hear which of them are John-oriented and which are Paul-oriented. “Yesterday” is obviously Paul, and that’s an interesting point because it was the first time we ever used anyone other than Beatles on a record. There was no one on that record but Paul and a string quartet.

MM: Did you notice them growing apart, developing distinct personalities?

MARTIN: Paul and John had their own identifiable styles: Paul was the syrupy one and John was the hard one. But the rift wasn’t there then. They were really a unit.

MM: Could you tell me what you think of what each one has done individually since the last Beatles record?

MARTIN: I have great admiration for George. He’s done tremendously because it’s a sort of devotion to duty as far as he’s concerned. We forced him into being a loner, I guess … he could never collaborate with anybody in his writing and therefore when the split came he had more strength because he was forced to be alone. He learned an awful lot about producing, studio techniques, and so on, so that he was able … obviously, any one of them had the power - because they had the money - to spend as much time in the recording studio as they liked, and I know that when George made his album he spent six months doing nothing but overdubbing his own voice 16 times and producing his album. To have the tenacity to do that in itself is something of an achievement, but to go along and actually produce good sounds and good music and good lyrics with it is tremendous. I’m full of admiration for that.

I think the other two have suffered by comparison, because they’ve each indulged themselves in their own way. John’s become more obvious in a way … “Power To The People” is a rehash of “Give Peace A Chance,” and it isn’t really very good. It doesn’t have the intensity that John’s capable of. Paul, similarly with his first album … it was nice enough, but very much a home-made affair, and very much a little family affair. I don’t think he ever really rated it as being as important as the stuff he’d done before.

I don’t think Linda is a substitute for John Lennon, any more than Yoko is a substitute for Paul McCartney.”

— George Martin, Melody Maker Interview, 1971. (X)

John was very partner orientated. He needed someone, whether he liked it or not, and he needed them to need him too.

He didn't like being a husband, but he liked having a wife, someone there for him constantly, who loves him and will care for him. John had Cynthia for that, at the start. John had Pete as his partner in crime, bestest of mates, when they were just kids.

Then, John had Paul, and turns out, Paul just about covered all of that, too, and plus it. A best friend, a coconspirator, a wife, a collaborator, his partner, his rival and his greatest ally and muse. Cherry on top, Paul needed John just as badly, madly. Maybe John never saw it that way, maybe that was why he had his fear, his insecurity that Paul never really needed him as much as John needed him.

“IRVIN: Back then people were very keen on knowing who the leader of the group was…

GEORGE M.: Yes, I was. When I first auditioned them I said, “Who’s going to be the leader, is it John or Paul?” Such an odd couple really, because they were diferent and yet very similar, both had big egos, both very good songwriters, but they needed each other like mad.

IRVIN: Did they really like each other? It wasn’t just a competitive partnership.

GEORGE M.: Oh no, they loved each other! They were brothers, and like brothers they pissed each other off quite a lot. John could be maddening at times, Paul can be very bossy and even more maddening and George would get fed up with both of them. But they did love each other and adored what the other did and had an incredible bond.

Paul always took inspiration from John, especially in his lyric-writing. ‘Eleanor Rigby’, for example, wouldn’t have happened without John’s influence. Paul wrote all of it but John’s influence was there and similarly John was knocked out by the freshness Paul brought to melodies and harmonies. He learnt from Paul how to put in the odd chord that choked you up a bit.”

— George Martin, interview w/ Jim Irvin for Mojo: Sir George Martin: The Mojo interview. (March, 2007) (X)

I think I've gone off tangent, but the point of this was to say, John was dead lazy, vastly intelligent and talented, but very prone to sloth. Paul was a rather perfect stopper to that. He could whip John up, get him moving, shaking, ever patient and ever loving, just the right enough of mean, bitchy and stubborn, smart and quick tongued, to meet John toe-to-toe. Like a house on fire these two fired each other up, talk about all-consuming and intense.

They were pretty perfectly matched for each other.

“It was like a tug of war. Imagine two people pulling on a rope, smiling at each other and pulling all the time with all their might. The tension between the two of them made for the bond.”

— George Martin on Lennon/McCartney (X)

[avelera]

It sounds so self-obvious when you say it aloud, but the key to writing romance is that the characters need to be into each other.

I've seen so many so-called "romances" in mainstream movies and shows that somehow fail to achieve this very simple principle. Usually they're het romances but not always. I've also seen established lgbt+ couples who we're told are married but who never show any particular interest in one another to confirm this supposed love in a show-don't-tell manner.

Below the cut I want to explore how to write love (romantic or otherwise), what makes it work in fiction, and the important difference between why characters fall in love vs. why they choose to pursue or stay with the person they fell in love with, because those distinctions matter.

Let's quickly touch on failed fictional relationships before moving onto functioning ones. Because the thing is, it's important to flesh out relationships and romances if they are written into the story even if they aren't the focus of the story or they are doomed to fail as part of the plot.

I see it a lot of times in fictional relationships that are clearly plot points and so the author doesn't bother to invest in them. If a relationship is established with the protagonist just because this current partner is going to break up with them, thus launching our actual romance plot, then there's a temptation not to fully flesh out that doomed-to-fail relationship.

But to skate over the failed relationship is a missed opportunity for a writer. Relationships reveal a great deal about us, as do failed ones. Even if the relationships don't work out, we get the chance to learn what the protagonist is looking for in a relationship, what didn't work in the failed one, and we get to learn more about their love language. This also requires that we see these romantic partners are into each other, or were into each other, and how, before it went sour. Even if it's one sided and doomed to fail, we need to see what the infatuated side of the pairing was into about the other person. Even if it's just physical, that too is revealing.

Romeo was in love with Rosaline before he fell in love with Juliet. But we don't skate over what he loved about her. We learn that Romeo frequently falls in love, he's often impetuous in love (which we will see carried forward later in the famous balcony scene with Juliet). We learn that he is poetic about that love. We learn how much he loved Rosaline, and whether or not we believe he was in love or think that love is wise, it is important for establishing later, when he meets Juliet, the order of magnitude difference between his love of Rosaline and of Juliet. One left him broken-hearted when he lost her, but he quickly recovered. But Juliet? He was willing to die for love of her. The love of Rosaline set up the contrast in how Romeo loves that would be massively important to the impact of the story later.

I bring up this example because many years ago in a high school lit class, the teacher said that Shakespeare never explains why characters fall in love, and so writers don't have to explain why characters fall in love.

It didn't quite sit with me right, because I think it's only half true. The full maxim, and what writers today can learn with regards to romance is:

You don't have to explain why characters fall in love. You do have to explain why they stay together and/or pursue that love.

Actually, it's often better to not explain why a character fell in love. It's ineffable. It just happens. How often have we met or been introduced to someone who is, on paper, perfect for us with similar interests and compatible families or lifestyles, only to not feel any sort of spark? How many grand romances, in contrast, are about people who on paper are terrible for each other but just can't seem to quit one another and keep being drawn back together?

This doesn't just have to apply to romantic love, by the way. How many people are inevitably drawn back to toxic or abusive parents, even though they know this person has a negative impact on their life? How many people stick it out for friendships that damage their health and self-esteem, all out of love?

Again, you don't need to explain why someone loves, but you do need to explain why they pursue it or stick with it. The reasons can be societal, they can be because of guilt, they can be because of adrenaline, or because of long history together, or if it's a successful romance, it can be because they don't just love each other, they also really really like each other!

Now, this might seem somewhat inherently self-contradictory. I'm saying you have to show that people are into each other but that you don't have to explain why they fell in love??

But showing that people are into each other is actually about why they pursue it and stay with the person. The falling in love itself is simply the gravity between them, the magnetic bond, what draws them together. In fiction, we want that to be powerful, overwhelming, inevitable. If the story is about love, we need to see why these people can't walk away, or can't walk away for long, or are miserable when they do. They are drawn to each other, powerfully, destructively or gloriously.

But you can be drawn to someone without having a single conversation or knowing anything about them. We initially fall in love with our image of a person, what they mean to us, what we think they will be in our lives. Real love is about learning who the real person is and continuing to love and to like that person. Real long-term love is loving that person even when they change from the one you first met, and they love you too as you change. But the opposite of love is not hate, it's apathy. The love is the pull.

Why characters are into each other, or why they like each other, is the force that makes them continue to pursue that person. The love itself can be the thing they're into, by the way! "I can't get this person out of my head, I can't put it in words, but they haunt me and I'm into them for that," is a totally valid way to build a romance or character relationship without any other things that they like about each other!

But as said, it can and probably should be more than that in a successful love story. The construction of the love and like of the relationship can also be Love + Long History + Physical Attraction + Deep Understanding. Gomez and Morticia Addams love each other, they'd love each other if the other was unconscious, they'd love each other to the grave and beyond. But they're also into the fact that they're both incredibly extra romantics who love demonstrating their fascination to each other, in ways presumably no other partner could keep up with. They waltz at odd hours, engage in thrilling sword fights, raise a family together based on their shared worldview, and stare deeply into each other's eyes at every opportunity. They don't suffer one another, they adore one another's presence and quirks and foibles. They are seriously whackadoodle into each other and we see it in the joy they take in one another, how much they like each other in addition to that love.

Characters who are in love should be obsessed with something about the person. Remember, these aren't real people, I'm not giving real world relationship advice. This is fiction. You can write a tepid relationship but it will be sort of boring to read. That might be the point! The tepid relationship might be in contrast to your protagonists, for example!

But my point is that in all fictional relationships there should be something in which the characters are each other's biggest fan. In mother/daughter familial love, they might love one another's outspokenness on what is important to them, we can see their eyes shine when the mother or her daughter gives that big important speech, filled with love and pride for them, and encouraging their outspokenness at every turn, inspired by it.

If the love is between two brothers, related or otherwise, we might see that love in darker times. A brother has to pick up the other from jail. It is painful, heartbreaking, but he can't turn away, he can't not do it. That's love. But, maybe the brother he picked up cracks a joke on the ride home, makes the other laugh despite himself, and suddenly, he remembers the good side of the love too, that his brother can always make him laugh. This is important because it shows us not just that these brothers love each other, but why they continue to interact with each other despite the pain and disappointment. That might actually be tragic rather than happy. One brother might not be able to escape because of the other's ability to make him laugh. That too is love, not just the magnetic attraction of it but the reason it continues to draw them together inevitably, that ability to understand one another and make the other laugh, when he really should probably walk away for his own sake.

The reason so much slash shipping exists in fanfiction is because very often, platonic love is fleshed out in the mainstream more often between two same-sex characters with greater depth than romantic love. A mainstream show might present us with a couple who we are told are attracted to each other and from there the writers assume that is enough to explain why they got together. Nothing deeper. No spark of liking one another in addition to wanting one another.

But in a buddy cop film, the buddy cops are usually obsessed with each other. They stand up for one another when the chips are down, they save one another in moments of peril, they look into each other's eyes and discuss what is important to them in life, like solving the mystery they're working on, and in doing so find understanding with one another's worldviews. That is infinitely more satisfying as a love story than simply telling me that a beautiful Barbie and Ken of main characters have slept with each other and therefore are dating and "in love".

Obsession is key. But don't get too bogged down in how the love exists. It exists because that's love. And we are fascinated in fiction by powerful love of all sorts. We love characters who don't just suffer each other but are into each other, ludicrously, obsessively, even tragically. Turn up the love to the whackadoodle maximum and break off the knob and I guarantee, you will at the very least have characters that people will watch with interest. We love characters who are obsessed with something, or someone. Their love reveals to us what is lovable about that character or thing, it makes us love them.

And then, because love alone is not always enough, show us the joy that keeps them coming back to each other. Show us some good times mixed in with the bad, tragic as they might be for how they prevent the cutting of ties that maybe should be severed. Show us why they can't give up and walk away. Show us too why they like each other. That is what draws a good love story together.

[kotias]

Keep Me Satisfied - a Poolverine fic in that damn Honda Odyssey

Title: Keep Me Satisfied

Rating: E (for graphic violence and smut)

Genre: Plot What Plot

Word count: 8,218 words

Tags: Honda Odyssey Fight Scene, Mutual Pining, Plot What Plot/Porn Without Plot, Porn with Feelings, Porn with Stabby Tools involved, Erotic Stabbing, Blood, Pain Kink, Pain Sluts, Clothed Sex, Bottom Wade Wilson, Top Logan, Anal Sex, Masturbation, Intrusive Thoughts

Title inspired by You're the One That I Want

Fic inspired by Hansoeii's fanart!

Summary (taken over by Deadpool):

Logan launched forward and his fist landed against Deadpool’s forehead, again, again and again, his claws slipping in and out of those flimsy bones and spraying what felt like the entirety of his opponent’s blood into the Honda and over the COEXIST sticker in the back.

Now, hm, no.

Let me… there you go, mask’s back on, so you know it’s serious business. Hey, dear audience, I am your beloved Deadpool—now better known as Marvel Jesus, ey? Heh. Anyways, I wanted to pause on this trainwreck of a scene, because I see you filthy fans, and let me tell you this: I. agree. Let’s be real… would. Right?

So, lemme start over—Hey, dear audience. I’m Marvel Jesus, previously known as Deadpool, and I am here to tell you one thing: this scene is a travesty of the editors.

My people, my lovely, filthy people, Disney has cut the actual, interesting parts, and here I have… the original footage. Come on, I’ll take you on the Honda Odyssey ride with me.

Ah, before we leave—I’ll let you enjoy the show… mostly in silence. You might see me from time to time… in the footnotes.

Excerpt:

“Come at me,” Logan repeated in challenge, his teeth bared and his hands ready to curl into fists.

Very distinct from the previous launches at one another, Wade entered through the windshield opening slowly and carefully, wrapping himself around the electronics of the Honda and placing his right leg between Logan’s. This had the unfortunate effect, he realized, to shoot electric pulses all over his body, culminating between his legs—in a suit far too tight to hide anything; though he could very well point out the same to the man above him, who was gradually lowering his body until he was sitting on Logan’s right leg.

He smirked, his excitement entering his blood like venom. “Ready for the next roun—?!”

Deadpool’s left foot landed on the side and pushed; the backrest fell down to a fully horizontal position, dragging Logan with it, cutting his breath away in surprise. The man above him had a low chuckle, and forced him to stay down, pressing both hands on his torso and leaning forward, making the hard press between his legs more obvious with each movement of his hips against Logan’s lap.

Come and read more here! https://archiveofourown.org/works/58680358

[ahsoka-in-a-hood]

I don't. The thing is I am a Star Wars Prequels fan first and foremost, here. I like the original trilogy, it's fine, but that's not what keeps me awake at night.

I don't give a shit about the sith. I don't find them interesting. I was always here for the impossible situations the jedi and the protagonist senators and other kinds of heroes were finding themselves in. The ones without an obvious answer. The ones they could get wrong. The ones they would get wrong because it's a tragedy, and sometimes I like to cry my eyes out over made-up people.

And even after several years of fandom, that's still basically what I want. I want the jedi (and other characters) to be put in the situations. I want them be unsure what the right path is. I like watching them make mistakes.

Some call it nuance, some call it flaws. I'm tempted to just call it being people. That's the sweet spot I'm after: not saints, not devils, just people. People fuck up. People are very varied. They have a culture- does every aspect need to be dissected for faults? Can it not exist even in a state of imperfection?

It can get complicated, maybe. I've encountered plenty the attitude that the jedi are evil because they are humans but are meant to be more than that. I have blocked absolutely relentless commenters of this who would show up on every post with this exact philosophy

… But it can become a subtle distinction. For some time I was blissfully unaware of Filoni's views on the simple basis that the jedi in the clone wars were more real and human than the generic antagonists I tended to see in fanfic.

It is a distinction, though. Human (derogatory) and human (empathetically) are different approaches, which does show up here and there.

The thing about star wars, and the prequels, and the jedi, is that no matter how you try to slice it, the story of a genocide is inextricably woven into a story about jedi. Every one of your #shots fired about their eventual downfall is accompanied by…. a systemic extermination campaign by a nazi allegory……….. and even if that's not something you're willing to contemplate, that's just going to make people uncomfortable. Especially if you start adding talk about a shadowy cabal secretly controlling everything who also steal children etc. Listen, I know that the jedi are fictional. That's not what you should be considering when you say these things.

So you end up with these two fundamentally diametrically opposed stories:

Here's this religious minority who are literally in touch with their divine force. This does not make them gods, so they have flaws, weaknesses, and make mistakes. They are murdered. This is the beginning of an imperial age. (compassion is at the centre of their philosophy. anyone can be compassionate, with or without the force.)

Here's this bunch of corrupt overpowered secret police who hold their position by maintaining a mythology of super-humaness, but psyche! Wealthy elites are also degenerate humans, which is of course forgivable in US, but not THEM. They were supposed to be the model minority. KILL THEM

[hinamie]

ok hot take/pet peeve ,,, i genuinely Don’t get why fanartists draw older!megu as a beefcake. like i know /why/ and the why is Horny but fr the sake of my own sanity i am putting that aside. I get that in terms of non-horny rationale it’s probably people wanting him to look like toji but that feels like such a weak argument to me bc ,, megumi Already looks like toji?? uncannily so????? i think gege and mappa did such a great job of making it obvious how strong the fushiguro genetics are while still keeping megumi and toji’s designs Distinct. It’s so beyond unnecessary to me 2 bulk megumi up fr the sake of making the visual connection of him being toji's son and that’s what makes the resemblance all the more unnerving 

also i feel like megumi is straight up Not the type to train that hard to achieve toji’s level of muscle. like listen don't get me wrong any1 who has seen my art can vouch fr the fact that I’m not against making megumi visibly toned sghjdfgj ik he’s fit and in shape but 2 me he is lanky in a Runner kind of way. toji has the kind of body u need to train ur ass off for and be so real with me right now does anyone present see fushiguro I Always Drink It Black megumi chugging protein shakes

[bird-inacage]

Only Friends: Sand's Reaction to Ray VS Boeing

I know some people will be annoyed that Sand wasn't more forceful in telling Boeing to leave him alone. In my opinion, this isn't really surprising. Sand's biggest strength and weakness is his kindness. He'll make concessions for people, even those who hurt him. Ray is a prime example. Why would his ex be any different?

Boeing's Dubious Intentions

It's glaringly obvious just how uncomfortable, stiff and exasperated Sand's body language is during their second exchange. This is someone he shared his ultimate dreams and passions with, which must have made the betrayal even more devastating. We still don't have the full context as to how this all went down, but I'm sure Sand hasn't forgotten that Boeing chose to leave him. Compared to their first re-encounter where Sand appears rattled and somewhat flustered, here he seems to display a more resolute lack of patience, possibly after reminding himself of Boeing's true colours.

This doesn't erase the fact that Sand had feelings for him once, cared about him once. Sand didn't choose to end the relationship, Boeing did. So there would have been unresolved feelings that Sand had to process alone in the aftermath. For Boeing to have the audacity to swan back in rightly warrants a less than lukewarm response.

Even so, Sand shows Boeing an incredible amount of grace when he certainly doesn't have to. He tries to calmly but firmly ward Boeing off. "State your business". "Just forget it. I don't think I'll go." "Just friendship. That I can give you." He makes it very clear that Boeing can find him at the bar but nowhere else. He's trying to establish a distinct boundary, which Boeing swiftly disregards.

Sand's Unease: Where Past & Present Collide

The way Sand is reacting says to me he desperately doesn't want Ray involved. He seems eager to keep him well away from Boeing. Sand could have chosen not to mention his ex's sudden reappearance, but decides to be upfront with Ray about it. I think Sand's turmoil is a sign of worry over what Boeing may do, rather than an indication of indecisiveness over his own feelings. The reason I say this is because Sand doesn't show any warmth, residual affection or happiness in seeing Boeing again. He looks mostly wary, unnerved even.

I can also see why Sand would try to refrain from openly displaying his feelings for Ray in Boeing's presence. If he exhibits just how much he cares about Ray, whose to say whether Boeing may pull another stunt like he did with Mew/Top and try to pursue Ray instead just to be messy. The way Sand looks at Boeing is laden with suspicion and uneasiness, particularly when Ray is around. This is really noticeable when Boeing first addresses Ray - Sand's whole demeanour gets much colder and standoffish.

We don't know precisely what Sand is afraid of - that Boeing may target any ill will at Ray? Or that Ray may be affected by his ex flaunting details about their history which could cause jealousy? Things are going really well between Ray and Sand right now but it's possible Boeing could try to stir up a misunderstanding or create conflict between them.

Ray's Protectiveness: "Deal with him or I'll do it."

Ray knows better than ever what Sand is like. He's all too aware of just how painfully kind and caring his boyfriend can be, often to his own detriment. Boeing is keen to exploit this very fact by trying to appear imploring towards Sand, "You never yell at me." Ray is also acutely familiar with how Sand struggles to say no to those he cares about.

Whilst Ray observes angrily, I like to think this comes from a place of being mad for Sand more than anything. If he's seen their entire interaction play out, he'll notice that Sand has not once initiated physical contact with Boeing. He doesn't shirk him off, but he certainly doesn't respond either. He keeps his arms firmly planted at his sides, and yet Boeing keeps trying his luck. Something about the way Boeing behaves with Sand feels like he treats him as a plaything - someone he used to have wrapped around his finger. Perhaps he thinks that the power he used to have over Sand still remains.

Sand's expressions also feel loaded with shame, as if he's repeatedly chiding himself for being foolish enough to love someone like Boeing, who so cruelly tossed him aside. That somehow he feels partly to blame. Maybe this is a Sand he doesn't want Ray to see. Yet here Ray is, on the side-lines, taking all this in.

From their very first interaction, Boeing is trying to undermine Ray. You can see Ray's growth as he doesn't confront or make a fuss, but chooses to respect Sand's wishes and instead stays quietly hidden to keep watch. He looks to Sand for confirmation he'll be okay on his own before leaving. Though he can detect something isn't right, he allows Sand the opportunity to handle this first.

As soon as he sees Boeing trying to cross a line, he steps in. He's not going to permit Boeing trying to drag Sand off somewhere alone, he'd rather keep the enemy directly under his nose.

What I'm hoping to see in Episode 12 is protective Ray to come out full force. I've said this before but the entire series has been Sand looking after Ray. Whereas this would be a great opportunity for Ray to look out for Sand, and to teach Boeing a lesson at the same time.

That eye contact in the last scene was so loaded. Ray's gaze is a silent threat- 'That's my man you're looking at, don't get used to it. If you're really stupid enough to try anything on my watch, I'll tear your neck out.' Don't ever underestimate Ray, he's small but feisty.

[ebonyslasher]

Sorry if this is to specific

But can you do a thick user with demon slayer men? And when I say thick i mean like a pear body shape wide lower body parts and stretch marks I just don’t see a lot of writers do this body type

It's not too specific at all! Honestly, you could even give more detail than that and it'd still be okay. I chose the guys, since you didn't include which specific men you wanted.

Pear-Shaped Thick!Reader with Demon Slayer men:

Tengen Uzui

"What a flashy figure...!"

Tengen is enchanted by your looks. Your hair, skin, and fashion were so distinctive from the area. He was bored with the Meiji era standard of beauty. How were you going to be flashy if you looked standard?! He finally found another person that would understand his plight.

As expected, he's quite vocal with his appreciation. How could he NOT be? You were cool and extra fine; someone worthy to be apart of his harem.

"Y/N, you're just as stylish as ever!"

"Whoa! Be careful throwing that flashy figure around, you might just make people faint!"

The people he's referring to is his wives. They are also avid fans of you. What? You thought he would faint? And miss looking at that awesome body of yours?

He certainly did not want to miss seeing your smooth skin, enriched with lovingly patterned strikes that covered your cute hanging stomach, ass, and thighs. He bit his lips at the thought of touching your soft body. Cuddling with you would be heaven on earth. You were beautiful and beginning to be a wonderful possible addition to his marriage.

Giyuu Tomioka

Characteristically, your shape is not the first attribute Giyuu noticed. He paid more attention to your face and how you acted during your introduction. Once his attraction to you becomes more apparent over time, that's when he pays attention to your body.

He's overwhelmed. How could he handle all that? He isn't a confident man. The only time his confidence shows is in his fighting and training, slightly. Not in romance, much less sexual interactions. He employs a secret style training...calls it Sex Breathing. It targets his arms, hips, and legs in order to handle your bottom heavy size.

One time, he accidentally watched you when you were changing. It was a small moment before he forcefully turned his head away. But Tomioka did not miss that you had stretch marks adorning your thick thighs. Giyuu became addicted to the memory, wishing he could have had the audacity to watch you fully undress.

Your figure could not be hidden by your clothing, much to his combined glee and chagrin. He loved that he could see it, but hated that others could enjoy your lovely figure too.

Gyomei Himejima

Gyomei, respectable and pious as he is, privately succumbs to his dirty thoughts after you both start dating. He'd felt your bottom heavy figure against his body after the first hug. The feeling of that soft stomach and thick thighs stuck in his memory. The hulking young man begins to pray.

"Kami, as these straying thoughts plague my mind, i must ask that the gods keep me afloat. But, I must thank them! Only they could construct a being such as Y/N! I will not ignore this obvious blessing to my life!"

Gyomei will not make it known of his thoughts on your figure, keeping his comments to himself. He makes the effort to not make you uncomfortable, not wanting to scare you off. Once you let him know that it's okay, he is more free with his thoughts.

He strongly desires to hold you daily, his hands ache to travel down your pear-shaped figure in glee. You felt so soft. Gyomei wanted to cuddle to feel his hard muscles against your supple form. It's always a blessing when he's able to. Each time is more magical than the last.

Gyomei, selfishly, makes you describe your stretch marks to him. As poetic as possible, to paint the perfect picture in his head.

Sanemi Shinazugawa

It was rough journey getting past Sanemi's tough exterior. Many times you wanted to give up on your odd pursuit of this mean ass hashira. But, it was obvious his act protected himself and others, albeit extremely harsh. You knew something sweet lied past that facade.

And your intuition was correct. After you broke him down with your endless flirting, he started to bite back. In his own special way, of course. It starts with:

"I'm not staring!"

To

"Just cause you're shaped like that doesn't mean you can say whatever you want."

To

"Sometimes looking at you calms me down...but excites me in a different way.."

Sanemi felt drunk whenever he was with you. The sight of you makes his heart race. Your pear shaped figure was something he could not ignore. Trust and believe, he has tried many times. It was as if your body called out to him, instructing him to look. Much to his embarrassment, it did not take long for him to relent to the voice and stare. He was always in a different plane of existence when you came into the room. It annoyed him to no end.

Sanemi was speechless when he first laid eyes upon your unclothed form. His eyes gravitated up and down the electric marks that blessed your appearance. You had never seen him so affected.