#this is the Most effort i've put into any paper i think

[dordey]

Very tired of looking at this assignment but god i just calculated i need to at least get a credit on it

[so-long-soldier-writes]

Study Buddies

isaac lahey x reader

summary: isaac asks you for help in chemistry. you agree on one condition.

tags: high school, studying / tutoring, mutual crushes, awkward flirting, caught in a lie, shyness, embarrassment, play fighting / tickling, bad puns, confessions, first kiss, teasing, fluff, pre-wolf isaac; his dad still sucks; autistic-coded reader

word count: 4.5k

a/n: this is my first time writing for teen wolf. I feel like I'm encroaching on claimed territory. 😅 also i've had this tab up for almost a week but have been afraid to post it, so here goes

Mr. Harris slides your progress report down onto your desk before you have a chance to react, and it catches wind and falls to the ground a moment later. You sigh and roll your eyes, but he’s already halfway across the room, impatiently handing out the rest of his stack. Your own little slip of paper is nowhere by your feet, and you resist the urge to make a remark about it. 

“Hey.” A voice interrupts your intruding thoughts at the same time a tap lands on your shoulder. Gentle, as if the tapper hates to disturb you, yet needs your attention. 

You turn, and temporarily forget about your lost report as your eyes meet Isaac’s, the boy who sits behind you, and has the cutest smile imaginable. You drop your gaze instantly, only for it to fall on his dimpled smile, and then, finally, on the paper held between two fingers. 

“I think this is yours,” he says, holding it out to you. 

Your name is clearly printed on the front, followed by your most recent grades in the class. You blush, immediately remembering it had dropped in the first place. 

“Oh. Thank you.”

“No problem. He seems like he’s in a mood today.” 

You nod, then take your paper from his hand. By this time, Harris has made his way back to the front, and is clearing his throat in a demand for the class’ silence. Quiet mutterings amongst friends cease at once, and you turn back to face the ill-tempered chemistry teacher. 

“Take a good look at your progress reports. The midterm is coming up, and some of you have more studying to do than others. Today, we will be learning new material, but next class period, we will have a review day. If you have any questions, do not hesitate to ask. You can ask at the appropriate time in class, or come see me after school, or shoot me an email. Regardless of your grade, everyone should be studying, however, some of you have to move up a whole letter or two. That is on you to be aware of, and for you to put in the effort to do. Now, pull out your notes so that we can cover this section. It isn’t the hardest thing we’ll cover, but I expect it will be a struggle for some.”

And after that condescending introduction, he begins to teach. 

When the bell finally rings, your head is swarming with so much chemistry, your eyes are beginning to glaze over and put you to sleep. You’re relatively good at the subject, but that topic was more challenging than he warned it would be, making even you confused at times. You shake your head when you reach your lockers, trying to relieve yourself of the numbers swirling about in your mind. It takes a moment. A very stressful moment. 

A tap on your shoulder, more urgent than the last, pulls you out of your mental headspace. The chemistry bounces out of your mind entirely, bringing you back to reality, but making you jump in place at the sudden contact.

“Sorry,” a familiar voice apologies, “didn’t mean to scare you.”

Turning, you come face-to-face with Isaac again. His normally bright blue eyes are slightly cloudy, which worries you more than you’d like to admit. “No worries. Everything okay?”

“Yeah. I have a question, actually, to ask you.”

“What’s that?”

“Okay, I wasn’t looking at your report, I didn’t mean to see your grades. I accidentally saw them when I picked up your paper, but I promise I wasn’t looking on purpose.” He stalls, continuously apologizing for something not at any fault of his own. 

“It’s okay,” you interrupt as politely as you can. 

He pauses, “um. I was wondering if you could help me? Like, in chemistry. Help me study, kinda like a tutor, I guess?”

You pale immediately. Just because you’re doing okay in the class doesn’t mean you have a clue how to help him understand. “Um-”

“Just… I just need a little help, if you can. I understand if you don’t want to, or can’t, or… I don’t know… are busy.” He runs his tongue along his lips nervously. You snap your eyes to the floor, avoiding eye contact. 

“I don’t know… I’m not a good teacher.”

“But you’re really good in the class. Probably a better teacher than Harris has been lately.”

You chuckle, but you’re still not sure. Being that close to the boy you’ve liked for ages? On top of not being able to teach well? He’ll reduce you to a stupid, stuttering mess, just look at yourself now, unable to look him in the eye. No, don’t look at him, that was rhetorical. 

“I just,” he continues, “when he was talking about people who needed to go up a whole letter, he was talking about me. I know you’re good, you sit in front of me. If you can even just explain it to me as you study, it would help a lot.”

Half of your mind races to find an excuse, looking for an out, while the other begs you to agree. Isaac shoves a hand in his pocket and waits for a response. You debate with yourself for a moment, but then the urging part of your mind wins the argument with a question of its own. 

“What about this,” you start, “I’ll help you in chemistry, if you help me in French?”

“What?” He asks, taken off guard. “I’m not good at French.”

“You’re better than me. You have the answers to most of Ms. Morrell’s questions, and I can hear you when she asks us to recite words out loud.” His eyes narrow at that, to which you reply, “you sit behind me in French, too.”

“Right.” He smiles, but doesn’t meet your gaze. Instead, he rests his head against the locker beside yours. 

“So?”

“How do you know I’m not just guessing?”

“What’s your grade?”

“A,” he sheepishly answers.

“See? You can tutor me.”

“What’s your grade?”

You purse your lips and avoid his eyes again. “Too embarrassed to say.”

“Really?”

“Languages aren’t my strong suit. We all have our strengths.”

“Alright, deal. Help me in chem, and I’ll help you with French.”

“Sounds good. Library, or at one of our houses?”

“I can probably go to the library sometimes. Maybe during lunch or free period. But after school, I have lacrosse, and you probably don’t want to wait around school for that to be over.”

“Okay, so then your house or mine?”

“Where do you live?”

“Like ten minutes from here. You?”

“A bit closer than that. Parents?”

“Don’t really care what I do.”

“My dad is a little controlling,” he admits. 

“Would he care if I were to come over?”

“Not if you’re helping me study.”

“Okay. You want to meet a couple times a week at your house, and sometimes during lunch?”

“Sure. Practice ends around five. Is seven too late?”

“Not for me.”

“Cool. So, um, I’ll text you, and we can plan dates.” He shakes his head. “I mean, like, what days work best.”

You blush at his embarrassment. “Have to give you my number first, doofus.” 

“Oh.”

You scribble it onto a sticky note and hand it to him. “Let me know.”

“I will. And thank you.”

“Thank you, too.” You hurry your way to your next class, leaving him red in the face and hands at having a girl’s number. Granted, it’s just for studying, but it’s the fact he was able to talk to you at all that has him shaken. Isaac forces himself to breathe, before entering it in his phone and tucking the sticky safely in his backpack. As the bell rings, he hurries to his next class. 

~~~~

The next evening is the first time you meet up to study. You drive to the address he’s given and knock on the door as gently as possible. Isaac had mentioned his dad is controlling, so the first thing you want to do is to avoid pissing him off in any way you could. Controlling could mean a lot of things, and the boy wasn’t specific at all. For both of your sakes, you tread lightly. 

Isaac opens the door a moment later, dressed in a simple t-shirt and sweats. You try really hard not to blush as he invites you inside, but then his dad’s strict voice snaps you back into reality. You can see Isaac take a visible deep breath before rounding the corner in the kitchen, you in tow. You put on your best look of professionalism while trying to anticipate how the next couple of minutes might go. 

“And? Who was it?”

“Y/N, the girl I told you I was studying with… with whom I am going to study,” he corrects at the last minute. 

His father’s posture tenses a bit less when his son corrects his own grammar without prompt, but it doesn’t stop his cold eyes from floating over to you. “And you’re studying what?”

“Chemistry, sir. I’m helping Isaac, and he’s helping me with French.”

“And you know French well enough to help her?”

“I believe I do,” he says, trying to sound confident. 

“I think he does, too. In class, he always has the answers, and Mrs. Morrell’s often impressed, and she’s hard to impress more than once.”

“Hm.” His dad takes a sip from a glass, then carefully sets it down on the table. His eyes are locked on Isaac the whole time. The boy stares at the ground, any confidence shaken by the interaction. You study the scene, confused. “Well… Go study. Bring up those grades.”

“Yes, sir,” you reply at the same time. 

Isaac nods for you to follow him to his room, which you oblige. His dad remains seated as you make your way up the stairs. You bite back a comment about the man, even in the safety of Isaac’s bedroom, and he doesn’t say anything, either. The same remark is in both your heads, yet while you want to ask it in a question, he wants to use it as a reassurance. Yes, he’s a bit more controlling than Isaac originally said. No, he won’t do anything stupid while you're there. He tries to convey this in an expression, which you half-understand, but eventually drop it. If anything happens, you’ll leave. Simple as that. 

As it turns out, the first night of you studying together ends up nothing like the initial interaction you had in his house. Isaac is gentle, patient, and willing to learn and teach the best that he can. He’s admittedly worse in chemistry than you are in French, but you’re able to convince him that you only need to work on a few things; an hour of time doesn’t have to be devoted to your studies, maybe only twenty minutes. On the contrary, the other sixty are put towards chemistry. And, of course, the first five are for settling in, and the last five are for uncontrollable laughter at a mispronunciation. 

Thirty minutes to nine, you realize how late it’s gotten and start to pack your things. Isaac looks exhausted, and frankly, as much as you’re enjoying his company, you’re getting tired from talking. 

“Voulez-vous qu’on se rencontre vendredi?” He asks, rather quickly. 

You stare for a moment, then, “what?”

“Vendredi.”

“Thursday?”

“Non.”

“Friday?”

“Oui, rencontrer?”

“Meet then?”

“Yeah, would you like to?”

“Sure.” You nod. “Say it again?”

“Voulez-vous qu’on se rencontre vendredi?” He says it slower this time. It has the same effect on you, but you can comprehend each word better. 

“Cool,” you say, not at all thinking about his accent that paints the words so beautifully. “I’ll bring my H2O, since I forgot it this time.”

The boy snorts with more laughter. “Bad joke.”

“Absolutely horrible,” you agree. “See you in school tomorrow.”

“Drive safe.”

“Be safe,” you reply before you can stop yourself, referring to his dad downstairs. 

Isaac only nods. He walks you to his front door, then hurries back up to his room. 

~~~~

Each day you study together follows a similar routine to the first: five minutes to settle in, sixty of chemistry, twenty of French, then five of joking around with each other. Sometimes Isaac pushes for thirty of French instead, worried that you’re sacrificing your own studies for his, and never understands when you push back that you’re good with only twenty. 

His chemistry improves immensely with your help. In three weeks, he manages to pull it up to a ‘C’. Not only is his father a bit more lenient to him after the next progress report, but he’s also more pleasant to you the next time you come around to study. He even cracks a smile. 

Today, you go over just the same as you have been. Seven on the dot, you’re greeted by his dimpled smile and half-friendly father. The man has now graduated to welcoming you, and has once clapped you on the shoulder as you’ve passed. You’re polite to him, though you can tell Isaac’s uncomfortable with his unusual behavior, so you always try to retreat upstairs as soon as possible. This time, he’s busy with something in the kitchen and doesn’t talk for long. He makes one comment about grades; you promise him you’re both doing well, then he lets you go. 

Finally away, it doesn’t take long for you to settle down anymore. You make yourself comfortable on Isaac’s bed, pulling out your notes and pens, and smiling when he joins you. You’ve come to be good friends in the last couple weeks, and although there’s something definitely in the air, too, you’re good with being friends if that’s all you can convince yourselves you are. 

You start, per usual, with chemistry, reading over notes and figuring out problems. He moves closer and closer to you each day you teach, simultaneously making you nervous and excited. Either way, your water bottle remains beside you to calm your ever-growing heart rate. When it comes time to switch subjects, you excuse yourself a minute to recover and prepare for the next half hour. In the beginning, it was easier to hide your blush, promising you’re still getting the hang of the co-teaching thing. Now, your excuse dwindles. The shy smile you wear as he recites words of the love language has never faded. You have to compose yourself entirely, elsewhere, to be able to control your reaction and face him. 

“Can I use your bathroom real quick?”

“Yeah, just over there.”

“Thanks.”

As soon as the door shuts, Isaac jumps off the bed to check his hair in the mirror. In the process, your French binder falls to the ground and loses its page. The boy sighs, mutters an ‘oh shit,’ then pulls it back up to find the page again. He opens the flap and immediately finds a stash of old progress reports. You seem to keep all of your old ones in the front flap of your binder; he’s noticed you have all your chemistry reports, too. Curious, Isaac steals a peek. Despite confessing about his ‘D’ in chemistry, you’ve always cheekily refused to share your French grade. He doubts it’s that bad, but he’s never gotten you to admit it. 

He glances at the bathroom door, then checks the date on the report before scanning the grades. Guilt eats at him the longer he looks, but nosiness, then confusion keeps his eyes glued. Is he really reading that right? There’s no way you have a-

“Sorry about that,” you say, closing the door. 

Startled, he drops your binder and looks up at you. “It’s no worry.”

“What’s wrong?” You notice his change in behavior, like a young boy being caught doing something he shouldn’t be doing. 

“Nothing. Your binder fell off the bed, I was picking it up.”

“Oh. Thanks.” He smiles when you join him back on the bed. You’re not sure if you still have a right to be suspicious, or if he’s just embarrassed because he’s so shy. “So, um-”

Isaac, on the other hand, is brimming with questions. As anxious as he is that you caught him peeking, he can’t help but wonder about what he saw. You start to speak, maybe to change the subject, but he cuts you off, guilt and curiosity both winning. “You have an ‘A’ in French?”

“What?”

“You’ve had an ‘A’ since the start of the year. Why do you need me to tutor you if you already know it?”

You shut your open mouth immediately, face paling at the realization you’ve been caught. “I-... I don’t know. Your grades are better than mine.”

“By one point.”

“Two points. You have a 94. I have a 92.”

“Doesn’t explain the need for a tutor,” he argues.

You study him, choosing to base your reaction off his own. He’s smiling; seemingly happy, curious, and not at all upset. His tone implies no accusation, just confusion, and his body posture is straight, shoulders relaxed. A twinkle shines in his baby blue eyes; his level of eye contact is neither constant nor avoidant. He’s safe. 

“I, um,” you decide to tell him the truth. Or, rather, stutter out the truth. “I don’t need a French tutor.”

“So I’ve gathered.” Decisive tone, yet still friendly. Still safe. 

“I figured, since I would help you with chemistry, even though I’m not that good of a teacher, if you had to teach me something too, it would put less pressure on me to be a good teacher.”

His eyes narrow. “Okay… but why French?” He’s still a little confused on that reasoning, but doesn’t question it. He knows you’re shy. If that’s what you had to do to make it work that you could help him, he doesn’t mind. 

“I, er, well, the French provided a win-win scenario.”

“Which is?”

You shrug, body warming quickly as you near your deeply guarded secret. “I- I don’t know how to explain it.”

“Mhm, really?”

“You’re best in French,” you offer instead, on a whim.

“True,” he agrees, “though I feel that’s not the real reason, judging by your lack of eye contact.”

“I’m always bad at eye contact.”

“You’ve been getting better with me these last few weeks.”

“Yes, but…”

“I’m not going to judge, Y/N. Whatever you say, it’s safe with me. You trust me, right?”

“Of course.”

“Then how is me teaching you French a, as you call it, win-win scenario?”

Finally, you fess, “because I get to hear you speak it every time you teach me.”

Isaac’s quiet for a moment. Then, you realize it seems to have gone over his head as he says, “you hear me speak all the time in class.”

“Yeah, but… with twenty other voices mixed in, too. I like hearing just your voice. The way you know just how to sound it out perfectly, and the way your accent flourishes each sentence. Most people in class sound like they’re gurgling saltwater, but you make it sound hot, like the way French is supposed to sound.” Your mouth utters words before your brain can catch up and prevent you from embarrassment. As soon as you realize what you’ve said, a dizziness swarms your head and it feels like the temperature’s gone up ten degrees. 

Isaac is speechless in front of you. He’s first stuck on the fact that you like his voice, then on his pronunciation being described as perfect, but then he short-circuits as the word ‘hot’ falls from your lips. He doesn’t even realize when you plant your face into your binder, shocked by your own confession. 

“I’m sorry,” you apologize. It’s muffled, but he hears it enough to pull him from his trance. 

“You like my voice?” He asks, cursing himself for the stupidity of the question. It’s all he can think of to say, though, still trying to cool his own rising body temperature. 

“I shouldn’t have said all that, I didn’t mean to make you uncomfortable. I wasn’t thinking.”

“I’m not uncomfortable,” he blurts out quickly. “I’m actually quite charmed by that.”

You resist the urge to look up at him, desperate to see if he’s smiling or not. Isaac seems to have a similar thought, and tries to hook a finger under your chin to lift your head. He succeeds, but then you instantly embarrass again, and dive for the pillows, burying your face amongst them. 

“Oh no, get back here,” he jokes. You feel him before you look out to see him. His hands shake your shoulder, but when you don’t respond, he playfully starts to tickle your neck. You scrunch and try to scramble away, but he only continues. “C’mon.”

“I can’t!” The words have finally sunken into his head; the weight of them falls on your chest. 

“Oh, yes you can!” He teases more, moving pillows away from you, just for you to grab another and bury back under it. When Isaac realizes there’s no use in trying to win the pillow war, he swings a leg over yours and begins to tickle your stomach. Your shirt has begun to ride up from your movement, and temporarily, he forgets you’re classmates, not longtime best friends. “C’mon, give it up!”

“I-I can’t!” You’re running out of breath, and pillows. He pulls another away from you, then puts his hands back on your sides. Your eyes are squeezed shut, but only do you open them because of the unfamiliar feeling of him touching you. A beat skips in your heart at the sudden, unexpected realization that he’s not only touching your skin, but he’s also straddling your waist. You swallow hard. He pinches your side lightly, shocking you back into reality, and making you grab another pillow to hide your face again. Before you can grasp it, Isaac grabs your hands and pins them above your head. You pant, heart racing a mile a minute. His too, as you can hear in the moment you both grow quiet. 

“You think it’s hot when I speak French?”

“No, I think you’re hot when you speak French. There’s a difference.”

“Is there now?”

“The temperature of the room doesn’t get hot, it’s you that gets hot.”

“Oh, I see.”

“Not that you’re not always hot… I mean, sometimes, you’re more like a cute little puppy than a hot, French-speaking…” your words fade as your brain catches up, faster this time, yet still not fast enough. 

“Am I now?”

What’s done is done, you figure. Can’t take it back now, can only admit it. “Yeah.”

“Huh. So all this time, you’ve been teaching me chemistry, and I’ve been talking pointlessly while you listen and learn nothing?”

“When you word it like that, it sounds bad.” A pout graces your lips as guilt floods you. “But I have learned some things. I was struggling with direct objects, and now I’m not.”

“Ah. So I’m not totally useless?”

“Never. You wouldn’t be useless even if I knew perfect French.” Before he can reply, you continue. “I’m sorry I wasted your time. I shouldn’t have. Can you forgive me?”

“Forgive you for what? You haven’t done anything wrong.”

“I wasted your time when we could’ve been doing more chemistry.”

“Darling, too much chemistry and my brain woulda exploded. The French lessons are a nice intermission. Besides, I wouldn’t consider any time with you as time wasted.”

“Really?”

He drops your hands and they fall back down to your waist. He seems, then, to realize he’s still on top of you, and begins to climb off. “Sorry, I-”

“Don’t.”

“What?”

“Can I confess something else?”

He pauses. “Sure, anything.”

“I would’ve been okay with just tutoring you chemistry, but I was afraid I wouldn’t be able to look you in the eye long enough to do it well.”

“You’ve been doing great with the eye contact thing. I know it’s not your strong suit, but you’ve made a lot of progress these last couple weeks.”

“Thank you,” you smile. “It’s not only that.” A heartbeat passes. “I like you.”

“You like me?” His eyes narrow before he assumes only, “you like my voice.”

“No, I like you. I mean, yes, I like your voice, but I like it because I like you.”

“Like me, as in…”

“Like I have a crush on you.”

He tilts his head like a confused dog. “On me?”

“Yes.”

“Really?”

“Why do you seem so surprised?”

“I’ve never had anyone have a crush on me before,” he admits.

Now you’re confused. “What?! How?!”

“I don’t know!”

“That’s stupid. Never had anyone admit it, maybe.”

“I’d never know.”

“Well I’ve had a crush on you since the seventh grade.”

“You moved to Beacon Hills in the seventh grade.”

“Exactly.”

“And you’ve had a crush on me this whole time?”

“Very secretly.”

“Huh. Well I’ve liked you since the first day of school,” he confesses.

“I’ve liked you since orientation, so I win.”

He smiles, then shakes his head playfully. “So I sit behind you in classes for years and only finally get the courage to talk to you when I’m borderline failing chemistry, and you only get the courage to talk to me for more than one minute if you can convince me to talk half of the time that we’d be studying together.”

“Sounds about right.”

“And my portion of the talking is in French, because you think my accent is hot?”

“Your accent is always hot; your French is hot on its own.”

“Ah, I’m following now.” He chuckles, letting his fingertips grace your hips. 

“So,” you ask, “as two people with several year long mutual crushes on each other, what do we do next?”

“Well you’re the one that’s been tutoring me chemistry, love, I’m hoping you have the answer.”

You laugh, rolling your eyes playfully. “Wrong kind of chemistry, dork.” You reach your hands up to the sides of his face anyway, and pull him down for a kiss. Isaac complies immediately, setting one hand down beside you, while the other caresses your chin. Your legs hook around his waist, keeping him close until he starts to pull away, needing air. You let go, then hide your face as his own turns a rosy pink. 

“That was worth the wait,” he says, smiling, and touching a finger to his recently-kissed lips. “Êtes-vous d'accord?” 

“Shut up,” you tease, pushing him slightly. “Chemistry time.”

“We just had chemistry time. It’s French time now.”

“No, we can skip a round,” you insist, unsure you can hear anymore French fall from his lips without folding and kissing them again.

“On the contrary, I think you need to sharpen your vocabulary.”

“I think I’ll need a water break first.”

“That we can do,” he agrees. “I’ll make sure to get yours with extra ice.”

“Shush!”

[soiwj]

Pastry Present pt.2

Tasty Treat pt.1

Arlecchino x fem!baker!reader

Part 2 is heree!!! Im writing this one in broad daylight, so if i fuck up structure wise then you have the right to berate me :)

Request/Ask here

Life has been going pretty smoothly lately! Since you started working for the house of the hearth, your wallet has increasingly grown in size. Now that you have some extra mora, you get to spend it on things you want rather than only on things you need. Yet somehow, even when something is to be expensive, you always end up getting it for free, or the mora just somehow ends up in your pocket. You like to think the archons are watching over you that day, but little do you know it's a certain fatui harbinger pulling the strings.

Your relationship with the orphanage owner has increased, too. She invites you for tea in her office at times and always helps you out at your bakery whenever you need it. Yet whenever she does come over, she tends to linger, unbeknownst to you.

It's another beautiful morning as you make your way to the orphanage, box in hand, head held high, and seemingly beeming with happiness. You enter the orphanage, not needing anyone to open the door for you since you've received a key from Arlecchino. You walk to the kitchen, seeing Arlecchino setting up plates and cups. "Good morning, baker." Her sultry voice carries over to the doorframe you're standing in. "Good morning, Arlecchino!" You beam brightly as you skip to the preperation area. Arlecchino has done you a favor by carrying almost all of the boxes, leaving you to carry just one. "I carried all the boxes. Where did that one come from?" She leans against the kitchen counter after finishing setting up the plates and cups. "Oh well it's Timmy's birthday so I thought I'd make him something special," you open the box towards her so she'll see the little heart-shaped cinnamon roll.

"We have a strict meal plan here. We can't just indulge the children whenever we please." Her voice grows stern as she tenses up. Your smile falters, but you quickly recover. "I understand that, but a little treat now and then won't do any harm, right? Besides, it's a special day!" Arlecchino's brows furrow as she walks towards you, looking down at you. "Rules are rules. Consistency is important for these children," her demeanor reminds you of what everyone says about her.

You sigh, your frustration evident. "Arlecchino, I know you care about the kids, but I really think something like this is not gonna disrupt anything. Don't you think they deserve a bit of joy?" You plead with her.

Arle grasps your wrist as she pulls you closer, her frame towering over yours and her face nearing yours. Her eyes narrow as she looks at you. "You think I don't know what's best for them? I've raised and trained these children for years. Discipline and routine are what they need. Not some curdled snack." You look down at the box trying to figure out what she means. The cinnamon roll broke apart on your way to the orphanage. You put quite a lot of effort into making it, seeing it broken like this fills you with disappointment and sadness.

You see no point in arguing with her anymore since there's nothing to gift anyway. "You're right. I shouldn't have questioned your rules. My apologies." Tears fill your eyes as you start walking towards the entrance. "Wait, I didn't mean -" before she can finish the sentence, you've already stepped out of the building.

You're surprised when you get a letter in the mail. You open the envelope seeing a folded pieace of paper and... a picture? You take it out of the envelope, revealing timmy sitting in front of a plate of what looks like your frumbled cinnamon roll put together by force. Although it doesn't look like the most appetizing snack, timmy looks extremely excited in the picture. In the corner, you see a black thumb. You take the letter out of the envelope, surprised Arle did all of this for you.

The letter reads:

Dear,

I am sorry for my behavior today, I shouldn't have been so harsh on you. You are merely trying your best to make the children happy, and I do not want to seem ungrateful of that. I did not mean to upset you with how I spoke about your pastery. Your baking skills are immaculate, and I want to preface that I do not undermine it. I want to let you know that you may give the children treats from time to time, just not too much.

If you have the time this evening, I'd like to have some tea with you in my office.

Your employer friend

Arlecchino

Your mood lifts in a flash. You're thankful for such a wonderful friend. You pick up the picture as you stand, walking towards your fridge. Using a magnet, you stick the picture to the fridge and write the date on its white border.

Part 3 coming soon!!!

Im literally screaming at the lack of romance in this one what the fuck

I PROMISE ILL MAKE THE NEXT ONE REALLY GOOD!!

[bonny-kookoo]

Jungkook

𝓘𝓷𝓽𝓻𝓲𝓷𝓼𝓲𝓬 [Main Work]

You're supposed to keep him in check and integrate him into earth's society while he recovers from the aftereffects of catching a viral infection on his planet. All that, while you get to earn a pretty good monthly compensation for your efforts from the government of his and your planet.

Or more simplified: You're a paid babysitter for a 7' tall alien who's caught a virus that makes him act purely on instincts, rather than logic. Oh yeah- and he tried to eat your neighbor's pet bird. Yeah...

Tags/Warnings: Alien!Jungkook, Human!Reader, Yes I'm writing that story..., mentions of doctors visits (needles, injections, medical terms, blood), mild Angst, so much chaos, he almost eats a bird once oops, mild Angst, strangers to lovers, more TBA

Length: 4k words

A/N: THERE IS NO TAGLIST. THERE IS NO TAGLIST FOR THIS. THERE REALLY ISNT. DO NOT ASK.

-> Masterlist

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"Are you sure that's a good Idea?" Jimin asks, and you shrug, dipping your piece of bread in the sauce.

"Yeah, why not?" You say. "They're not dangerous or anything. I've met Yoongi, and he's cool. Can live alone, even!" You tell your best friend across from you, who doesn't seem convinced.

"Yoongi is different though. He's, like, recovered already." Jimin says. "You'll be getting one straight out of quarantine. I'm sorry but, are you sure you can handle that?" He worries, and you roll your eyes.

"Jimin you're acting as if he's gonna try and murder me in my sleep." You scoff, denying any of his worries. "I went to all the lessons and readings and educational stuff- I wouldn't have gotten approved if I didn't. So calm down, I got this." You chuckle.

Jimin simply shrugging, well aware he can't change your mind.

"Jungkook, no, come on." The careworker who's nametag reads 'Kim Namjoon' gently says, holding the hand of who you assume must be Jeon Jungkook-

26-year-old Vrota, straight out of quarantine, having been brought to earth for treatment earlier this year. He likes sports, has a pretty big appetite, and dislikes being left alone for too long. He used to work as a physical health coach before catching the virus on Vilia, and stayed in self-isolation for about half a year before being sent to earth to be treated in quarantine for the most severe portion of his sickness.

Now, he's deemed healthy enough to stay with a human 'caretaker'- or babysitter, how you'd call it. And to be honest, you didn't really think much about taking care of a Vrota at first, having met one by the name of Min Yoongi during your earlier days at the education center for Vilian people- and he was a pretty cool guy.

What you didn't take into thought was apparently that Vrota can look very different just like humans. So yeah.. the guy standing in front of you right now with his big brown cat-eyes and colorful tattoos isn't really comparable to the chill, rather laid back Yoongi you had met.

No.

Fuck no.

Walking into your home is a at least 7-foot tall young man of your age, simply black shirt stretching over the muscles of his biceps, jeans seeming to barely contain his thigh muscles. Jesus christ.

Maybe Jimin was right in his worries that you might end up dead at the end of this.

"So, Jungkook here doesn't have any allergies, so you don't have to worry about that. He's overall low maintenance, sleeps a lot, but when he's awake you might want to start taking him out a bit, since he get's a bit restless if he's got nothing to occupy himself with." Namjoon explains, giving you all the necessary papers in an envelops, while Jungkook walks around to explore your apartment. "Also, don't be intimidated by him. He's gone through multiple rounds of behavioral analysis, and has been deemed no threat whatsoever." He offers when he notices you watch the way the young man walks around, looking at pictures on your wall.

"So like, I guess he has to put that on when we go out?" You wonder, pointing at the simple black collar with a GPS tracking device on it.

"Yes, please. And also, keep a hold of his hand, just so he doesn't get lost." Namjoon chuckles.

"Sorry, but I don't think me holding him by his hand is gonna do much." You joke, making Namjoon chuckle.

"Ah, no-" He agrees. "-it's not to physically keep him with you. It just reassures him, in a way. He enjoys physical contact a lot." he explains.

"So- does he talk?" You wonder, watching how Jungkook looks out the windows, cat eyes jumping around at the nature and scenery outside.

"Sometimes, but barely. He understands speech fluently though. It'll take some time for him to come out of his shell, but once he's comfortable, he'll talk. The virus didn't injure his brain whatsoever, so he's expected to make a full recovery by the end of this year." Namjoon informs you, and you nod. "His scheduled appointments are in there, his current doctors are marked down as well. If you can't take him to one of those appointments, please call in advance, alright? Otherwise they'll immediately try and pick him up themselves, and that's gonna be a lot of paperwork on your side, and a lot of unnecessary stress on his." He explains further, and you nod.

"So, basically- cook him food, make sure he doesn't go missing, and take him to his doctors. Got it." You nod, making Namjoon chuckle.

"Pretty much. Like I said, he's rather low maintenance. You can occupy him with video games or movies as well- and when it comes to food, he's not picky. Doesn't like sour snacks though." He laughs, and you nod.

"No sour stuff, got it." You nod, and at that, Namjoon claps his hands together.

"Alright kook, I'm gonna leave you here then." He says, making the man in question walk closer again, nodding. "Do you like it here?" He wonders, and Jungkook shrugs, looking around-

before he nods, looking at you.

"Alright. His clothes and everything has arrived, right?" Namjoon asks, and you nod.

"All in his room." You say, making Namjoon nod.

"Don't cause too much trouble, alright?" He tells Jungkook, who nods a bit deflated, visibly a bit upset he's gonna leave now. But he doesn't show it too much, waves Namjoon goodbye until the door closes, leaving him alone with you.

"Your room is here-" You say, leading him to a small guest room where he spots his suitcases on the bed. "I didn't unpack them, cause.. privacy and stuff. So you can do that while I make something to eat?" You ask, and he nods, walking past you- and only now do you realize just how much taller he really is than you.

Jesus christ.

You break away your eyes from the sight of his broad back to instead run into your kitchen, putting away the papers and starting to cook instead to both calm yourself down- and make sure Jungkook feels comfortable too.

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It's been a few weeks- and thinks have definitely settled quite well.

You're currently sitting in the waiting room of the doctor's office- waiting to be called in, as Jungkook keeps rubbing his ear. "No, don't." You quietly scold him with a soft tone, carefully pulling his hand down by his biceps, causing him to whine under his breath in complaint.

He's been having some issues with it recently- an underlying problem that had been overlooked due to more pressing issues. An elderly woman with a young looking Vrota girl smiles at you from where she sits across, watching rather fondly how you hold Jungkook's hand in yours. Namjoon had been right- it works wonders in reassuring the young man.

And it also kept him close at your side.

"Jeon Jungkook?" Is called by a nurse, and you follow her into one of the examination rooms, where Jungkook sits down on the bed, while you took a seat close by on a chair. It's routine to you both by now, after all. "Ah, there. Hello!" The doctor offers, bowing politely before he sits down across from you behind his table. "So- apparently he's got some trouble with his ear?" He wonders, and you nod.

"He's been pretty frustrated with it for some days now. Keeps rubbing it, and he doesn't like it being touched either." You inform the man, who nods and writes some stuff down in his computer with the help of his keyboard.

"Hm yeah, that looks pretty sore." The man says as he inspects Jungkook's ear further, his tail whipping around as he tries to stay composed.

Unbeknownst to you, he only really does it to impress you.

As soon as the doctor is done, Jungkook get's up to walk closer to where you sit, hand curiously playing with the shoulder strap of your top while the doctor explains what medication Jungkook will have to take. Touches like this aren't unusual- Namjoon had been right, after all. The Vrota standing next to you is very touchy, enjoying you close and seemingly seeking you whenever he can. From sitting on the couch so closely next to each other that your legs are touching, to snoozing during a nap with his full upper body on your thighs.

It's what happens later when you're back home, as you're scrolling around on your phone, while he purrs in his sleep on your thighs. He's full on hugging your middle, arms around you keeping you close while the tip of his tail moves a little as he dreams. He really is currently like a big cat in a humanoid body- and you wonder if it's still the aftereffects of his virus, or if he's always like this in general.

Almost as if on pure instinct, one of your hands falls into his slightly curly hair, nails running over his scalp, and at that, his almost unnoticeable purr turns into vibrant rumbling in his chest. His arms wrap a bit tighter around your body as he adjusts his position, a soft smile on his face as he buries his nose in the front of your t-shirt. In this moment, you have to think about Jimin, and his big worries.

What a load of bullshit, you think to yourself, as you watch the happy cat-boy-alien snuggle just a little closer to you.

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Scratch that. Scratch all of that. This young man is a menace, and you'll surely go to jail for not looking after him by the end of this entire situation.

"Jungkook…" You say, at a stand-off with the big cat-like alien across from you who stares you down with his stupidly cute big round eyes as if he's not doing anything wrong. "Where is pudgy?" You ask, and at that he fully turns around, squirming bird in his hand. "Jungkook, no, no no no-!" You dramatically call out, hands reaching for him- when he looks at the bird, then at you. "Give him to me, yeah?" you try, and he seems completely taken aback for a moment, and almost- shy?

Unbeknownst to you, he thinks you want the bird for something entirely different. In his mind, you're not asking for the bird itself- you're asking for him to offer it for you.

You want him to… court you?

He seems to deeply think for a good moment as he watches the bird breathe heavily, it's life probably flashing before it's very eyes before Jungkook brightly grins, sharp canine teeth making his happy grin look more dangerous than it probably is.

You don't know why he's suddenly so chipper, tail held high and eyes sparkling.

Suddenly, he holds the bird out to you like he's offering it rather than returning it- and you carefully take the poor thing from his rough hold, accepting it. It's something that makes the tip of his tail snap upwards in excitement, eyes scanning you for every reaction as you walk back.

"I'll be… right back.." You carefully tell Jungkook, who shrugs. "Do not do anything while I'm gone." You warn, before you dash out the front door to return the pet yet again, violently knocking on your neighbor's door.

"What?!" Seokjin yells almost, when you hold out his bird to him. "Pudgy!"

"Yeah, fuck your bird Jin!" You yell at the young man. "Jungkook almost fucking ate him, keep the thing in his cage for god's sake! Do you know how much trouble I would've been in if he actually ate him? I'm not ensured for accidental pet-ingestion!" You complain, making the man laugh a little.

"I'll keep the windows closed from now on." He reassures you, and you nod, pinching the bridge of your nose as you make your way back downstairs into your apartment-

where a not so happy Jungkook waits, arms crossed and tail whipping angrily from side to side behind him, knocking down some papers on the kitchen table. He's clearly unhappy, growling a little with every breath, eyes sharp and glaring at you dangerously.

"What happened?" You wonder, and Jungkook himself wants to just yell at you.

You're so stupid, he thinks to himself.

Why would you insult him like that? He caught that bird, and you wanted it- so he offered it, thinking you finally understood his intentions at this point- but no. Instead you insult him by giving HIS offering to that stupid human man upstairs, as if to mock him!

Do you want something more impressive? Maybe a tiny bird isn't enough to win you over. But on earth, there's not much prey to hunt- and considering he's a little bound to the interior of your apartment, he doesn't have any other options, really. And even if he was to catch something better- like the deer he'd almost caught if it wasn't for you scolding him for it- you still don't seem to like that at all. He doesn't know what else he could do to impress you.

What the hell do human woman want?!

Maybe he just really chose to court the most stupid and ungrateful human he could find- but he'll make sure you understand his intentions soon enough, and he'll teach you proper manners as well, once he's better. Right now, he's still unable to really do much in his state- but once he recovers a little more, he'll make sure.

He'll make sure you know exactly what he wants from you.

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It's been a few months, and Jungkook has started to find his voice again, it seems like.

He hums a lot when doing household tasks, sings to himself while he folds laundry, throws random half-sentences at you here and there whenever he feels like doing so. And all of that is fine and dandy- if it wasn't for that very specific nickname he's come up with for you. You try to tell yourself that he just doesn't know any better, that he's just overly friendly, that there's no way he'd be using it for those specific reasons. It doesn't help that he's horribly attractive, and nice, and, ugh.

This is getting more complicated than you hoped it would.

"Kitty!" He chirps, as he leans over the couch, and holds something out to you. You can't help but flinch a bit internally at the way he says that nickname. You're guessing it came from when he'd asked what those cat-plushies in your bed had been called, and you had answered Hello Kitty to him. He'd laughed, pointed at the toy, and then pointed at your cheeks, poking them.

Ever since then, you'd been stuck with that name in his head, it seems like.

You eat from his fingers as he puts the piece of meat on your tongue, an odd, focused gaze on the action found in his eyes as he licks his own lips the same way you do yours. "It's good!" You praise, and he grins brightly, eagerly running back into your kitchen to finish whatever he's cooking. He's been becoming a lot more independent- and it makes you a little sad, considering that once he's deemed healthy enough, he'll leave you behind, move back to his planet one day, and forget you even existed.

A little bit of a bummer, really. But at the same time, there's nothing you can do about it. You don't feel good about asking him out- because what if he feels obligated to say yes?

It's like he senses the slight shift in your mood, slowly walking back up to the couch again where you sit, sitting down next to you on the couch, knees digging into the soft cushions while he curiously watches you with a tilted head. "Huh?" You wonder, smiling- but he frowns, shakes his head.

"What?" He asks. "Sad?" He questions, and you shrug, shaking your head.

"No no, don't worry." You shake it off. "Are you done cooking? Turned everything off?" You ask him, and he nods, but doesn't let off from his question it seems. He opens his arms, makes a grabbing motion with his hands, and you laugh. "You want a hug?" You giggle, but he shakes his head.

"No, you." He argues gently, urging you once more. "You, hug. Sad." He explains, and you laugh.

"Jungkook, I'm not sad." You say, and suddenly, his hands flop down, a frustrated look on his face.

"Don't want?" He hufffs. "Hug me?" He complains, and you look at him with questioning eyes.

"I do wanna hug you, kook." You say, and he perks up at the nickname used. "Just- you don't have to do that just cause I'm like, not feeling happy." You explain to him. "I'm here to take care of you, after all, not the other way around." You laugh, and he watches you a bit more serious right now.

"Right." He suddenly says with a flat tone. "You.. hm, get paid." He says more or less to himself. "For me." He finishes his sentence, sitting properly on the couch now, feet on the floor, arms crossed.

"I mean.. yeah." You say, carefully. "You're gonna leave as soon as you're good to go, you know that." You say. "Would be kinda weird to start like, a friendship or stuff when your stay is limited down the line. I just wanna look out for you- and myself too. Save us the hurt later on." You shrug, and at that, a lightbulb seems to blink out of nowhere over his head, as he looks at you.

"So you? Like me?" He asks, and you stammer an answer.

"Uh, no- like, yeah as a guy you're pretty cool but like I said-" You scramble for an explanation, but he just crawls back on the couch, over you, until he's got you practically pinned down beneath him.

"You like.. me." He says, as if it's a fact- and yeah, it is one. But it shouldn't be. "I like you." He offers. "I.. tried, hm.. Im-pressive- impress you!" He seems to think hard to make his words make sense, brain still a bit slow most of the time when he tries to talk. It shows by the way he still stutters, gets stuck on syllables or by the way his brows scrunch together in thought. "But you- dumb!" He scolds, pointing at your head.

"What the fuck- I'm not dumb!" You complain, and he laughs, sharp canine teeth showing.

"Yes!" He argues, though he seems to not mean it badly. "Really dumb!" He continues.

"Well at least I don't try to eat the local animal population!" You argue.

"But- offer!" He argues, tail puffed up and swaying around. "I need.. to impress! Hunt!" He complains.

"For what?" You laugh.

"You!" He whines loudly. "Mate, make mate- impress mate! You, so you- argh!" He growls out, and you can't help but laugh.

"Jungkook." You softly say, and he looks at you with a face looking like you just told him he has to sleep on the balcony outside. "You don't have to do that, you know? Just cause I take care of you, doesn't mean you.. have to like, be nice like that." You say, and at that, he huffs angrily to himself, tail all fluffy as the fur stands out to all ends in his growing frustration, his arms crossed.

"No.!" He argues. "Stupid!" He curses, getting up to walk into his bedroom, before he emerges back out with some papers in his hand, and red ears as he slaps them on the couch, fleeing the scene right after before slamming the door shut, and locking the door.

And on your couch are two papers, one of them having writing on both sides- the handwriting sloppy and crooked, but readable. And while some sentences don't make sense, it seems like he's tried to take his time and write down what he can't say, at the moment.

'Kitty is stupid' is written on top of the first paper, and you scoff to yourself. 'Kitty doesn't get it.' it reads further.

'I want cry. I catch her prey, I offer it, and she give away to man downstairs. Man downstairs can't even hunt at all, keeps stupid bird in a cage but doesn't ever eat it. Who keeps food alive in home? Why she likes him I don't know- he stupid, just like her. But I like her. Maybe I can teach her one day. But what if she hunt for her then? No, I want to do that.'

'I want to show that I can be good partner. I learned to cook with human foods! She likes food, likes eating. I like eating too, so we eat together often. Then we hug, and she scratches my head. I like that. She's warm.'

'Maybe she doesn't like me. Doesn't like my kind. Doesn't want my kind. Or me. Just me? Maybe just me. I'm the problem. She doesn't want me.'

You turn the page around. It's written with a different pen- probably written on a different day.

'She likes me. I know she do.'

'I made nest for her, today, and she smiled. Smiled happy, cute, like kitty-toys on her bed. Has cheeks round just like them. Soft, too. She is soft. Body soft. I like holding her often. I like holding her in nest I made. And she hugged me, too. Let me hold her instead. Normal, she hold me. But this time, I hold her. I want to hold her more from now. She can be held anytime she want. She smells nice too. Smells best when happy, and after shower.'

You chuckle as you remember that day. It had been raining, you'd gotten caught up in it on the way home from grocery shopping, and after putting all things away and showering, Jungkook had waited on the couch for you, blankets from his bed placed on it, his hand inviting you to sleep there with him. And you had simply accepted the offer-

After all, you didn't know what exactly he'd been trying to offer you with those pillows and blankets placed there. You were educated on his physical health and general behavior- not about courting rituals and how to spot if the Vrota you've been taking care of has developed a romantic interest in you. Why the hell would they teach that anyways? It's not like they are known to have a huge interest in humans.

If anything, they're typically looking down on humans.

You move the paper, and turn to the last one. There's not much written on it, but the sentences are clearer, showing how his health had started to increase again, brain starting to work better these days. They're not perfect, there's a lot scribbled out, but it's clear that it must've been written recently.

'I don't know if she enjoy my company as much as I do her. I know she gain money from taking care of me, but it feels like she also doing it because she care about me. Will she abandon me once I am healthy? Will she leave me once I recover? Will I forget her if I go back home? What if home is here now and not where home was? I don't want to go home anymore if she not there.'

'It's not home if she's not there. It's just a house, just a planet, just a place. But I want home. I want to be her home. I want us to be each other home.'

Can you even be a home? You haven't at all planned any further than up until he's healthy enough to go back home. You've got no clue what to really do after he leaves- so what the hell are you supposed to do now? A relationship with him would be perfectly legal, sure, but he's also only got a Visa for his earth-stay up until he's healthy enough to return to his home planet, once they've gotten their whole pandemic situation back under control. You don't know what to do now.

Maybe you really are stupid, like he says.

So you decide to be even more stupid, as you take a small post it note from your kitchen, and write down a single sentence, before you slide the little note under his bedroom door.

And as he reads it, his eyes become wide, while his fingers clench the pastel pink paper.

'I want to be your home, too.'

[spider-man-199999]

Paris to Tokyo

pairing: college!Peter Parker x Reader: 18+; academic rivals to lovers

word count: 5K

warnings: smut; slight angst; unpotected sex

summary: You start your new life at college, expecting it to be the most exciting time of your life, only to be met with Peter Parker, who decided to dedicate his free time to making your life a living hell

a/n: I've been dying to write an enemies to lovers type of fic, it's also my first time writing anything with suggestive content in it, so bear with me please. The heading is the most random thing I could come up with I'm sorry

College was the place you were looking forward to the most since you graduated high school. It was supposed to be a place where you met people with similar interest, went out with them to have fun and engage in intellectual converstaions. And it was exactly like that, for the most part. Growing up as a natuarally intelligent kid had you been putting little to no effort in school and always got you good grades. This quickly escalated into you trying a bit harder with each test and striving for more academic validation. At some point you even managed to become the best student in your class. But sitting hours on end on a desk and studying was still something very foreign to you. Sure, you would revise from time to time on topics that were harder to remember or things you couldn't recall from class, but it never went further than that. And maybe a degree in Biophysic was not the wisest idea given that backgroung. So, when college came around and you started the new classes on topics your common knowledge could barely help you keep up with, things went downhill very fast. For the first time you were faced with faliure, hard work and putting hours on end to study. It felt like everyone around you was more knowledgeable, more prepared, more educated on literally any topic that was discussed in and outside of class. Being at the bottom of the academic foodchain was mildy infuriating, to say the least.

And after the first few months of sleepless nights, filling up all of the holes so you could catch up to speed, you finally did it, and it felt more rewarding than anything else. This assisted you into making casual conversations with so many people from your different classes, one of them even inviting you to a study group that had been going on for months. You happily agreed to that idea, thinking it would be the best way to keep up with everyone in the class, not only academically but socically as well.

The day of the study group finally arrived on what seemed like the most normal, yet the most exciting Tuesday. They added you to a groupchat, everyone texting back and forth until all of you had agreed to go grab a coffee before heading to the library. You had tried your best to look presentable for this study date, putting on some white wide-leg dress pants and a neat navy blue t-shit that hugged your body very well. You hair was in a sleek bun, having a white buttonup because the weather was slightly chilly. Almost everyone had arrived there on time, which took you by surprise since you were used to being the only one being on time. After the cheerful greeting and formally learning everyone's names, you went inside and grabbed a coffee, returning to them promptly. You stood by the door, since the group had formed a circle around the entrance of the small shop.

"Was I the last one?" You asked concerned, looking around and counting the people.

"Actually, we're waiting for Peter" Someone said, everyone giggling softly and shaking their head.

"Who's Peter?" You asked, and as soon as you did, you felt something push againt your shoulder, sending you a step forward so you wouldn't come crashing down from losing your balance.

"I'M SO SORRY" you heard from behind you, turning around to see a boy with a worried expression on his face, paper cup in his hand. He was handsome, hair pushed back, warm eyes and nervous smile, leather jacked over a black t-shirt.

"That's Peter" someone stated, pulling you out of your trance. Peter chuckled, moving past you and motioning for everyone to go, since he was the one you all had been waiting for.

On the walk there you kept staring at the back of Peter's head, annoyed that he pushed you with the door, frusrated because he didn't even bother to introduce himself to you. Not that he really had to, you already knew well enough who he was. The guy who always came in rushing because he was late, somehow still managed to sit directly in front of you, blocking your view, no matter where you sat. He was the guy that would beat you to every question, the one who would always have the best grade on the tests. He leaned way too back in his seat, back pressed to your desk, pushing it, as you would try to keep up with writing everything down. And he would always ask you for a pen, every single time.

The study room was spacious and bright, it had a big round table for everyone to sit at, as well as two whiteboards and plenty or outlests for chargers and what not. It looked like the perfect place to study with a large group, excluding the fact Peter was there as well. You all took random seats around the table, Parker sitting across from you, almost as if it were on purpose. You held back an eye roll when he smiled at you cockily, making you look away and take out your laptop and notebook from your bag. The screen managed to block out most of Peter's face if you sink into your seat low enough. The conversation in the room flowed naturally, it was so interesting and engaging and you were having a blast speaking to these people. Soon enough all of you had solved the first homework questions, you quickly grabbing a pen and writing it down in your notebook. As you were in the middle of writing, an outside force closed your laptop. Your eyes looked at the laptop, seeing a pale male hand, fingers spread. You stared at it for a few seconds, noticing how pretty the hand actually was, long and straight fingers, follwed by a slim wrist and a muscular forearm. Your gaze trailed the hand up to Peter's face, looking into his eyes with annoyance already.

"Hey, do you-" before he even managed to finished his sentence, you had taken out a pen from your pencil case and placed it on your laptop, next to his hand.

"Thank you" he muttered, you not even looking back at him. This routine, as much as it was annoying, gave you some kind of comfort as well.

"How come you never have a pen with you?" You asked after a while, your curiosity getting the better of you.

"Oh, well actually I do have one, it's easier to just use yours"

''Unbelieveble"

"Come on, like you would ever need a second pen for anything"

You hovered over the table and grabbed the pen from his hand in a swift motion, he looked a bit taken a back, as well as the few people following your interaction.

"Actually, I need it now" you said, putting the one you were using away and continuing your writing with the one you just got back from him.

"You're being unbelieveble now" He said slightly irritated, reaching to get his won pen from his backpack.

"The two of you, cut it out, you're acting like children!" someone shushed you, making you blush when you realised it wasn't just you and the curly-haired boy in the room.

You gulped softly, mummbling a sorry to everyone as you kept writing down.

"Us cut it out? She was the one acting like a child, making a big deal out of a pen!" Peter whined and complained, starting to write down things in his notebook after he got a few angry glares from other people.

Around the time the group got to the third and final question for the homework you were feeling confident enough to try to contribute to the assignment.

"So you're basically saying that principle of hemodialysis is the same as other methods of dialysis - it involves diffusion of solutes across a semipermeable membrane?" you asked, as you were brainstorming through the question.

"Oh come on, y/n, this is the easiest question so far!'' Peter said, leaning froward, his arms crossed in front of his chest. Ever since the pen situation, he's been worse than ever before, taking every opportunity to show of how much smarter he was, followed by a cocky smirk.

"Intermittent dialysis therapy is used in chronic uremia to re-establish body water solute concentrations that cannot be achieved by the natural organ. In this sense, the dialyzer becomes an artificial kidney and it is through the transport of substances by this device that chemical and biophysical control consistent with continued survival is achieved." He explained, solving the question for you.

"She had it figured out, you could have let her be" Someone you didn't remember the name of said to him, making Peter's head turn in that direction.

"She obviously didn't, keep in mind her highest grade is my lowest" He snapped back.

You could feel the tension in the atmosphere thicken with each second, things were about to escalate very quickly. His words stung a bit and you felt something like a ball stuck in your throat after he said them. He didn't know how much work you had put in and he was incosiderate enough to just assume the worst of you. Before things managed to get any further, or worse, out of control, you slammed your thick notebook shut.

"Since Peter was kind enough to solve the last question, I think I'm going to call it a night" you said, fighting back the tears. Your voice gave you away as it wa slightly shaky, earning a few sympatheric looks.

You shoved your things in the bag as quickly as you as possible and walked out, trying to get as far away as possible. You were trying not to break down the whole walk back to your dorm, bitting your lip, brushing away some stray tears that ran down your cheeks with your sleeve. You were mentally blaming yourself for everything, for not walking fast enough, for not knowing enough, for deciding to join the study group, for even deciding on this degree to begin with. By the time you made it to your room, your phone was already blown up by text messages from Natalie, the person who originally invited you. She was a small blonde, blue-eyed beauty that was just as smart as she was pretty. You could bet on your own life that she was class president and the prom queen in high school. She was more than kind to you this whole time and her text messages suggested that she was worried about you too. With a quick click you deleted all the messages from your notification centre and threw the phone on your bed, followed by your bag. Hot tears ran down your face, breathing heavily as you were preactically sobbing at this point. You sat down on the floor, not being able to hold in the frustrstion anymore as you finally broke down, letting all of the shame, pain and anger flow out of your system through your tears.

A couple of hours had gone by, your tears were dried up on your face and neck as you lay on the floor and stared at the ceiling. Your phone kept buzzing from time to time and you finally gathered the emotional strenght to reply to the messages. Sitting on the bed, you unlocked the device and scrolled through the unred chats. The groupchat had sent the written solutions for the questions. Natalie had probably sent you 20 messages apologising and asking if you were okay. The guy who defended you had also sent you a message. His name was Brad and he looked like any normal person did. You texted him first, thanking him for standing up for you even though he did not need to do that. After him it was Natalie, who called you immediately after you hit send to reply to her first message. You picked up hesitantly, since you knew your voice was definitely going to sound like you had been crying.

"I am so sorry for everything! If I knew you and Peter were on bad terms I wouldn't have done this to you" She immediately spat out

"It's okay, I we aren't on bad terms, well... weren't"

"Have you been crying?"

"No..."

"I'm really sorry! I spoke to him after the whole thing, he's usually nothing like this! He himself couldn't explain why he acted like this"

"Nat, I really, really don't care"

"He said he wanted to make it up to you! He asked me himself for your number and your dorm room!"

"Please tell me you didn't give him any of that information"

"Well..."

"Oh my god now he knows where I live" you whined, bringing your knees up to your chest and hugging them.

"He wanted to apologise! He looked very sincere and worried"

"Yes, all the psychopaths do, that's why they're so hard to recognize!"

"I'm sure he wouldn't just show up at your door trying to make amends, you'll be fine, plus he's a really cool dude, give him a chance to prove he's not an asshole"

"He had his chance, it was today"

After you two said your goodbyes and hung up, you deicided it was finally time to take a relaxing shower. As you walked out, you heard a knock on your door. Still wrapped in a towel, one hand holding it in place, you opened the door to a Peter Parker, leaning on the doorframe. You blinked a few times rapidly, trying to process what you were seeing.

"Why are you here?" You asked, after carefully calculating your tone and your words

"You weren't picking up your phone" he replied, trying to step a foot inside. You blocked his action with the door.

"I didn't say you could come in"

"Can I come in then?"

"No, good night Parker" With that you tried closing the door on him but he grabbed it, not letting you close it.

"Look, I'm here to apologise for what I said earlier. You don't have to forgive me"

"And I don't, go Peter"

He looked shatter at your words looking into his brown eyes, you almost felt sympathy for him, like he really did feel sorry about what he did. Despite that, you kept your composure, looking at him with all the resentmet you had for him, a sigh leaving his lips as he let go of the door. He didn't need superpowers to know he fucked up, so he left. And you on the other hand, were more devistated than before, but your ego was bruised and your self-esteem ruined. The only person, no matter how annoying, you didn't want to think less of you, thought less of you. Yes, it was good that he wanted to apologise but this was not going to undo his words and the image he obviously had. You didn't even know if the apology really was his idea or was forced on him by the others in the group. You shook you head, dismissing the thoughts as you got ready to sleep. Sleep always helped with heavy emotions and you hoped you would feel better in the morning.

A few weeks went by and you still refused to forgive Peter for what he said. In your heart, you knew he was really sorry at this point but you enjoyed his suffering as you roasted him slowly on low heat. He tried all the cliché ways, buying flowers, chocolates, stuffed animals, buying you coffee before every study date. Your neighbours were convinced that the two of you were dating and would always ask about him when you gathered in one of the rooms to eat together or drink. You denied that but they rolled their eyes and never believed. In the mean time Brad tried to get closer to you, even inviting you on a date. You accepted hesitantly, since your heart seemed to be someplace else, liking all of the effort and attention from Parker more than it should. You told Natalie about the date, the two of you had become very close, spending a lot of time together, which often resulted in Brad and Peter tagging along. To say the boys were not getting along would be an understatement. Eyes throwing daggers at each other with every glance, snarky, rude comments were exchanged back and forth. But when you told the pretty blonde about Brad, she was more than excited about it finally happening . She would go on and on about how she knew he liked you ever since the first study session you had together and how he had a very heated fight with Peter after you left. You were grateful for him and what he did, and somehow it still felt wrong to be going out with him.

The night of the date had arrived and you were almost ready, putting in your earrings as you heard a knock on your door. You took a quick look in the full lenght mirror, fixing the long black dress you were wearing. It had a long slit on the left side, exposing your leg, no sleeves and a turtle neck. You had tied your hair in a ponytail, so your light make up would be more visible in the muffled evening lights of wherever he was planning to take you. You opened the door, still not wearing your chunky leather boots but just stockings.

"I thought we were going to meet in front of the library" you said as you opened the door but to your sursprise, someone else was standing there.

"You're not going on that date" Peter said firmly, almost as a command

"You're the last person that's going to tell me what to do" You snapped back at him "Why are you here Parker?"

He walked inside, closing the door behind himself. Peter seemed slightly distressed, looking you up and down with a dark expression.

"Do you really hate me that much?" he asked, leaning his back against the door, his arms behind him as he looked down at his feet. "Or do you just want to hurt me by going out with the guy I like least? Like really? All the guys are in your feet and you decide to go out with Brad, and look as gorgeous as this."

You could hear the annoyance and sadness in his voice, a bit taken a back from all of the things he just said to you. He just loved doing that, didn't he? Saying the most obnoxious things to make you feel bad about yourself.

"Wait, what?" was all you managed to say, taking a few steps back until your butt pressed agains your desk, making you stop. Books and make up palletes were scattred on it. Peter looked up at you, smiling weakly.

"I've liked you, this whole time" he confessed, staring directly into your eyes "Please, don't go on that date"

"Make me" you said faintly, surprised by how you almost whispered it. There was no way he could have heard that. But somehow he did, taking a few rapid steps towards and wrapping an arm around your waist.

"I'll make you forget everyone else but me" he whispered in your ear.

Feeling his hot breath near your face made your heart beat faster, one of your hands resting against his upper arm, looking up into his eyes. You were having a hard time processing what was actually happening, a sudden fear it was one of his games to make fun of you. You tried pushing him away after the realization, but his grip on your waist tightened.

"I'm serious, y/n" he said "I've liked you since I saw you, and I would make everyone sit away from you so I could be near, I would ask you for a pen so I could talk to you. And I tried to show off because I wanted to impress you, I wanted you to think I'm smarter so you could ask me for help in class."

For some reason you believed him, nodding lightly to let him know that. He lifted you up with one arm, sitting you on top of the desk. You were having a hard time vocalizing what you were feeling but you didn't want him to feel awkward because of your silence. Your arms wrapped around his neck, his hand falling on your exposed leg. You looked down at where his hand was, your skin burning with desire to be touched by him more. Your eyes met his again, his filled with hopefullness and lust. He got closer, titling his head to the side and he kissed you softly and sweetly. You returned the kiss, hands cupping his face and bringing him closer to you. Peter deepened the kiss, turning it in a heated make out session as one of his hands romed around your leg, going up your dress so he could touch more of you and the other one placed on the small of your back, pulling you closer to him. You spread your legs, pulling him by the belt so he could position himself between them, your hands going to his hair and playing with his messy curls as your lips and tongues danced against each other. After what seemed like a forever of heated, hungry kisses and filty touching, you broke the kiss so you could catch your breath. You panted havily, chest rising up and down rapidly. Peter pressed his forehead against yours, both of you closing your eyes to collect yourselves.

"Should I at lest text Brad and tell him I'm not going?"

"Well, there goes my hard on"

You hit his chest lightly, both of you giggling at his stupid joke. He looked around, noticing your phone that was charging on the bed, moving away from you to grab it and hand it to you. You unlocked the phone trying to find your chat with Brad while Peter found his previous position, viciously attacking your jaw and neck with kisses. You tried your best to be concentrated and write a normal message, but made a few spelling mistakes nonetheless. Peter nibbled on your neck, which earned him a slight flinch from your side.

“Peter, please, we’re not 16, no hikeys”

He ignored your words, continuing his act the way he had planned it, kissing, licking and sucking on your soft skin while you begged him to stop. His hands were all over your body once again, touching everything that was exposed to him, one hand travelling further up your leg than before, almost landing on your ass but hesitantly stopping. You noticed his uncertainly, pressing your cheek against his so you could whisper in his ear.

“Don’t stop now, Peter” you breathed in his ear, your own hands exploring his body.

He didn’t waste a second after that, grabbing your butt in his hand and pressing his lips against yours. Your hands moved under his shirt, touching his toned stomach. Your were quite shocked to what your fingertips were pressed up against, not expecting him to be as muscular as he actually was. You knew he worked out because you had seen his toned arms in a t-shirt too many times for your own good, but you were definitely not expecting that. Hands quickly slipped him out of his jacket, reaching to pull up his shirt in the heat of the moment but he stopped you, moving slightly away. Your lipstick was smudged all over his mouth and it made you giggle.

“Are you sure you want to do this?” He asked you, his hands finding their way back to your waist. You nodded, undeniably longing for him and his touch, his presence.

“Good, because if we keep this up any longer, I probably won’t be able to hold back” Peter muttered, removing his shirt and tossing it on the floor before he pulled you in again, kissing you.

You took that as a signal that you had to get undressed as well, reaching for the hem of your dress pulling it up. He grabbed your hands when he noticed the act, stopping you from doing what you had planned so he could do it himself. Suddenly you felt the cold air from the room against your skin, along with Peter's warm hands, making you shiver. You undid his belt, helping him pull his pants down, breaking your kiss in the process. You laughed soflty at how he was jumping on one leg while he was trying to kick his pants off, shaking your head.

"What?" He asked

"Nothing, nothing, I'm really missing a date right now for you jumping on one leg to get out of your pants" you bursted out laughing, him joining you shortly after.

"No, it's going to get so much better, trust me" He stated, grabbing you and lifting you up, throwing you on the bed. You squeaked softly from his actions, not expecting it. Soon enough he had your hands pinned down with his, hovering over you. A soft gulp at the sight from you made him chuckle, kissing on your neck once again. He had already left a mark there, starting to suck on a second spot next it.

"Peter really! It's going to be so hard to cover them up" you whined, secretly enjoying his lips and teeth on your skin like this.

He looked at your face, smiling viciously at you.

"I just want people to know you had a good time"

"Yeah, with Brad? I was suppsed to be on a date with him" you teased him, chuckling softly. His expression changed suddenly, he seemed almost angry. His hands let go of your wrists, travelling down your skin as he reached the hem of your panties. His fingers played with the hem of them before slipping in under the thin fabric, the middle finger going between your folds. He could feel how wet you actually were, making him smirk with that cocky smile he had, looking into your eyes. You were holding back a small moan from his touch, looking at his pretty face.

"Can Brad make you this wet baby?" He asked.

You shook your head no, keeping eye contact with him. His middle finger started moving up and down tesing your clit before entering you slowly. This time you couldn't hold back and you moaned, closing your eyes. His smile remained present as he insedted a second finger inside of you, starting to move his hand teasingly slow. Your body squirming underneath him, he buried his face in the crook of your neck, rocking his hips against your leg while he fingered you. You could feel his erection through his boxers, making you even more needy than you already were.

"Parker" you moaned out softly, remembering your hands were actually free and you could move them, immediately attaching to his shoulders, which was the closest body part besides his head. He looked up at you after you called out for him, grabbing your face with his hand and kissing you.

"Peter" you moaned again against his lips, feeling his skin shiver from that. I never considered what effect you actually had on him. "Please, I want to feel you."

After you begged him, he wasted no time pulling your panties down, unressing himself as well. His arms spread your legs forcefully, positioning himself between them. You didn't really manage to follow everything he was doing because you were too eager yourself, pushing up against him in hopes to speed up the process. He pinned you down by the waist, shaking his head in disapproval at your actions. Peter didn't like it when you disobeyed him, even though it was the only thing you were good at doing. He lined himself up to you, teasing you lightly with his tip as a warning before he inserter himself inside, both of you moaning from the act. You felt something like actual electricity when he did that, making you breath heavy from the ecstacy. His hips moved rythmically, along with yours. He was still holding you by the waist, standing on his knees while he fucked into you. You moved your leg up on his shoulder, making him smile and kiss it, one of his hands running up and down it while both of you looked into echother's eyes. You enjoyed the view, so much, his naked toned body, his messy hair, that gorgeous face, your leg on his shoulder while he moved. It was hypnotysing, breathtaking, made your legs shake alone. He could feel you tighthen up around him, making him laugh softly.

"So soon?" he asked, noticing how you started squrming more than in the beginning, legs shaking from time to time, moans becoming more freaquent

"Peter, I'm really close" you managed to say, hands gripping on the sheets around you. His grip on your waist taightened as he went faster and deeper, making you whines more prominent than before. You walls started clenching around him, feeling yourself already starting to cum on him. He placed a hand on your lower stomach, applying slight pressure on it which really sent you over the edge, whole body shaking, heavy breathing and moaning uncontrolablly. He had to hold you down while you came, leaning forward and pecking your lips after you calmed down.

"I need a moment too" he whispered against your lips "Can you handle it for me?"

You nodded, letting him continue rocking his hips into you. You were covered in sweat and so was he, bodies pressed against eachother as he moaned softly in your ear, your legs wrapped around his waist to stop the shaking from the overstimulation.

"Peter" you mumbled against his ear ''I think you're really hot... like, way hotter than I expected''

"Fuck" he replied, pulling out of you and stroking his lenght a few times before he came on your stomach, both of you panting. He lay down next to you for a second, kissing your forehead and hugging you.

"You did so well" he praised you, starting to leave small butterfly kisses all over your face. You laughed softly, cuddling into him.

"We should go take a shower"

"Are you suggesting a second round in your shower?"

"No! Well... maybe, okay, yes"

He laughed at your reply, shaking his head.

[maxwellatoms]

Would you trust ANY Korean studio for hand-drawn animation today? I ask because, when The Powerpuff Girls came back in 2016, I noticed how slow and stiff the Korean animation was. Since then, most Burbank cartoons animated in Korea, namely Cartoon Network shows, have been like that — mostly on 2s & with less inbetweening. Look at any Digital eMation episode of Victor and Valentino or Samurai Jack Season 5; do they animate as loosely and smoothly as Digital eMation episodes of Billy & Mandy do?

Sure I would. It would all depend on the studio and the circumstances. There are good studios and bad studios, and either of those will treat your show differently based on their perception of how valuable it is to their client. In the early 2000s Rough Draft was a top-notch studio. One of the reasons I switched over to eMation from Rough Draft was that I felt like Rough Draft was putting all of its resources into making Samurai Jack look beautiful, and we were still calling retakes on three year old issues. I knew we weren't a priority to Rough Draft, and I knew that stemmed from Cartoon Network's negotiations with them, so my griping was only going to get us so far. It seemed to me that I needed a studio that was smaller and scrappier like we were. We were putting in a lot of work on our end to make cool stuff and it wasn't ending up on the screen, so we needed people who were just as hungry on the back-end, and eMation stepped up.

There's also the fact, though, that animation itself has changed a lot in the last fifteen years. Powerpuff Girls and Samurai Jack's animation always seemed to have an air of "motion comics" to it. And frankly, that's part of what I love about it. It was all a throwback to the old UPA cartoons, which were built on strong, clear poses and made for the cost equivalent of a turkey dinner. Likewise, CN storyboard artists usually had around four weeks to write and draw their boards on paper, so there just wasn't time to take the effort to do anything too complex. It was all about snapping between those 300-ish storyboard drawings and momentarily savoring them for their humor and design mastery. Now we have tons of digital tools that make the basics of animation a lot more accessible to everyone, and have changed the entire studio pipeline. Things just won't look like they used to because nobody makes them that way anymore.

When I've had to choose an overseas animation studio, the network's production arm usually gives me one or three choices and tells me that's all there is. Deals have already been made. (Sometimes they make you pick two to save on costs, which (IMO) usually results in two studios that are less functional than any one of them would have been.) The studios usually have reels, so that gives you a basic idea of what they can do. You can (hopefully) find some other show creators who have worked with the studios and get an honest review. It's an important enough decision that it's worth whatever research you can put into it. Even over good bones, an ill-fitting skin can ruin the mood.

The most important thing to remember, I think, is that it's your job and your crew's job to make animating the show as easy as possible. Really, it's everyone's job to make the next person in line's job as simple as they can. Ideally, there shouldn't be a lot of questions because the materials you sent down the chain are clear.

So... yeah. I'd still trust Korean studios as much as I'd trust any overseas or domestic animation studio. You get out of them what you put into them by feeding them money and your own labor. It's quite possible that the shows you mentioned didn't do enough of either.

I imagine the overseas studios are hurting right now, so who knows what that landscape is even going to look like in a few years.

As with every step of the process making a TV show, you just sort of have to weigh your options and find the path.

Hmm. That got long.

[bestworstcase]

I can't remember whether you've answered this before, but. You postulate that everything Salem does in 8.9 after learning Yang's identity is a ruse to justify letting Yang and the others go free; that threatening Emerald is a deliberate attempt to provoke Hazel into attacking her so she has an excuse to turn her attention away from the prisoners.

My question is: Why does she need an excuse? Salem doesn't answer to anyone, and I can't see any particular risk in just saying "I've decided you're free to go, goodbye" and leaving the kids baffled. So what does she have to gain from... making herself seem more dangerous and unreasonable than she is? Not that I think she feels any hope she could convince the heroes she's reasonable -- as you've stated, Oz has done a very good job de-personing her for a very long time -- but I'm not sure why she would go to the effort of constructing an artificial scenario solely to make her enemies think she's more monstrous. What's her motivation here?

in the course of answering the question of her motivation i'm actually going to lay out my argumentation for reading the salem vs hazel fight this way, 'cause i don't think i've ever done so comprehensively before. (on tumblr, anyway.)

the foundational theory isn’t "salem did all this as a ruse to let her hostages go" but rather that this duel with hazel is a performative means to an end. and the reason i think that is the way the fight itself, along with the duel in the lost fable and the brief altercation with the kids preceding the fight, are choreographed.

to preface this discussion, rwby's fight choreography is subordinate to characterization. (this is less true in v1, wherein centerpiece fight scenes put a greater emphasis on style and spectacle, but from v2 onward there’s been an increasing focus on using combat to develop character.) team rwby vs ace-ops is a good example of this: ruby struggles in her matchup with harriet not only because she’s a grimm-fighting specialist whose main advantage (agility) is negated by her opponent being able to match her speed, but also because her heart isn’t in it; she pauses to plead with harriet to stop and think about what she’s doing and never really recovers her footing.

so my first presupposition is that salem isn’t an exception to this principle and her fight with hazel is not meant to just be a dramatic spectacle that Looks Cool but has nothing substantive to say about the characters involved. the writing and fight choreography are reliably cogent and i trust that the same amount of thought was put into this scene. i say this because i think "empty spectacle" is the only other way to parse what happens here.

now on to the most salient piece of context: we know that salem can fight well. because, as ruby puts it, we’ve seen what she’s capable of. the lamp showed us.

in the lost fable, we see:

salem and ozma fighting together, back-to-back, as they escaped her father’s fortress together.

salem stopping a nevermore the size of a commercial plane cold, and then crumpling it up like tissue paper.

salem matching ozma, a skilled, highly-experienced warrior who at the time had the combined might of the four maidens put together at his disposal, exactly blow-for-blow in their last duel.

nevermore crunch gives us a sense of not just the force but also the sheer precision of control that salem has over her magical power. the first fight tells us that even with no formal training, salem had the raw talent (and desperation) to keep up with ozma and hold her own against professional soldiers; the second fight tells us that by the time the ozlem kingdom fell, salem and ozma were equally matched in terms of skill.

the fanon idea that salem can't fight but won their duel by virtue of her invulnerability—whittling ozma down one lucky hit at a time—is a) contradicted by the swift and even back-and-forth volleys shown, and b) plainly at odds with the fanon nonsense that ozma spent most of the duel desperately and futilely on the defensive fighting to shield the girls from her onslaught.

from the tableaux in the second fight, it's hard to determine whether salem bothers with self-defense under normal circumstances (she doesn't, in the tableaux, but nor does ozma). but that in itself isn't a reason to presume a lack of skill in combat because salem has no incentive—other than pain avoidance, which given her extreme tolerance for pain isn't much—to fight defensively.

with all this in mind: we begin with her altercation with the kids.

salem enters the scene by exploding her way out of the whale. notice the kids knocked over like bowling pins on the left: oscar was standing approx. fifty-three feet away from the epicenter of the blast, measured based on salem being six feet tall. (<- with perspective taken into account. from wall to edge, the dock is 48ft wide)

emerald keeps her feet, perhaps because she knows better what to brace for; she's about the same distance away. in any case, salem's next move is to launch herself to the edge of the dock (again, a distance of 48ft—measured based on a different screenshot) and stretch to grab emerald in a fraction of a second.

ok. the women's world record 60m sprint is 6.92 seconds; this works out, rounded, to about 28.4ft/s. at that speed, you can cover forty-eight feet in about 1.7s; salem closes the distance in about half a second, which works out to 96ft/s. from a dead stop.

salem is could-probably-keep-up-with-ruby-rose fast.

next point. these two frames:

are a split second apart. the blast is aimed at ren and when jaune leaps in front of him, hits his shield right in the middle:

had jaune not gotten there in time, this would've hit ren squarely in the chest. in any case it hits with enough force to blast both boys off their feet and slams them into the flesh wall (roughly, eyeballing it based on several shots) 20-30 feet behind them hard enough to visibly strain jaune's aura. keep this timing in your mind for later. salem can fire these things off literally faster than you can blink.

the distance between her and ren at this point is approx. forty-five feet, again using the wide shot from earlier to measure. precise accuracy isn't impressive at this range necessarily but it's worth noting in relation to ren, who fires on her from the same distance, kneeling, with his fully automatics. every bullet goes wide:

& then salem whips around and noscopes him.

similarly, she sticky-hands yang in the face (catching her gauntlets only because yang throws up her arms to shield herself) while upside down with her eyes closed and paste for bones. she's a GOOD shot.

another detail to note here is the difference in salem's reaction to ren's attack versus yang's; ren fires on her, misses, she retaliates with her magical equivalent to his guns, but when yang punches bombs into her chest a second later, salem literally just stands there, even lowering her arm to let yang do it...

...and then after being blown up, rather than firing back with magic, snags yang and pulls her over to look intently at her:

we know that the reason salem grabbed emerald is with the intent to question her about what happened to the lamp, because salem concludes from the available facts that em must have stolen it. we also know that when ren shot at her, salem returned fire immediately, within a fraction of a second—this woman is inhumanly fast, and the time between these two frames:

is exactly equal to the time between these two:

what this tells is that salem did have time to blast yang in the gut with magic. through the whole sequence with yang punching her, salem is looking at yang's face, her gaze tracks down to follow her movement. she sees this coming and she's reacting to it, just making a deliberate choice not to retaliate.

and then she grabs yang.

this is the first weird thing salem does in this scene—every move she makes prior unambiguously follows from salem's belief that emerald stole the lamp and her desire to recapture oscar and take the relic back—and i don't think it's a coincidental that the weirdness begins with salem noticing yang...

...whom she saw like, two days ago rushing forward to comfort ruby after salem your mother-ed her to the ground. i've made this point before but prior to her arrival in atlas salem might at most have seen toddler pictures of these kids; ruby takes after her mother enough to be impossible to mistake for anyone but summer's daughter, but yang isn't even biologically related to summer. so salem wouldn't know her on sight. but this interaction a couple days ago would've given her enough circumstantial context to at least guess that this girl is summer's eldest.

so here, when salem sees yang and instantly flips from slinging bolts of magic around with enough force to break or at least visibly strain jaune's aura to sticky-handing yang to drag her over and grab her, the question is okay, why? why does that shift happen? what is it about this moment that alters salem's motivation? and because the situation hasn't changed whatsoever and there's no other reason for yang to have any significance to salem, the simplest and really only cogent explanation is her relation to summer rose.

onwards. salem isn't expecting oscar to zap her. you can tell because every time salem takes a hit on purpose in this scene, she either tracks her opponent's movements or visibly braces herself and neither of those things happens in the split second between oscar starting to fire and his blast hitting her; and also, she grunts in pain both when it hits her and when she doubles over afterward. given that oscar shouts at her first (so he has her attention) and what oscar and ozma say when they discuss the state of the merge in 7.13 and earlier in 8.9, i think it's pretty likely that salem didn't realize oscar could tap into ozma's magic and thus he caught her off guard.

also i'm not sure oscar realized he could do that until he did it. look at this boy. he's so busy going "wait what?" at himself that he doesn't even notice salem yeeting yang at him until a split second before yang hits him ->

that, or oscar's use of magic jostled oz to the front and neither of them were expecting that to happen.

at this point salem stops fucking around and pins everyone to the floor. and again this is something i want to emphasize because it is effortless for her. when she does this to hazel in 6.4 she makes a gesture with her hands, but here she just decides it's going to happen and it does. (which tells us that the gesturing in 6.4 is for show, just like flipping the table and raising her voice. she's exaggerating her irritation into this over-the-top anger for the sake of intimidating everyone else in the room. it's performative.)

anyway, she hangs emerald on the wall, conjures a ball of magic, and:

SALEM: What did you do with the lamp? EMERALD: ...N-nothing! [Salem leans in to hold the magic close to her face.] SALEM: It's missing. Where is it? EMERALD: I didn't do anything with it! SALEM: Where—[she lowers her hand, turning away]–is it?

ok. salem can tell when people lie. she's also grimm—she can probably sense or perceive emotion the way all other grimm do.

emerald isn't lying to her and salem knows she's telling the truth. the pseudo-repetition of the questions obfuscates this a little, because they're almost but not quite the same, but salem believes both of the truthful answers emerald gives her.

her initial assumption is that emerald stole the lamp and must have done something to hide it ("what did you do with it?"). emerald is startled, confused, and answers "nothing." salem explains why she's asking ("it's missing") and then asks if emerald knows where it is or who took it ("where is it?") because her next guess is that emerald conspired with somebody else who stole the lamp while emerald snuck oscar out.

when the lamp went missing, there were eight people on the whale: salem herself, hazel, emerald, neopolitan, oscar, yang, and these other two children whose names salem probably doesn't know. right before the seers sounded the alarm about intruders, salem encountered emerald and someone she thought was hazel in the corridor. at that point in time, salem expected hazel to still be interrogating oscar, as she's mildly surprised to see him: "ah, hazel. have you gotten what we need yet?"—and 'hazel' behaved oddly enough that salem was side-eyeing him before the alarm distracted her. her reaction to emerald a few minutes later ("you really have been honing that semblance of yours") confirms that she's figured out that 'hazel' was really oscar.

hazel assumes there is an alarm that will go off if they move the lamp, but he's wrong: neo swipes it seconds after they leave the chamber, and salem doesn't know anything is wrong until a) the seers alert her to the presence of intruders, several minutes layer, and b) she goes to personally secure the lamp and finds it already missing.

so salem does not know exactly when the lamp was taken, only that it happened before the seers sounded the alarm. that her suspicion falls first on emerald suggests that salem has—for whatever reason—already considered and ruled out the possibility that the intruders are the thieves (most likely, because the seer alarm calls convey more information than just "stranger danger!" and salem knows the intruders didn't get that far into the whale before being caught). plus by the time she's questioning emerald, salem has a) terrified emerald well past being able to maintain her semblance, which requires active focus, and b) visually confirmed that none of the intruders nor oscar are carrying the lamp with them.

ruling out emerald as the thief therefore leaves her with just two suspects: neopolitan, or hazel. now, salem does not have any reason to trust another of cinder's little pet illusionists, so on the face of it neo might seem to be the obvious suspect.

BUT.

salem expected hazel to be in oscar's cell at the time she unwittingly caught emerald in the act of helping oscar escape. and she knows that hazel is attached to emerald—that's why she punishes him for lying to her in 6.4 by forcing emerald to answer the question hazel tried to dodge, she knows hazel lied to protect emerald.

and emerald could not have freed oscar from his cell without hazel knowing about it.

based on the facts of the situation as salem understands them at the point when she turns away from emerald to ask, rhetorically, where the lamp is, there are only two possible explanations:

hazel stole the lamp while emerald helped oscar escape.

neo stole the lamp while emerald tried to sneak oscar out, either with hazel's assistance or while hazel was somewhere other than where salem expected him to be, doing something he shouldn't.

there is no way—no way—that salem does not realize, at this juncture, that hazel has most likely betrayed her. this woman is a clever strategist who has been running circles around ozpin and his inner circle since the show began and, while she lacks the charisma and social dexterity to be a truly masterful manipulator, she understands human nature and her manipulative tactics are always very shrewd. unless you're willing to assume that the writers just idiot balled her for the sake of the plot—which i'm not; rwby is too well-written—salem's assumption now is that hazel stole the lamp.

(which, she's wrong, but the underlying reasoning in how she handles the situation on the docks up to this point is an application of occam's razor; she begins with the simplest explanation and works upward in complexity from there, so she'd land on hazel stealing the lamp before she got to "neo stole the lamp, emerald freed oscar, hazel was doing something else.")

the shift in her tone as she turns away from emerald and the things she then says to oscar evince this also: her second "where is it?" is rhetorical. she knows that either hazel or neo has it, and hazel is the more likely suspect. since neither of them are here at the moment, but neither of them can leave the whale except through the dock, the question is no longer urgent. she has the situation fully under control. all she needs to do is wait.

so her attention shifts to oscar or ozma. (whether oz is fronting or salem thinks he’s fronting because oscar used ozma's magic is somewhat unclear, but given that she correctly identifies them in both 8.4 and 8.6 i'm inclined to think she’s right this time too, and oz got pulled forward by oscar’s use of his magic)

SALEM: Look how you've diminished. How you've lessened yourself—and for what? These children? This ruined world...? Why—do—you—keep—coming—back? YANG: Why do you?! [Salem glances at her, startled.] YANG: All of this endless death, just because something bad happened to you once upon a time? Nobody gets a fairytale ending! Everything I've lost—every person I've lost!—is because of you! SALEM: And who is it I've taken from you, girl? YANG: Summer Rose. My mom. SALEM: Hm. [amused] Her again?

as i said, salem already has reasonable confidence that this girl is summer rose's eldest daughter, but if she had any doubt or uncertainty prior she now knows for sure. "and who is it i've taken from you, girl?" is salem both engaging with what yang said to her and also fishing for a confirmation that she is who salem thinks she is, which yang obligingly gives to her.

so at this juncture salem now has three goals:

don't severely hurt or kill summer's daughter.

determine who stole the lamp and get it back.

recapture oz/oscar.

with the third being a means to the end of finding out how to access the lamp. this makes #3 the lowest priority, because there are at least six people who know the "password" (ozma, oscar, ruby, yang, and their two teammates) and if salem loses oz/oscar now she can still try to capture one of the other children later.

of the first two, which is more important doesn't really matter yet, because right now they aren't in opposition. she can accomplish the first by not doing anything to harm yang and the second by staying put until the thief—either neo or hazel—tries to get past her.

of course, then hazel IMMEDIATELY shows up. he is, remember, salem's primary suspect at this point and she knows that he, at a minimum, wasn't where she thought he was when emerald snuck oscar out of his cell. even if hazel doesn't have the lamp, salem has to consider him a possible traitor until proven otherwise because there is also this unspoken question of how emerald got oscar out. either hazel was incompetent or he was an accomplice.

salem wants to know which it is.

he walks onto the docks, greets her. salem glances over at him and sees that he does not have the lamp, so either he stashed it somewhere on the whale with the intent to sneak it out later or he isn't the thief. the question of how emerald got oscar past him remains. there is a possibility that hazel wasn't involved in the jailbreak or the theft—he's been in and out of that cell all day—and if salem makes this accusation and she's wrong, she risks losing his loyalty. right. like hazel is already terrified of her and she knows ozma has been feeding him bullshit all day about how she's bent on destroying the world, she walked in on that.

if she takes an aggressive posture here on the basis of an incorrect suspicion that's going to play right into ozma's hands by making her look unreasonable, untrustworthy, dangerous. even if he remains loyal in the moment, he'll have all of this in the back of his mind and he might turn against her at a more crucial juncture in the future.

salem is very risk-averse. she's not going to do that. so now she has a fourth goal: test hazel in a way that will strengthen his commitment to her if he remains loyal, or else force him to definitively prove himself a traitor.

when salem meets emerald and 'hazel' in the corridor earlier in this episode she says "ah, hazel. have you gotten what we need yet?" and then, after the seer alarm, "it seems we have guests [...] find them!"

when hazel arrives at the docks, salem says "ah, hazel. i found our guests." the intonation of "ah, hazel" is the same but exaggerated, and salem's taking "we have guests: find them" and flipping it around; "i found our guests." now, she's aware that the 'hazel' she spoke to in the corridor a few minutes ago was really oscar, so hazel doesn't have context for why this is funny. but she's making a sarcastic little joke at his expense about how she doesn't trust him now.

"ah, hazel" is how she greeted the false 'hazel' whom she did trust and told to find their "guests." she suspects that the real hazel was an accomplice to this scheme so she parodies that greeting and then makes a sardonic jab at him as if the false 'hazel' in the corridor were real and just failed so abysmally at finding the intruders that salem had to do it herself. and then she specifically draws his attention to emerald and goes "this one was helping them."

and this is the test, right.

before she asks emerald "what did you do with the lamp?" salem conjures up a ball of magic and holds it up where emerald can see. very unsubtle threat. she does the exact same thing here.

"this one was helping them," she says, magic crackling in her hand where hazel can see it. there is, again, a very unsubtle threat that she'll hurt emerald. and then she pauses for a solid three seconds, which doesn't sound like a lot but it's the similar in length to her other dramatic pauses like "find the girl that did this to cinder... and bring her to me" (~3.5s) and "before you go, inform tyrian... that i wish to have a word with him" (~2s)

in 6.4, salem asks hazel to give her a specific piece of information about cinder, and he tries to evade by saying "i take full responsibility," so she flips the table, pins him to the ground, and intimidates emerald into telling her instead, because she knows hazel is lying to shield emerald from the imaginary threat of salem's wrathful retribution.

in this scene, salem has emerald pinned to the wall and makes an implicit but extremely clear threat to hurt emerald because, she tells hazel pointedly, this one was helping the intruders sneak oscar, the boy hazel was supposed to be interrogating at the time, off the whale: SIGNIFICANT LOOK. DRAMATIC PAUSE.

this is the test. this is the test. the last time salem put hazel into a situation where he anticipated a punishment falling on emerald's head, he lied to try to redirect that punishment onto himself. if he tries to do the same thing now, he's either going to implicate himself as an accomplice, attack her, or exonerate himself by lying (because salem will know that he's lying if he falsely claims to have been in on it a la "i take full responsibility").

she's not making any accusations but she is giving him the chance to come clean. the last time this happened and he lied to her, she bullied emerald to punish him. the implicit promise she's making this time is that if he was also "helping them" and he tells her the truth now, she won't hurt emerald. if he gives her what she wants, she'll reward him with what he wants.

as. usual. she does not communicate this clearly enough for it to be effective (⭐️ SHE TRIED) and hazel doesn't give her anything to work with, just stands there silently, so... she escalates. "take the boy back to his chamber; i have work to do with this one."

if hazel's silence is because he's upset but still remains loyal, he'll obey and she'll know that she has a much firmer hold on him than she thought. if... he was involved, then his silence is because he's trying to figure out a way to salvage this situation. she still does not have absolute certainty. so she provokes him by raising the stakes and turning her back on him.

um, another noteworthy detail that i think supports reading "i have work to do with this one" as a performative threat salem's making to force hazel to make his loyalties clear:

salem touches emerald's face with this very ominous-looking magic crackling around her hands and nothing happens. the specific threat she's been making in this scene of "answer me or i'll burn your face with this nasty dark magic" is quite literally bluffing. it doesn't hurt emerald upon contact with her skin. emerald just experiences the untold horrors of salem grabbing her face.

HOWEVER. escalating in this manner a) takes the risk of hazel choosing to betray her for emerald’s sake right now even if he wasn’t an accomplice before, and b) insures that if hazel is already a traitor, there will be a violent altercation.

the former is a much less dangerous risk than alienating hazel if he's truly loyal by making open accusations (an immediate betrayal that she provoked and is prepared to handle vs a possible betrayal an unknown amount of time in the future which might catch her with her guard down). the latter is a problem, because there are children glued to the floor who will be in the crossfires of any fight, and one of those children is her general's eldest.

and this is where that second goal of "don't severely harm or kill summer's daughter" comes into play and comes into conflict with salem's need to recapture oscar & oz and recover the stolen relic. it's at this point salem has to make a decision about what to prioritize, and her choice is to—if hazel does what she expects him to do and attacks her—let the children go while she "fights" hazel, then pry information out of hazel once they're gone. so she reveals that her priorities are:

summer's daughter.

the lamp.

hazel's loyalty.

the lamp's "password."

also notice that salem does keep her implicit promise not to harm emerald if hazel gives her what she wants—she releases emerald, too, after hazel punches her. she's thinking ahead to what she'll do once the children are gone and she has hazel alone on the docks. by letting emerald and the rest of the children escape, she removes his motivation for betraying her: he no longer has anyone around whom he could possibly sacrifice himself to protect from salem, because all of them have made it to safety. now salem can pin him to the wall and start asking questions.

either hazel took the lamp and stashed it somewhere on the whale once he realized she'd caught the children, or neopolitan stole it and—if she's still aboard—will need to pass the docks sooner or later. so salem stays put, with hazel, until she has the lamp in hand again or knows where hazel hid it. summer's daughter is safe, hazel has no one to sacrifice himself for (and she has some leverage to counter ozma's lies; letting the children go is her proof that she isn't unreasonable), and salem has everything she needs to get the lamp back. she might have to capture someone again in the future to extract the lamp's password, but there's a chance hazel learnt it from oscar before the jailbreak and theft.

worst case scenario, neo stole it and escaped before salem intercepted the jailbreak on the docks, but at least by questioning hazel she'll be able to determine whether that's the case.

a partial victory is preferable to a loss, and knowing what to sacrifice in pursuit of one's priorities is important. this is salem's basic strategic philosophy and it shows through in her actions throughout this scene; she's making choices about what matters to her most and what she can afford to let go, always with the intent to achieve as many of her goals as possible, in descending order of importance.

with salem it's important to keep in mind that she thinks like this. strategic acumen is her greatest strength and being able to evaluate all of one's objectives in terms of priority, feasibility, and tactical means at once is a critical strategic skill. strategy is about the long term, big picture thinking, where salem excels. so she almost never does anything for just one reason; every decision she makes is a balancing act taking into account all of her important short- and long-term goals.

speaking of which, i've so far limited this discussion to her immediate objectives in this scene, but it's worth remembering that salem has long-term plans that she is working toward and her actions and choices in any given scene are mediated by the big picture; her inner conflict regarding cinder aside, salem is never going to do anything that achieves a short-term goal by harming her strategic ends (and her erratic behavior toward cinder arises from a conflict between her strategic ends and her increasing reluctance to treat cinder like a pawn, i.e. her big-picture wants and needs can no longer be easily reconciled.)

it's much harder to discern salem's long-term objectives because we don't really know what her plan is, except in the broadest strokes. but we can hazard a few guesses:

salem is very circumspect about what happened to summer rose; it may be necessary for her plans to preserve the heroically-martyred idea of summer rose—the most obvious reason would be that "summer was the best, and even she failed" is a very exploitable weakness in her opponents' morale.

if salem intends to confront the brothers face-to-face, using the final judgment as bait, and she fails, the only thing she can do that might prevent the gods from annihilating remnant is ensuring that everyone is rallied against her. forcing the truth of her existence into the open while performing to "monstrous evil witch bent on destruction of all things" expectations is the surest way to do that.

likewise, winnowing her own inner circle such that she is truly and completely alone by the time she has all four relics in hand may be part of the plan.

also worth taking into consideration are the ways salem's trauma circumscribes her decision-making. she is:

terrified of rejection.

terrified to care or admit to caring because the divine mandate is a justification and a threat of genocide strictly to punish her, and she knows it.

convinced that no one will ever truly care about her, hear her, or want to help her without getting something in return.

resigned to being seen as a monster no matter what she does, solely on the basis of her inhuman appearance.

all of these things predispose her to retreat behind her emotional walls and just reflect the expectations of others back to them. she's been viciously, brutally punished every single time she's tried to be authentic and vulnerable with others and it hurts less to shut down and be what she's "supposed" to be than to try and be cut down over and over again. this is a defensive learned response and it informs both her strategic planning and her tactical decisions; even in situations where breaking expectations and being emotionally honest might benefit her if people were to give her a chance, she's not going to do it unless she is really, really certain that she won't be punished for trying again.

now, to wrap this up, let's go over the fight with hazel.

i actually debate with myself a lot as to whether salem did or didn't anticipate hazel punching her, because she a) doesn't brace and b) cries out when his fist makes contact with her face, but i am certain that by this juncture salem did expect and was counting on him to do SOMETHING to stop her. the sequence of events is this:

salem approaches emerald while telling hazel, "take the boy back to his chamber; i have work to do with this one." after a brief pause, hazel answers "yes. of course," and begins to walk over to oscar. at this point, salem puts both of her hands on emerald's face and leans in to emphasize the threat, but still doesn't hurt her.

keep in mind that there is a significant distance between salem and oscar. relative to her position when she entered the scene, salem has moved (roughly, eyeballing) about thirty feet to the left and knocked oscar about the same distance from where he fell when she burst through the side of the whale. so they're still about fifty feet apart.

an able-bodied human walks about 4.2ft/s at a normal pace on average; hazel is quite tall—i believe word of god is eight feet, but he is NOT two feet taller than salem, the top of her head is level with his shoulder line, which if salem is six feet tall exactly would make him about 7'2"—which gives him a much longer than average stride, so we'll presume his normal walking pace is about 4.5ft/s.

when salem walks from emerald over to oscar, it takes her about twelve seconds. if we assume that her pace is the average 4.2ft/s, that would make this distance just about exactly fifty feet. 50ft 5in, to be precise. the consistency here between the visible spatial distance and the temporal distance suggests close attention to detail on the part of the creative team.

(salem returns from oscar to emerald, off screen, in about two seconds, but this is not problematic given her super-fast gliding pace—we can assume that salem slingshot herself across most of the distance and then walked the last couple steps.)

so at a normal pace of 4.5ft/s, it should take hazel about eleven seconds to walk from salem's side to where oscar is... and in fact it takes him exactly that: he begins to walk at 14:35 and stops in front of oscar at 14:46. again, the consistency is telling—particularly because there is no dialogue at all in this span, so how long it took wasn't dictated by the length of a spoken line.

hazel picks oscar up, murmurs "no more gretchens, boy," into his ear, pushes the long memory into his hands, and then drops him again. this takes another ten seconds. hazel turns away from oscar and begins to walk back toward salem at 14:56, punching her at 15:04, so his return is faster but within the range of a brisk walking pace (eight seconds, fifty feet, approx. 6.3ft/s).

the reason i'm belaboring this point is that salem says "i have work to do with this one," and then... stands there without doing anything except holding emerald's face menacingly for a genuinely awkward amount of time. thirty-one seconds, counting the beat before hazel began to move. it's not even clear that salem said anything to emerald—when hazel turns away from oscar and the camera cuts back to emerald and salem, em blurts out "i really don't know!" but whether this is in response to another question salem asked off-screen or just responding to what she assumes salem wants from her is ambiguous.

compare the way salem questioned emerald earlier in this scene: she asked two questions, one after the other, confirming that emerald didn't take or hide the lamp and doesn't know where it is. as soon as it became clear to her that she wouldn't get useful information from emerald—because em truly did not know anything—salem dropped it and moved on to Plan B. she doesn't LIKE emerald and she's ANGRY that em tricked her and helped oscar escape, but what salem CARES about is finding out what happened to the lamp. she's not going to waste her time trying to get blood from a stone.

and compare the way salem conducts herself when she interrogates oscar in 8.4. again, her questioning is guided by practicality, but the more salient point of comparison for this discussion is what salem does when she shifts gears to punishment and torture. namely, she just tortures him. no hesitating, no warnings, no threats, no grandstanding, she just turns around and does it. practical, again.

if what salem intended to do at this point in the scene was torture emerald, either to punish her or for information, she would do so.

instead, salem just...clutches emerald's face. evilly.

for thirty-one seconds.

now, i will remind you that salem has excellent spatial awareness; she sticky-hands yang from at least ten or fifteen feet away while upside-down with her eyes closed. hazel's footsteps are clearly audible. when hazel enters, salem hears him speak and answers him across this fifty-foot span. oscar cries out when hazel picks him up and grunts in pain when hazel drops him, which also makes a quite loud thud. hazel's footsteps would also be audible to her when he returned, although they aren't to the audience.

so she'd be able to sense hazel approaching her again, and if she paid attention—which she must have, because salem's just spent half a minute doing the bare minimum to sell that she's toootally going to start torturing emerald, any second now, and the only reason for her to do that is if this is about intimidating or provoking hazel—then she would have at least heard him dropping oscar, so she knows he isn't "taking the boy back to his chamber" as ordered.

ok.

when the focus shifts back to them, salem's got emerald like this:

this shot is at 15:01.167. hazel will punch her at 15:04 exactly, which at his brisk pace of 6.3ft/s means he's about eighteen feet away. around 15:02.750, when hazel is less than eight feet away from her, salem begins to pull back, lifting her arm as if preparing to strike:

she holds this pose without moving for almost a whole second. remember just how fast salem can be. her release when she fires back at ren, from the moment she begins her 180° spin to the moment the opalescent bolt leaves her hand, is sixteen frames. from the appearance of the black/violet magic bubbles to the release of the opalescent bolt is one frame. ONE.

when she reaches this position, hazel is quite literally right next to her. he cannot be more than three or four feet away, and we can see in both the initial shot and the replay from the opposite angle that he comes at salem directly from the side, not from behind her.

the point is that salem can see him. unless you have vision problems impacting your peripheral sight, even if you're looking straight ahead, as salem is here, you can visually detect motion directly to the left or right within a close radius. and indeed:

salem's gaze flicks to the side before his fist makes contact, and the wider shot from behind shows just how close he is to her before throwing the punch.

and the last detail i want to note regarding the punch is that salem lets go of emerald when hazel hits her, which is something that she does NOT do when yang blows her up:

if salem can remain standing and keep her death grip on this girl's arm while her ENTIRE TORSO IS EXPLODED WITH BOMBS, it... does not matter how strong hazel is or to what degree salem may have been caught off-guard. she had at least a split second recognition before his fist hit her face; that alone is enough to reflexively clamp down on emerald's jaw if she didn't want to let go.

so whether or not salem anticipated that hazel would punch her in the face specifically—and it doesn't seem like she did, given that she yelps—she must have had at least a vague awareness of his presence/approach (because he marched right up to her), and she made the choice to just ragdoll with the hit. the simplest explanation is that once she heard him drop oscar and start power-walking back toward her, salem knew he was going to try something to save emerald and committed to the bit.

she also isn't actually ragdolling; she lets the force of hazel's punch throw her off her feet, but then instead of falling she soars away in this high arc, flips herself around in midair, drops down in a perfectly-controlled landing at the far end of the dock, and rises again:

ok? ok. this sequence, from the end of the slo-mo reaction shot to when salem reaches altitude, runs 15:08 to 15:11—three seconds.

and then she just, erm...hangs out there, not doing anything, until hazel finishes cramming dust into his body and turning his back on salem to give his heartfelt last goodbye to emerald and everything, and faces salem again at 15:41. at which point she says "so, you've decided against vengeance for your sister, after all this time?"

thirty. seconds.

during which the ONLY ACTION salem takes is this... this:

<- make a particular note of how jaune reacts. the tactics guy. while the other kids gasp in shock/relief, jaune is like "wait what?" as he pushes himself up to look at salem—he's confused, because he knows intuitively that Something Weird just happened.

why did she do that?

she didn't need to. it wasn't an accident. salem manifested these sigils with a mere thought, and later in this same scene we'll see her do that again right after hazel smashes her head like an egg. summoning these things also clearly doesn't inhibit any of her other powers, so this is effortless for her and costs her nothing to maintain.

either happened by narrative fiat, because the kids had to escape and the writers just couldn't be bothered to figure out how. the... problem with this explanation, aside from the obvious that rwby is a well-written story that doesn't pull this sort of bullshit, is that the prelude to the big fight makes a HUGE POINT of,

this! oscar is already free and has long memory. if the intention is for the kids to escape while hazel keeps salem distracted, you don't need a narrative contrivance like this; you just slip in a shot or two of oscar snapping these grimm hands or disarming the sigils with his own magic to release his friends instead.

orrr... salem let them go on purpose.

¯\_(ツ)_/¯

wheeze. ok. we're almost done.

remember how salem can go from empty fist to black magic bubble to releasing an opalescent blast in just three frames?

this first shot is at 15:49. the second is at 15:51. in between, salem just kind of sways side-to-side and then waves her arms around for forty-five frames. even if we count only from her conjuring of the Big Bubble at 15:50, it's twenty-two frames—longer than it took her to snap around and fire off a blast that hit her target dead-on and slammed two teenage boys into a wall some 20-30 feet back.

woman's telegraphing harder than a dark souls boss here.

and speaking of aiming...

these are the three bolts salem fires in the wide shot. top row on the left is her first shot in the instant before hazel begins to run up the slope—i've marked the trajectory and the eventual point of impact in green to make it easier to see that this would not have hit him even if he hadn't moved. top row on the right is the real impact, with hazel now running. on the bottom row are her next two shots. one strikes the edge of the dock nowhere even close to him, the other hits the ground about 8-9 feet in front of him (measuring based on hazel being 7'2" tall). and in the next shot:

it's not that she never hits him. hazel is quite a bit farther away from her than ren was and he's also running at a dead sprint while dodging blasts. tricky target. it wouldn't be strange at all if she missed.

but look at where she is aiming.

top row: both bolts strike the ground 1-2ft directly ahead of him—in the shot on the left, he's veering closer to the wall to avoid stepping on the point of impact. bottom left: this is a second bolt aimed just a little bit forward and 1-2ft out from the wall relative to the top right; these two bolts strike eight frames apart and hazel lunges sideways toward the dock's edge as the second one comes into frame, so when salem fired the second one, hazel was still where he is in the top right. and (the clincher) bottom right: this bolt strikes six frames after the one preceding, 1-2ft directly in front of him, and hazel swerves toward the wall to avoid stepping on the point of impact; notice the correction from #3 to #4 when hazel swerved more toward the ledge than salem anticipated.

not a single one of these bolts is actually aimed at hazel. salem is aiming to hit the ground directly in front of hazel, close enough to convince him that she means to hit him but also low enough that if she misjudges his speed she's going to strike his ankles... and when one blast nearly hits him in the head or chest because he jumped further sideways than salem guessed he would, she instantly corrects her aim to ankle-height again.

she is herding him.

up the docks, closer to her, away from the children, all while taking care NOT to hit him without being obvious about it.

this is the same kind of behavior we see from her in 6.4, where she's at worst a little vexed but flips a table and shouts and throws him to the ground as if she's in a terrible fury—and then a minute later hazel tells her something that genuinely infuriates her and we see her freeze while the windows start to crack, before she sends them all out of the room and struggles to press this rage back down.

because there is a huge difference between the loud, explosive "anger" salem performs to intimidate her associates and her real anger, which she tries very hard to contain.

in a similar vein, we get this fleeting glimpse of salem's actual skill in combat when she spins around and blasts the boys into a wall in the time it takes to blink... and then she sees yang, and the key changes. instantly. for the rest of the scene.

onward. hazel vaults over salem's final bolt and launches three fireballs at her. as these spiral up toward her, salem threads herself between them like they're not even there—it's really fast, the whole sequence from when the fireballs form in front of his fist to when she slings past the third one is forty frames and if you count from when the first fireball enters the frame, her evasive maneuver is over within twelve frames. as she continues past the last fireball, salem swings her arms to finish her movement, as if she's going to lash forward and fire off a riposte:

but then instead, she re-centers, pauses, and does... this:

which i'm sure looks very impressive and terrifying for everyone on the ground, but she is... literally just tossing magic around in random directions. this is not an attack. this is a light show. a firework. her big swarm of magic bubbles spits out of of the opalescent bolts and only one hits anywhere close to hazel. she is just fucking around.

from here, hazel sprints to the edge of the dock and launches himself into the air above her, where he dust-conjures a biiiiig spiky boulder to smash her with... and, uh. three things. first:

this shot occurs in slo-mo to really underscore what happens here. note that salem is looking up at him and has a firing bubble ready to go. hazel is approx. twenty-eight feet directly in front of her (measured in salems); a few minutes ago we've seen her be dead accurate at just a bit more than half again that distance, and we know a blast from her has plenty enough force to knock hazel out of the sky. from the beginning to end of this shot her head moves as she tracks his motion.

she has a clear shot lined up here. she chooses not to take it. then:

hazel conjures The Boulder, and we get this shot of salem's reaction—from waiting indifferently to see what he'll do to wry amusement. and then she physically braces herself to take the hit:

after which point salem just Lies There letting him pummel her for a few seconds before evidently deciding that she's done enough fucking around for those children she let out of gay baby jail about sixty seconds ago to have gotten away so she'll just flick her fingers (while her skull is caved in and her brains are splashed all over the floor, mind you) to pull some more grabby hands out of the air and wrap this one up except—

—NO WHOOPS THEY'RE ALL STILL HERE. lol.

like the fight is over, when the camera cuts back to the kids. salem has hazel completely immobilized. jaune is at the other end of the docks, shouting for everyone to hurry. "she'll just come after us," oscar says, but if salem cared to recapture any of them she would've left hazel restrained and dropped down off the dock to scoop them up as they hit the ground.

she's visibly irritated after regrowing her face, yes. but we have seen over and over—there are multiple examples in this scene alone—that salem can and will set irritation aside to focus on what doing what is necessary to advance her practical goals. she's poisonous with emerald but asks her two questions and then turns away as soon as she's confirmed that emerald doesn't know anything. she takes a deep breath and shelves her fury at ozma to listen calmly while yang yells at her. salem just isn't a character ruled by her anger.

so the fact that she a) continues to focus all of her attention on hazel after restraining him, and b) actually hurls him out of the restraints, in the opposite direction from her escaping prisoners, and turns away from them to just bash hazel's face repeatedly into the floor, suggests to me that her annoyance is perhaps more because these children are STILL FUCKING HERE and she needs them to be gone before she can start to properly wring the truth out of hazel.

she pays zero attention to the children until she hears long memory activate, which seems to startle her; after that she straightens up and stares him down for about four seconds.

they're about ninety feet apart here. salem covers a just over half that distance in two seconds... meaning she is gliding at what is for her a downright leisurely 24.5ft/s. that's a little bit more than a QUARTER of her top speed which is, in case you've forgotten whilst reading this very long post, 96ft/s. or 65mph.

(and here i will remind you that the walking speed distance math earlier checks out perfectly with the measurable spatial distance between emerald and oscar. this scene was choreographed and animated with very close attention to time and distance and i think that's because the speed at which salem does certain things at different points is doing a lot of narrative work. it's seldom necessary to be this precise but in this scene it matters.)

the point is that while salem does slingshot herself at oscar pretty fast here, relative to how much faster she CAN go, salem isn't trying especially hard to Get Him. this is like a brisk jog for her.

now granted, if hazel hadn't scraped up the wherewithal to, i assume, yeet himself after salem with all the dust cooking his body from the inside out, oscar would have been toast whether salem zipped along at a normal human sprinting pace or clotheslined him at car-on-a-highway speeds. but it does speak to the intensity of salem's interest in getting oscar in this moment versus when she went for emerald at the top of the scene.

salem had, by this point, already given up recapturing oz/oscar as a loss, accepted sacrificing the opportunity to do that as a price she was willing to pay for the sake of 1. getting summer's daughter safely off the whale and 2. after clarifying hazel's loyalties, removing the children from the equation so she can squeeze him for information about what happened to the lamp. i think the possibility that oz/oscar might have shared the "password" with hazel when hazel decided to help them escape would've at least crossed her mind as soon as she narrowed her list of suspects down to hazel and neo, too.

there's also the factor that with hazel now compromised, the only person around to interrogate oz/oscar is salem herself, and because that would involve being in the same room with and talking to ozma for an indeterminate amount of time, i don't think salem's all that keen anymore.

thennnn hazel sets her on fire and she screams and thrashes because she's having traumatic flashbacks to the moonfall and then oz blows her and her whale the fuck up.

thank you for coming to my tedtalk.

[hypergamiss]

Lol you have men moving countries and I can’t even get a text back. You must be the hottest and most interesting woman on earth because most women are lucky to get one man. I guess it’s just not meant to be for some of us.

My mindset is completely different from yours. Let me give you some context.

My first proposal was when I was 17/18. It taught me that you shouldn't accept the first offer you receive, and also that every offer isn’t a good fit.

At the time, I really did believe that my partner proposed out of pure love for me. I did accept the engagement, but I called things off a few years later.

Years later after I ended things I looked back on that proposal and I've come to the conclusion that he proposed because he was scared to lose me more than anything.

I was moving away for uni and I believe he panicked and proposed in order to “lock me down.” I'm not going to lie it was a good plan. I never cheated or broke up with him while I was away.

Then time went on and his true colors started to show and I realized that he wasn't as caring or attentive. He just didn't care for me to the extent that I originally thought he did even though he proposed. And I'm used to getting treated really well, you know? I gave him a couple of chances to improve things and he just didn't really believe that I would leave him at all. He didn't change, and I left. He acted so shocked it was comical. I was also inexperienced and didn't know how to not let a man get “comfortable” and keep him chasing me indefinitely. Had I known what I know now, things would have been very different.

I've been proposed to multiple times after that, but I don't see a proposal as some grand gesture anymore (no I don't go around telling people this in person). That sounds messed up, but its what they do after the proposal that I care about the most. I care about how they show up for me and themselves. I care about how they handle a prenup. I care about how they handle the announcement. I care about how they plan to combine our lives together. We got past the proposal, great. But there is stuff I still need to look out for (personally) to feel secure enough to move forward with being legally bound together. I've had men verbally agree on everything with me just to switch everything up when it came to putting it on paper. They can be cunning and very calculated.

You said most women are lucky to get even one man. I don't see it that way. I think men are lucky if they get a woman AT ALL. I genuinely believe that men have a lot more to gain from relationships and marriage than women do which is why I don't go through with just any proposal. I think its this energy and way of thinking that attracts men (paradoxically). I am the center of my life and if they want to come along for the ride they better be improving/contributing to it or they get cut off quickly. It's a challenge for them and they act like they need it or love it. You should be repulsed by the lack of communication and feel like throwing up at the thought of that man who won’t text back, because what is he a 5yr old? Another man will happily respond and do much more.

I won't deny pretty privilege is a real thing, but I also put in so much effort to look and feel good naturally. I’m not an exception to a rule or special. I just try to improve every area of my life a little at a time and it all comes together forming who I am overall.

[max1461]

I have a lot of thoughts about epistemology and the nature of procedural knowledge. Studying linguistics really impresses upon you just the sheer amount of human knowledge that is procedural and implicit. Languages are these huge, ridiculously complex systems, and even when it comes to the most thoroughly documented language in human history (English), you can still make an entire career documenting as-yet-unknown minutiae of some corner of a corner of the system. It's very difficult to impress upon non-linguists just how big and ill-understood languages are.

There is no book which explains the whole of English grammar. No one on earth knows the complete rule-set of English grammar. Not even for one dialect, not even for one single speaker. No one on earth could write a comprehensive treatise on English pronunciation. We do not know how English works. We do not know how any language works.

And yet, these systems are, in their entirety, already stored in the mind of every native speaker.

When it comes to synchronic information, I literally already know everything there is to know about my dialect of English. I know the timing of every articulation, the exact rules for verb and auxiliary and quantifier placement, the phonology, semantics, syntax, the lexical variation, the registers, all of it. I can deploy it effortlessly while I am thinking about something else. I can form reams of perfectly grammatical English sentences without a second thought. I can deploy the most arcane rules of wh-movement and quantifier raising and whatever else. With no effort at all.

Tens of thousands of people having been making careers trying to document these things, not for my exact dialect but for varieties essentially the same as mine, for 60 years in earnest. And they aren't close to done. And I already know it all. And so do they! They already know it too! The hard part is accessing it, putting it down on paper. That requires experimentation, systematic empirical investigation—science.

So what this has really impressed on me is how much of human knowledge is procedural. How much of it is known only in the doing. I'd wager that's the significant majority of what we know.

This is related to two thoughts that I have.

The first is about the value of unbroken lines of cultural inheritance. With language, the difference between native speakers and second language learners is stark. I think it's safe to say, per current research, that someone who learns a language in adulthood will simply never have the same command of it as someone who learned it in childhood. There are a variety of tests which consistently distinguish native from non-native speakers. You can get very good at a language as an adult learner, good enough for basically all practical needs (except being a spy), but there's a bar your brain just cannot meet.

The unfortunate fact about language is this: if the line of native-speaker-to-child transmission is ever broken, that language is lost. You can try to revive... something, if you want. Like was done with Hebrew in Israel. But it will not be the same language. And not just in the sense that, by the passing of time, all languages inherently change. In a much stronger sense than that. No matter how big a text corpus you have, no matter how well documented the language is, there is an immense body of implicit, undocumented, procedural knowledge that dies when the last native speaker does. And you cannot ever get it back.

I think, often, about the fact that so much human knowledge is procedural, is used and understood and passed on in illegible, difficult to codify ways. I think about the effect that a rapidly changing world has on this body of knowledge. Is it going to be essential for human prosperity? Probably not. But that doesn't mean that losing it will harmless. Certainly I expect much of it to be missed.

The second thought is about an epistemic distinction that I've had in my head for a long time, a distinction I'd like to refer to as that between a science and an art.

An art is any endeavor for which there is an established methodology, an established set of procedures and rules. These rules can be explicit and codified, like the rules of a game, or implicit, like the grammar of a language. They can be absolute or they can be mere guidelines. But in essence, an art is anything you can get good at. Math is quintessentially an art. Football is an art. Ballet is an art. Painting is an art. An art is any endeavor in which procedural knowledge is acquired and channeled and refined and passed on.

Art contrasts with science. A science is any endeavor in which one is shooting blind. Science is the domain of guesswork and trial-and-error. Sciences are those domains that do not lend themself to practice, because... what would you practice at? You cannot get better at science, because science is not about skill. Science is about exploration. It necessarily involves forging your own path, working with odd and faulty tools and odd and faulty ideas, trying to get them to work. Science only exists at the frontiers; when a path is well-tread enough that a body of procedure becomes known and practiced, that path is now art and no longer science.

This distinction is not a taxonomy. Everything we do involves a little bit of art and a little bit of science. Everything involves both a refinement of known skills and an exploration of new avenues. Of course there's a little bit of science in painting, there's quite a lot of science in painting. Every modern and contemporary art museum is full of it! And there's science in math, every once in a while. And there's art in biology and chemistry. Art and science are two modes of engagement, and different endeavors demand them of you in different ways.

Perhaps science is like a glider (you know, from Conway's game of life?), traveling ever outward, and with enough passes over the same area leaving art in its wake. And I think in some sense that all real human knowledge exists as art, that all endeavors capable of producing true insight are either arts or sciences buttressed by a great many supporting arts. Although maybe I'm wrong about this.

I think history is mostly science, and in large part history as a field seems to be on quite solid epistemic footing. So I don't want to convey the idea that science is inherently dubious; clearly from the above description that can't be my position. Nor is art inherently trustworthy—for instance I think jurisprudence is primarily an art, including religious jurisprudence, which of course I don't place any stock in. But I do think I'm getting at something with the idea that there are a range of epistemic benefits to working within an art that one lacks access to in a totally unconstrained science. This is also closely related to my ideas about abstraction and concretization schemes.

Language is an art, one of the oldest arts, but modern linguistics is more or less a science. Like any good science, linguistics has certain arts unique to itself—fieldwork and the comparative method come to mind—but the most vibrant parts of the field at present are science through-and-through. It's a science whose objects of study are arts, and I think maybe that's part of why I've become so aware of this distinction. Or, language is the ur-example of an art, the art from which (if I were to conjecture wildly) I think the cognitive machinery for very many other arts has been borrowed. But I don't really know.

Anyway, those are my thoughts.

[schlatt-love-bot]

Chuckle Diner (Prologue)

so, i've been a little influenced by my current obsession with bistro huddy on tiktok as well as a few ideas i've seen floating around here on tumblr of executive chef!schlatt x hostess!reader, and thus chuckle diner was born. this is simply the prologue—the first chapter i'm hoping to post some time this weekend!! enjoy, and let me know your thoughts below~

Moving to a new city was never easy, especially when you just up and left your old life behind. Fresh starts were exciting to you—you enjoy the thrill of meeting new people, making new connections, and the idea of starting over again—but no one warned you before you left your small town two states over how hard it would be to adjust to life when you had little to no money left in your savings. 

“I don’t know, man. I just thought things would click for me when I left home. I thought the puzzle pieces would start fitting into place, that life would get easier.” You sighed, sipping the last few drops of your drink before putting the empty glass back on the bar and turning to the patron beside you. 

“Well, I think you’re just not putting in the effort to make things better. Have you even considered starting to look for any jobs around here, (Y/N)? I can’t keep supplying you with free drinks forever.” Charlie let out a chuckle before signaling to the bar tender to serve you both one more drink and then to give him his tab. Charlie was one of the first people you met in this small town, at this exact bar where you two sat now. He was one of the only people in the place to go out of his way to talk to you—and not just outright flirt with you like the other fine specimens in the joint had done. Needless to say the two of you hit it off, and you’ve made a pact with him to meet at the bar at least once a week to check in and see how one another is doing. 

“Well…I haven’t exactly started…it’s just hard! I’m not really qualified for much, I just barely graduated high school, and I never went off to college…” Your voice trailed off, while Charlie shook his head. 

“You know, this diner down the way is actually looking to hire, I’m a regular there since a couple of my other friends work there. Maybe you can apply there!” He says, a glimmer of hope in his eyes as you take a moment to consider his proposal. 

“A diner Charlie? Really? I’m not fit to be in the kitchen, and I’m not the most coordinated person in the world so being a server is definitely out.” You said, looking at him with disappointment. 

“Good thing for you the position they're looking to fill is for a hostess, and they’re in desperate need. Swing by tomorrow morning and I can guarantee you’ll be getting yourself a job.” He says, finding a pen and a scrap piece of paper on the edge of the bar to write down the location of this diner before sliding it over to you, finishing his drink, and leaving you to ponder. 

Chuckle Diner, you read in your mind. Maybe it wouldn’t hurt to give it a chance in the morning. 

__________________________________________________________

prologue complete! let me know what y'all think!! i'm really excited about the potential this series has!

[green-alien-turdz]

Do you have any advice for drawing backgrounds? I want to start drawing them more but they intimate me and perspective seems really difficult

I can try! I kinda suck at givin advice, but here we go

When drawin backgrounds, you almost wanna think of them as their own characters with the details you add n put into them. Rooms n homes are the best ways to express this bcuz you can add details like decor that represents those who live there n shit. You can draw the wear n tear on things, the aging, etc. Of course, a lot homes aren't gonna be as maximalist as I like to draw lol but that doesn't mean they don't have their own charm. Even when it comes to drawin the outside, there's so many little details that make the whole piece. Even a vast open desert has rocks, cracks, heat waves n alla that. Now that's just talkin about details, if perspective is what you need to work on, there's a few exersizes for that I guess.

You wanna focus on depth. Now not every scene has to have a lot bcuz sometimes that's just not the perspective or location, but depth is kinda important. Think of what's in the foreground (closest), middle ground, and the WAY way background. The two best ways to really capture this depth can be 1) Forest/nature scenes, and 2) Lookin through a window.

Practice by drawin the things you see. Like wherever you're sittin, draw your perspective from right there (includin things close to you in the foreground). This can help gain a better understanding of shots n scenes in different locations n understandin the perspective. These drawings don't have to be the most beautiful thing, just take in the depth n perspective. Take a very impressionistic style if you wanna.

I think the best advice I can give ya is to REALLY take in your surroundings. Every now n then, just take a moment to take in all of the little details in a room, in public, outside, on transit, etc. Look for the things that everyone sees but it's such commonplace that no one really notices. The beauty of backgrounds is that they can say a lot about a character, a places history, etc. Backgrounds tell their own mfin story.

But yeah, perspective can be kinda tricky, so imma go back to those two depth practices I recommended. Gonna do some quick lil shitty sketches to show you what I mean on like gettin that shit in. (Sorry for the crumply paper, my cat sat his wet ass on it). These are just to get an idea of what the practices can look like! They're not te end all be all. Spend as much or as little time as you want. It's all about learnin, man

I don't know how helpful this was. Sorry about that, dude. The best advice I can give is to just keep practicin. Everythin seems intimidating at first. Ya just gotta take the stride forward and keep tryin. It doesn't matter where you are with backgrounds now, bcuz with an effort made you'll see improvement each n every time. I've seen some of your stuff, man, I know you got this shit. Good luck!

[tavyliasin]

BG3 FicFeb NSFW - Day 4

Just a shorter one today as I've been a smudge busy, but here's day 4! Shortfic below the cut~ ----- -----

Day 4 - The rest of the companions heard Tav/Durge going at it

“Tchk, do they not know the whole woods can hear them?” Lae’zel winced at the latest echo of a moan from the trees, trying to focus on sharpening her blade without slicing through her own finger in the process.

Gale tried in vain to stare harder at his book, as if reading the words loud enough in his head might drown them out. “Don’t look at me, I’m all out of paper to scribe out Zone of Silence for them. You’d think they might make the effort to learn one bloody spell so we can get a night’s sleep-”  

“Was that a tree breaking? Gods I hope they’re not bringing the place down around them.” Wyll looked as concerned as he was flustered, sorting through the supplies in his pack like it was the most interesting task in the world. “What I’d do for a house with some thick walls right now.” 

“I think it’s cute.” Karlach grinned, her heart glowing slightly. “At least someone is getting some action around here.” 

“If they don’t stop getting action I shall be asking Lady Shar to wipe these memories from my head too.” Shadowheart groaned, standing to walk back to her tent. “I’m going to at least try to get some sleep, I suggest you all do the same. You know they’re all elves, right?” 

“Ah of course, Halsin, Astarion, our fearless leader,” Gale’s words were punctuated by a distinctly loud cry from the aforementioned leader that anyone else might’ve mistaken for distress. “They’ll get just as much rest from their trance as we could be getting if it wasn’t too loud to sleep.” He directed his grumble to the treeline, as if the foliage might pass on his displeasure at the disturbance. 

“Do you think they’d notice if I-”

“Karlach, sit back down, you are not going out there to spy on them.” Wyll put a hand on her elbow, pulling her back down to sit beside him.

“I wasn’t going to ask if I could join in or anything.” She complained. “You never let me have any fun.” 

“I would hardly describe being an unwelcome pair of eyes to the affairs of those three as fun, istik.” Lae’zel put her sword aside, satisfied it would be sharp enough to deal with any enemies in the morning. “You should follow the secretive one’s lead and get some sleep, our foes will not hesitate to slice open your gut should you pause to yawn.” 

“That…does not paint a particularly pleasant picture.” Gale closed his book, standing to return to his tent, resolving himself to cast silence on himself once he got there. “Remind me not to ask for any Githyanki bedtime stories next time we’re around the fire this late.”

“I don’t think the Gith even do bedtime stories.” Wyll shrugged, looking towards Lae’zel’s tent.

“We do, actually, and a simple gut-stabbing would be considered too weak even for a helpless babe.” Her voice hissed from behind the canvas. With everyone else gone, Wyll and Karlach lingered a little longer by the fire, sharing a quiet laugh at the idea of Lae’zel as a toddler with an oversized sword complaining that her bedtime stories weren’t gory enough. 

“What about you, Karlach? Any fairytales, or at least good stories until we get peace enough to rest?” The warlock’s smile was disarming as usual. “I’m afraid all I can offer are the worn out classics, and they don’t seem to hold the same charm as they used to. Hard to imagine a dashing prince running off to play the hero and sweep a fair maiden off her feet when I look like this.”

“I don’t know, you look princely enough to me. And I’m not just saying that because I’ve spent years in Avernus surrounded by actual bloody demons, either.” She shuffled a little, her restless tail and glowing chest betraying her thoughts as usual. “The stories I have in my head now aren’t really suitable for children at bedtime.” 

“Lucky for us, we aren’t children.” Wyll sidled just a little closer, looking up at bright eyes that widened as his voice dropped to a whisper. “I might not have a coin to hand to give you, but I would love to hear your thoughts.”

[rose-morose]

I finished Harley Quinn, and I've got to rant about Kite Man for a second

(Harley Quinn spoilers and very very long and bitter hatred under the cut)

it fucking boggles my mind that Poison Ivy would go out with this rich, incompetent, ignorant, heteronormative, entitled, arrogant, borderline, if not outright, misogynistic trust fund child who is a massive cunt, and seemingly the antithesis of everything that she stands for

most of the time she seems to find his clumsy and ignorant conduct to be endearing, which is actually understandable, but beyond that and a positive review of the sex (I think I can't remember) it kind of seemed like she wasn't fully invested in their relationship

this isn't even a "she's out of his league" thing either, he is just genuinely a terrible terrible person, and I think many people give him far more credit than he deserves

putting aside his goofy kite motif, his naive demeanour, and his clumsy antics he just has a dull shitty personality

when they first met, Kite Man spent an entire evening making unwelcome advances on Ivy despite her clear and succinct rejections of every effort he made, stole from her, and then he took Ivy asking him for an emergency ride back to her apartment to literally save the lives of children that HE poisoned for no reason as not only validation of his relentless advances, but the beginning of what he believed to be a "date" in his deluded rotting brain

upon arriving at her apartment, unprompted, he disrobed and waited for her in her bedroom to have sex, and when Ivy asked him why, his response was along the lines of 'that's usually what happens after a great date when you go back to the girl's place'

Ivy was understandably upset by this, so what happened? what changed? in what mad world is this given any amount of consideration to even be tolerable, let alone acceptable behaviour?

"I'll do all the heavy lifting so you don't have to break a nail." fuck this twat he sucks, and this is only episode 2, the first fucking episode that he is in

"I'll protect us babe!" dude fuck right off she is literally the most powerful person in the room

"If my girlfriend sees me hanging out with you hot young coeds she is going to be green with envy." people still call women attending uni "coeds" that's fucking insane, someone just put me out of my fucking misery

HE DOESN'T EVEN KNOW HER FUCKING NAME! "Poison Gertrude Ivy" 0/3 fucker not even remotely close, and he doesn't learn her name until after the third fucking time he asks her to marry him

so what if it's played as a joke, it's still true

what am I missing here? why is this guy getting a pass, not just from Ivy, but from the fandom at large? why is there such widespread admiration of this asshole?

I tried watching the Kite Man spinoff show to figure out what people see in him, but it honestly just made him look even worse if that's possible, and while the entire show has not yet been released, it is set after the conclusion of Kite Man and Ivy's relationship so it's not even that relevant

if anyone from the Harley Quinn show deserves a spinoff it isn't this cunt

this shitty excuse of a human being maps out their entire future without consulting Ivy, self admittedly stalked her, constantly does things that she explicitly asks him not to do (admittedly Harley is also guilty of this), mansplains simple bullshit to her constantly, and takes not even the slightest bit of interest in anything remotely associated with Poison Ivy, he doesn't even really seem to know that much about her

on paper I can't see why the hell she even seems to like him at all seeing as she repeatedly rebuffed his initial unwelcome attempts to hit on her, was embarrassed to be seen in public with him, did not tell anybody she was dating him, constantly comments on how fucking stupid he is, rejected him every time he tried to take the next step in their relationship, and before they got together the nicest thing she had ever said to him was along the lines of, 'you're almost tolerable when you are completely silent' and yet in practice Ivy seems to be very loving and affectionate towards him, she even attributes her recent bout of happiness to him

yet Kite Man himself admits that he had to repeat every step of their relationship over and over and over again because she constantly rejected him at every turn

and she was the only one putting any effort into their relationship, always doing things to make him more comfortable or happy and in return occasionally getting a ride and that's it, he just breaks down and starts crying when anything doesn't go his way

Poison Ivy deserves so much better than this cunt who weaselled his way into her life, not the other way around

I saw something from a showrunner about how this iteration of Poison Ivy has self esteem issues that may have lead her to date someone who isn't worthy of her just because he was nice to her, but I don't see how he was nice to her

he's usually polite, sure, but he is super misogynistic, he asks her to drop her name to get things that he wants, he is super arrogant and full of himself, and he seems to objectify her every time he tries to give her a compliment

and that hardly explains why so many fans are all for this terrible relationship, normally supporting unhealthy relationships in media because you want to see them improve and evolve is fun, but this guy does not change, he doesn't even think that he needs to change

and I think most of the show's fans are for Harlivy, which is a relationship that isn't super healthy but is compelling and improving and is fun to root for, but why do I see so many people saying that the writers should have kept going with Kite Man and Ivy?

I don't think it's outright homophobia, or at least the majority isn't homophobia, but I just don't get it

now did Kite Man deserve to be cheated on? I don't think so, that's just a pretty shitty thing to do to someone, but why the fuck was he even here in the first place?

I guess the heart wants what the heart wants or she didn't think she deserved better or whatever, but fuck why does anyone tolerate this asshole? is incompetence really that charming?

maybe I just don't get it because I'm aroace, but regardless of what you think of the relationship or the character, Kite Man is undoubtably a shit person and a complete asshole, that doesn't make him a bad character, just a bad person, and I wish more people that liked him as a character would recognise that, it's fine to like characters that are bad people, but don't outright deny it

just my final thoughts, I would love to take this opportunity to assure all 0 readers that have made it this far that I am not genuinely upset and do not take issue with people that like a fictional character that I don't like ok thanks bye

rant over

[ponett]

Can you show us some more of your prototype/one-off game projects?

I don't really have many! I've never been the type of dev to do a bunch of prototypes or small games. The source folder for SLARPG on my computer is still titled "first," because SLARPG literally grew out of my first ever RPG Maker test project from almost a decade prior. I really just put most of my effort into the one big dream game. (This is the exact opposite of every piece of beginner game dev advice ever. Don't be like me kids.)

Aside from that jokey edit of a Godot tutorial game, I guess I mainly have a few remnants from when I was trying to make Andromi, a shelved project which you can read more about here. Along the way I made Andromi Ball, an edit of Unity's roll-a-ball tutorial game:

At one point I also did an April Fools joke where I said I was making Andromi in RPG Maker with default assets:

I also have a couple test maps from Andromi, one of which was me trying to see if I could pull off kind of a Paper Mario billboarded sprites thing. I don't have Unity installed currently so I can't open that project and I don't have any screenshots saved, but I have... some trees I guess? (The ones on the right are lower in detail because they were supposed to be mostly obscured in the background.)

And then I guess from my Godot experiments I also have this:

And that's... about it for now, I think?

[wordsnstuff]

Hiya! Just wondering, what unusual and unique ways have helped you get out of a writer's creative block?

Let's talk *briefly* about writer's block.

Yes, this will be long, but I think it will help you.

It's been a long time since I was in a regular posting schedule for this blog, and that is upsetting to me (and many of you, I'm aware). For a significant chunk of that time, I considered writer's block to be the primary reason for this, but looking back on the nearly three years I've spent attempting over and over to return to the schedule and routine I once maintained, I have accepted that writer's block was never the problem. Not the way I thought.

I have, and I'm sure I'm not the only one, always thought of writer's block as if it's a tangible condition or something that happens to you, like a cold. That conclusion always prompted me to seek a solution (for instance, motivational content or exterior inspiration or anything that would enhance my capacity for self discipline). Because I thought of it as something that just developed naturally, I focused very little on the root of the issue and consequently it never seemed to improve.

For most of us, the past three years have ranged from severely abnormal to deeply traumatic, and though a lot of mythology around the process of art and inspiration tells us that conflict and pain inform a good portion of creativity, I have to admit that none of what the world has been through recently has made me want to write. When you and everyone you know have been in a survival mindset for several years, the seemingly trivial pleasure of creating fiction or sharing content about the process feels overwhelming. Every time I've returned to this space that I created long before experiencing any of this turmoil, especially because this turmoil occurred during the dawn of my adulthood, it has felt like a silly attempt at denial.

My writer's block, and I'm sure many others', was not simply a case of burnout or lack of inspiration. It's not that I had been pushing myself too hard without allowing for reasonable time for rest and recharging my mind, or that I simply ran out of ideas or reasons to want to continue. Even when you have the deepest of passion for a craft, you will always be human and therefore always affected by your environment and the events in your life. When you find yourself unable to put the pen to the paper, instead of asking what you can do to change that, ask why you're struggling in the first place. Focus on the cause, not the effect.

For me, a lot of my difficulty with writing has come from my environment and the mindset it has put me in. I am currently in university, so whether I like it or not, I have to write here and there and pull myself together to be able to do that. Every time I do so, I wonder why I can't enforce that same authority on myself for my personal projects, and it's because, for a long while, my environment has not been conducive to that effort. I haven't had the control over my schedule and responsibilities that I used to have, and finding a balance between these responsibilities and my personal goals has has a learning curve. All of these circumstances, for better or worse, have affected my mental state and my ability to write.

I did not have the freedom or even the energy to put in practice the exercises that helped me before, and as a result I haven't been writing. Coming out of that struggle hasn't been a matter of waiting for things to change or get better, it's been putting my energy toward a new process of trial and error. Since accepting that my new reality is here to stay, the priority has been finding new ways to work around it and specifically, work with it. This acceptance can require a lot of difficult reflection, and this can reach beyond your desire to write and into your desire to live a good life in general. It can feel silly or humiliating or patronizing to approach this reflection from the very bottom of things, and this includes the basics.

It may seem silly to consider the basics when the problem feels so extreme, but when you're consistently forgetting the casual maintenance of your mind and body, you will consistently find yourself failing to accomplish much beyond the bare minimum. If you struggle with mental health, this will be even more evident. Basic things like hydration, diet, sleep, movement, interaction, and joy will always be the most effective place to start when addressing why you cannot write. Once you have verified that these needs are met, then the presence of a deeper problem will reveal itself, but you'll never know if that's the case unless you check the other boxes.

So, you've checked the basics and they're all fine but you're still experiencing writer's block. Have you made time in your daily schedule for intentional rest? Are you coming home at the end of a long day and jumping straight into writing or keeping up with your duties at home or simply falling in front of a screen for a few hours? None of these things are rest. Distracting yourself with noise or housekeeping is not rest, and when it's all you do after a full day of other responsibilities, you haven't truly spent a moment with yourself finding fulfilling joy or relaxation. Yes, they can be compelling and very difficult habits within your routine to let go of, especially if you struggle to function without something occupying the back of your mind, but rest is extremely important to the creative process. If you like to scroll online a little bit or watch an episode of your comfort show after you get home to unwind, that's great. But in order to truly take advantage of your free time, try to optimize it by being intentional about the way you're experiencing it. Try not to fall into a routine of distraction because that isn't rest and it won't satisfy any of your needs.

Have you incorporated things into your routine that will contribute to your motivation to write? I don't mean you should put Stephen King quotes as your desktop screensaver or watch videos of people writing to make you want to participate. Those things help some people and that's great, but consuming things that make you think or bring you pleasure like books and well written movies or shows or music or podcasts can be just as impactful as anything else you do for your creative process. It's not just about what you do, it's about how others inspire you, and it's one thing to say you love books and reading and learning, and it's another to actually do them every day like you would wash your face or brush your teeth.

Whether you write as a hobby or an aspiration or a job, the creative process remains the same. It's important to remain consistent with the things you do to maintain your ability to write as much as it is to remain consistent with your actual writing routine. As a general rule of thumb, writer's block doesn't come from nowhere. If you want to alleviate it, you have to target the root of the problem or it will continue appearing on the surface. There is no one-size-fits-all cure to it and there are no "top ten wacky ways I solved years of executive dysfunction with the right chrome extension or tea flavor or candle scent or by typing upside down". This is internal work you will need to do, but it starts with trusting yourself. It is never too late to return to your passion. You will build it back up like a muscle, but you have to heal first.

I sincerely hope this helps,

Kate

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[writingquestionsanswered]

Anonymous asked:

[ask edited for length and content]

Egodeath/Jealous Anon. Thank you. I feel better after your response. I wanted to clarify two things, just if you want more context: With the similarities, I think I'm afraid that if I do get published, my books will be instantly rejected because people think it's just another copycat. I've seen people instantly reject a book just because it was similar to one that's already popular. I put so much effort into making sure my ideas are my own, it would really hurt if readers thought the work was copied and not my own.

You are deeply overthinking things here.

If you want to be a published writer, you need to reconcile yourself with the fact that everyone isn't going to love your books. And that's fine, because no one has EVER written a book that was universally loved 100% across the board. No one. Ever. In history. Every single book ever written has its critics. Every single author whose ever put pen to paper has people who don't like them. This is just a reality.

If some people don't like your books because they're similar to another book they read, that has nothing to do with you. That's their prerogative. Other people might dislike your books because they're not similar enough to another book they read. It's pointless to worry about it because you will never please everyone. Why people don't like your book is none of your concern.

I guess with ACOTAR it was just too many specific things. The character design and role of Rhysand. The telepathy between the love interests. There was a whole lot more but I put it down so long ago I've forgotten most now - but at some point it just felt like reading my own notes when I opened one of those books. The worst was when a fictional name I made up was used in that book - and given it's popularity I 'd probably have copyright issues if I tried to keep it in my work anyway. I think that was just the last straw to make me quit the series.

It happens, and it's honestly not as big a deal as it feels like it is now. Again, ideas don't come from nowhere. As much as you strive to make sure your ideas are your own, our "creative wells" are all filled from the same places, and human experience is only so varied, so the odds of multiple people coming up with the same things over and over are actually pretty likely. You're holding yourself up to impossible standards by expecting yourself to create stories that are wholly original and share no similarities with any other story.

Let me share a few times when this has happened to me in hopes it will help you see it's not that big a deal...

A few years after I wrote my first novella (which was not yet published at that time), I saw a commercial for a new TV show. The background concept, setting, and many surface details were pretty identical to my novella, but what KILLED me is one of the main characters had the same name and nickname as my protagonist... and they weren't even that common a name/nickname for that time period. I was sick... absolutely sick. It completely derailed my plans to flesh the story out into a full novel and publish it. Now, YEARS later, I just laugh when I think about it because the things that felt like glaring similarities now are nothing. The plot and conflict of the TV show are completely different from my novella. In the intervening years, I've come across countless other stories with the same background concept, same setting, same surface details, similar characters... and all of those shows, movies, stories, books, video games, comics, graphic novels, plays--whatever--have people who adore them and DGAF about any similarities to some random TV show.

Less than two years after my debut novel was published, I was reading a newly released book and was absolutely floored by the number of similarities. Two less common names, two unusual titles used in a similar way, and three unusual descriptive words used in the same way. Plus, 24 bigger similarities like setting similarities, plot point similarities, situational similarities... Were it not highly unlikely that the author had read my book, and had it not been for the short amount of time between my book and their book, it would have been tempting to think they'd intentionally copied me, because the similarities were just that glaring. But the reality is, we're just two writers who think alike, and in the years since, I've found a few other writers with whom I constantly have these kinds of similarities. They happen, and they feel world-ending at the time, but I promise you they're not as big a deal as your brain is making them into.

So, seriously, stop worrying about it. Similarities are going to happen, and they're going to be glaring sometimes, and there's nothing you can do about it. There's absolutely no way you can write a book that has not a single similarity with an existing story, and even if you could, that's not going to mean you'll write a book that will be universally loved 100% by everyone. People are going to dislike your book no matter what you do, and some of those people may see similarities between apples and oranges. There's nothing you can do about it. You're not writing for them anyway. You're writing for the people who are going to LOVE your book, and that will be the majority, similarities or not. ♥

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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