#this isn't even half of it like this is just ONE scene

[alchemistc]

He likes occupying the same space as Tommy. It's - every time he looks across a room and sees him he just wants all the space between them to disappear. And - okay - yeah - Tommy has, like occupied space inside of Buck so there's - there's a little Pavlovian tic somewhere in the goo Tommy's smile can turn his brain into but also -

He likes the way it feels when they're side by side - naked or clothed - and Tommy arches his shoulder to smack it into Buck's. He likes the way his eyes dart, when they're breathing the same air and he's thinking about kissing Buck - which is a look he relishes now as much for the knowledge that he's about to be kissed as for the knowledge that he'd seen this look a half dozen times before they ever got to the kissing part. He likes the way Tommy occupies Buck's space - never overbearing but always close, close, close like if Buck asked they'd melt pieces of themselves and stick them together before everything cooled back down. He likes the way they can't quite hold hands without their arms brushing, and the way Tommy ducks his head when Buck exaggerates a flirty head tilt.

He likes a lot of things about Tommy.

He likes the way he grudgingly enters a gay bar because it's not really his scene and ends the night with a drag queens feather boa wrapped around his neck while he sings the Gaga parts of Shallow even if he gets a little pitchy.

He likes the way Tommy boops his nose, out of the blue while he's listening to Buck explain something that has no bearing on either one of them or the thing they're working towards together - still listening with rapt attention but also a little devastatingly charmed by Buck's rambles, of all things.

He likes the way his nose scrunches up when he laughs, soft and genuine, the way when he's really feeling it the ears draw back too.

He likes the way he sounds, that first time (and every time after) Buck found his prostate and he whined like a fucking siren.

He likes the way his face softens even when he's tired, worn around the edges as Buck flings a sock into his laundry basket and tucks his head up under Tommy's chin.

He hates the way Tommy shuts down every time Buck tries to bring up the future.

And it's not like - it's not like Buck isn't aware they'd sort of speed run some milestones. House keys swapped with the sort of flippancy you'd expect out of two guys whose schedules rarely lined up. A drawer in Bucks's loft for the clothes Tommy always left behind, because for some reason he liked to fling them over the balcony instead of stuff them back in his overnight bag. A toothbrush at Tommy's a month and a half in, which wouldn't be all that strange except for he'd gone out of his way to buy the same electric one Buck had in his bathroom vanity. The pin to each others phones, swapped and repeated until it was muscle memory and three weeks ago Buck had grabbed the wrong phone but he'd seen the lock screen of the two of them from their hike in Fern Dell and he'd punched the code in like it was rote before he'd even been fully awake.

Tommy'd hit a wall, though, the first time Buck brought up his lease. And it wasn't - Buck isn't always the best about understanding the shit going on in his own head, but he actually hadn't been going any particular direction there, it'd just been something to fill the lull that had popped in his head and -

Of course, when Tommy froze the fuck up Buck decided to poke at it like a particularly nasty yellowing bruise.

Kids - not his own, just the nebulous idea of them. (Tommy shifted to a conversation about cars so smoothly it'd taken Buck half an hour to notice.)

Marriage - not his own thoughts about it, just that Bobby and Athena had an anniversary coming up and man didn't it suck that Maddie and Chim never got the wedding they wanted and he'd gone to one once in Montana and it'd been in a barn and they'd had candles in Mason jars for their centerpieces before that was the thing to do. (Tommy booped his nose and scrunched his face and held out a ladle of tomato sauce for Buck to try and - son of a bitch he'd known it needed more acid and that Buck would get distracted with recipe talk.)

Homes - the idea of them. Tommy's century old ranch style rental and how it fit him, Bobby and Athena's hunt for a new home, how quiet Eddie's always felt without Chris there, and Tommy had spent an hour listing off all the things he'd fixed up for his landlady and the rent she'd been stubbornly stuffing back through his mail slot every time she found out exactly how much the labor alone for a full copper repipe cost.

So it's.

He's just.

He hates that he's about to do this, here, with his ankle hooked by Tommy's toes under the table at Micelli's when they're supposed to be enjoying six months but he's been on edge for weeks now and he's - God he wants this to work but if Tommy doesn't want to talk future then are they just gonna spend their whole lives stumbling into the next milestone? He doesn't want -

"I had something I wanted to ask -," Tommy starts, right as Buck opens his big mouth and blurts, "I want kids and that's kind of a deal breaker for me."

Tommy blinks.

Buck blinks back.

Not much better than Hot Chicks, as far as Buck is concerned. But Tommy's mouth quirks at the corners, and he jiggles his toes against the back of Buck's ankle, and -

Tommy blows out a breath. "Oh thank God."

"What?"

So he's -

Buck's confused.

"You've been fishing for months now and I thought you were..." Tommy grimaces. When he leans forward to reach for Buck's hand, his arms are tense and his fingers are clumsy. "I thought we'd gone too fast and you were throwing us in reverse and stepping on the gas."

"What," Buck says again, and rewinds.

Kids: where he'd tried to drop the bomb that there was one out in the world who already had half his genetic code and then blazed along to talk about how Chris was his favorite person in the world and Maddie had struggled with Jee and the whole foster debacle made him terrified of all the stress involved in state sanctioned parenthood.

Marriage: where he'd made some dumb joke about how many marriages ended in divorce and then reminded Tommy how much he hated the fact that weddings cost like a third of a years salary, and then told a horrendous anecdote about the way Eddie had asked Buck to come by one night after Shannon only to find him keyed up out back, with the fire pit going and Shannon's things still tucked into their plastic bag on a stool right next to it.

Home: where he'd told Tommy the house in Hershey was like a prison and he'd never felt more himself than wandering the continent trying to find himself and how the loft was suffocatingly open and of the two places where he always felt welcome, one had burned down and the other had been missing an occupant for so long it had felt sad and oppressive.

Foot in mouth Buckley.

"I brought up my lease and you looked like you were trying to figure out if you could hurdle three tables in one leap to get to the door."

Tommy groans. It's. Buck wants to be annoyed by it but he's charmed as ever.

"That - I did do that."

"So. I'm just. Tommy, I..." Because he's given himself time to think about it, since then, and he really doesn't want to re-up his lease but he's also not sure where to go from here.

"It wasn't what you're thinking, though," Tommy says, and there's a wry tilt to his grin. "Irene wants to sell me the house," he continues, and - there's got to be a point, here.

"Okay."

He likes that house. The lived in feel, the easy walk to a little public market where Buck can always find something healthy and Tommy can always come home with a growler of some new craft beer, the avocado tree in the yard and the renovations Tommy has spent half a decade on.

"When you brought it up I'd just spent two weeks trying to convince myself it was too early to ask you if you wanted to sign up for a mortgage with me."

Six months. A redo of their first embarrassing date. The wine, instead of pitchers of beer. I had something I wanted to ask -

"I want to be married, someday," Buck says, and Tommy's thumb skitters over his wrist. "And - the kid thing. That's still a deal breaker."

Tommy nods. Maybe not a surprise, but - still. That feels important.

"I still don't understand equity," Buck says, and Tommy. Tommy laughs.

"I can teach you," he says, and Buck swallows. He wants to call the waitress over, ask for too many canolli because Tommy's sweet tooth is a tyrant and Buck is still mystified by how he manages to always be so trim despite the amount of sugar he consumes.

Buck narrows his eyes. "How long a mortgage?"

He has a settlement from the city that's just been sitting around, mocking Buck for years. It'd make a good dent even with LA real estate. Tommy smiles. "Oh, 30 years, for sure, but we could refinance at least a few times."

"That's - a long time."

"Housing bubble might pop soon, and then we'd just be stuck in it."

"It's good we both have dependable government jobs."

Tommy's eyes crinkle, but his face gets serious after a moment. "Evan."

"Ask me."

Maddie's gonna fucking flip, Buck thinks. Eddie is definitely gonna give him a side eye. Bobby - Bobby will get it, probably.

Tommy hums. "You wanna share the tiramisu?" His grin is just this side of teasing, and Buck knocks a knee into his in retaliation. His eyes go soft and warm. "You wanna buy a house with me, Buckley?"

[wlwmedarda]

I'm honestly just looking to rant and this might be long depending on how fast I get irritated the more I type so if this isn't coherent or well written I apologize in advance. Since it looks like Ambessa will take on a more antagonistic role in arcane season two, I would like to unpack the fandom's antiblackness that you guys are either blind to or aware and too pussy to call it out as my gut is telling me it's gonna increase and if no one is gonna start the difficult conversation then I sure as hell will.

Sevika:

Mel:

Starting off strong with the definition of "you guys want complex female characters but can't even handle her". Mel Medarda is in quite the predicament seeing how she's morally grey, a black woman, AND "gets in the way" of a mlm ship so she was kinda screwed from the start. A cunning politician disowned for her pacifism who acts as a sort of bridge to Noxus' slow introduction, and is THE ONLY CHARACTER IN THE SEASON 1 MAIN CAST SPECIFICALLY CREATED FOR THE SHOW. She's treated like satan incarnate or a Jezebel (highly suggest looking into that if you don't know what that is), GOOD character analysis is rare, and when she is talked about positively, it's so often chalked up to appearances that I'd rather yall not talk about her at all. Oh you love Mel? Then can we talk about her relationship with her mother? Unpack her dynamic with Jayce? Maybe more fanworks centered around her? I've seen yall's fake asses dropping the shittiest fucking takes about her only to turn around and gush over how pretty she is, and yall think you're slick about it and you're not. I would say I prefer the ones who are loud and proud about their hatred but that'd be a lie, they're two cheeks on the same ass; annoying and couldn't give a decent break down of her character if a gun was pointed at they head even she's perfect to dissect. I could talk about her more but we'd be here all day and so many black women even from outside the fanbase have already talked about yall so there's no need for me to add on 🤷🏾‍♀️🤷🏾‍♀️🤷🏾‍♀️🤷🏾‍♀️.

Quick question, have you guys ever tried to talk about her in a non sexual way? Yes, Sevika is undeniably sexy and you could argue that true stans of hers talk about her outside of horny time, but a good half of the fandom is a different story. In a similar case to Mel's, deep dives into her character are rare to find which is crazy when she acts as Zaun's own "kingmaker". She's loyal to her city and the cause, never to a specific person and will not hesitate to betray you. She could be your right hand man one day, and the next she might find a better kingpin to follow and stab you in the back like it all meant nothing. "Were you tempted?" "Not for a worm like him". Simple and subtle and probably my favorite Sevika scene; she comes to realize Silco is no longer the best leader for Zaun, but he's as good as it gets for now and so she sticks by him. I remember a YouTube comment breaking down how she's essentially the quintessential Zaun: a brute warrior molded by her environment, who defied Vander's peaceful ways and embraced Silco's cruelty. Her mindset and goal is interesting and you'd think it'd result in some fascinating meta or exploration of her upbringing when we got a hint that she potentially has some daddy issues right? Obviously, but what do we get instead? White sapphics treating her like nothing more than a sexual object. How delightful!

Ekko:

This might partially be Riot's fault because — and I hate to sound like a league lore nerd — Ekko is quite underdeveloped compared to the richer origins of his former pre arcane self, but I'm gonna hold off on that till the season finale to see how they handle him. Anyways, at this point the fandom clearly sees him as Jinx's trophy husband. When you talk about him, she is brought into the convo 90% of the time. That's exactly why I prefer black timebomb shippers over the nonblack ones because I trust they actually love Ekko as a character on his own. Even though I have my complaints regarding how's been written so far, I still know he's too good to be reduced to Jinx's loverboy. He fights and cares for his city, the only character that you can confidently say is pure of heart, and is the revolutionary leader Zaun really needs. He's just as smart as Jinx too, he is literally going to create TIME TRAVEL. Why does no one wanna talk about that? Can we be excited for his character development and arc not just for the timebomb scenes you'll get out of it?

Ambessa:

Can't even deny this woman is awful but her presence on screen enthralled me after a couple of rewatches and I also love bad mothers in media so I've settled on a love/hate relationship. Yes, she's definitely gonna have some influence on Caitlyn, which makes sense since she has now lost her mother; she's vulnerable and as we have seen, naive. She's practically free real estate for Ambessa. My recent worry though has been how the fandom seems to be willing to put all of Caitlyn's actions on her as if Cait isn't a grown ass woman who can make her own decisions. Of course being grown doesn't mean you're immune to manipulation, but I've seen some Silco and Jinx comparisons and it is NOT the same. Mind you we haven't even seen the first three episodes; we don't know how far Ambessa's manipulation is going to go and we can't really tell what the dynamic is gonna be like based off of clips and trailers that are likely shown out of context on purpose to throw people off. I'll never defend her actions, hell I'll join in on the lashings, but my black ass is also not gonna sit here and let yall talk about her weirdly or pin all of this on her.

Some might say I'm overthinking this, but I've been here since November 2021 and have sat back and observed for 2 years. You don't have to write deep, philosophical conversations 24/7, I'm sure it's not all in bad faith and I won't act like I don't thirst over Sevika or marvel at Mel's beauty. I'm not saying you have to like these characters and that you're racist if you don't. My frustration comes from the lack of nuanced conversations and hypocritical opinions surrounding black characters in this show. When you try to say something about this, you're hit with excuses; it reminds me of how man obsessed fujoshis act when they're questioned for not giving two fucks about female characters. They're either reduced to one character trait, only admired for their looks, or only discussed when it's about the white character they're connected to. Do NOT under ANY circumstance be black and morally ambiguous, you WILL be held to higher moral standards than everyone's wittle blorbos who can do wrong and are defended from all sides when you dare to take the rose colored stan glasses off and criticize them. What's really ridiculous is you hear the "complex characters" bullshit every two to three business days and some of you have the nerve to boast about this series being diverse while simultaneously ignoring the complexities in the characters of color. This is the main reason I took a step back and with season two around the corner I thought "Hey, maybe it'll be better this time!" and it was a mistake. Good to know yall still have an underlying racism problem you don't wanna address but with some extra classism thrown in. "What will we do once Arcane ends?" hopefully get a job, touch some grass, and reflect. Lord knows yall need it. The faster yall sizzle out the better. I'm done that's all I have to say lol goodnight 👍🏽👍🏽👍🏽👍🏽.

[bookwormjust]

Threatened and bruises (established relationship, Nyx Archeron’s mate)

Nyx had been away for nearly a week, attending the High Lords’ meeting with his parents, Rhysand and Feyre. The gathering was essential for maintaining the peace and balance between the courts, a responsibility that would one day fall solely on Nyx’s shoulders as the future High Lord of the Night Court. But as important as the meeting was, the absence of his presence left a void that you keenly felt. His absence was a constant ache, like a piece of you was missing, and you counted the days, hours, and minutes until his return.

Though you knew he was where he needed to be, fulfilling the duties that came with his birthright, you couldn’t help but feel a little more vulnerable without him. Nyx had always been protective of you, not in a way that suffocated or diminished you, but in a way that made you feel cherished and safe. As his mate, you were his equal, his other half, and you knew he would never tolerate anyone hurting or disrespecting you.

And yet, someone had dared to do just that.

The encounter had happened just yesterday. You had been walking through the palace gardens, the moonlight casting a soft glow over the Night Court, when a figure had emerged from the shadows. At first, you thought nothing of it—after all, the Night Court was your home, a place where you were surrounded by people who were loyal to Nyx and his family. But the stranger’s eyes had gleamed with something dark, something dangerous, and before you could react, they had grabbed your arm with bruising force.

"You think you're untouchable, just because you're Nyx's mate?" the person had sneered, their voice low and venomous. "You're nothing but a distraction, a weakness."

You had tried to pull away, to use the magic that coursed through your veins, but the grip on your arm tightened, sending a shock of pain up your limb. You refused to cry out, refused to show this person any sign of weakness, but the fear had been real, gnawing at the edges of your resolve.

"You'll regret this," you had said, your voice steady despite the pain. "Nyx will—"

"Nyx isn't here," the stranger had interrupted, a cruel smile twisting their lips. "And when he comes back, he'll have more important things to worry about than a few bruises on his precious mate."

The encounter had ended as quickly as it had begun, the stranger releasing you and disappearing into the shadows before you could fully comprehend what had happened. You had stood there, heart pounding, staring at the darkened spot where they had vanished, your arm throbbing with the aftermath of their grip.

Now, as you sat in your chambers, waiting for Nyx to return, the memory of that moment played on a loop in your mind. Your arm was still sore, the bruises a stark reminder of the threat that had been made. You hadn’t told anyone—not yet. The moment had passed so quickly, and the last thing you wanted was to cause a scene while Nyx was away. But now that he was returning, you knew you couldn’t hide it from him. Not that he wouldn’t notice—Nyx was far too perceptive to miss even the smallest change in you, and the bruises were far from small.

You paced the length of the room, anxiety swirling in your chest. Nyx had always been protective, but when it came to you—his mate, his future High Lady—he was fiercely territorial. The bond between you was strong, unbreakable, and the thought of someone harming you, even in his absence, would enrage him beyond measure.

The sound of wings beating through the night air pulled you from your thoughts. Your heart leaped, knowing that Nyx had returned. You rushed to the balcony, and there he was, descending from the sky with the grace and power that only an Illyrian warrior possessed. His black wings spread wide as he landed, the moonlight casting a silvery sheen over his dark hair. His eyes, those blue-gray eyes that mirrored his mother’s, locked onto yours the moment his feet touched the ground.

"You're home," you breathed, relief washing over you as he strode toward you with purpose.

"I missed you," he said, his voice low and filled with the weight of the bond that connected you. He reached out, pulling you into his arms, his wings wrapping around you like a protective shield. "I couldn’t stop thinking about you."

You buried your face in his chest, inhaling the familiar scent of him—night-blooming flowers, a hint of wind, and the faintest trace of something dark and powerful. For a moment, all was right in the world. Nyx was home, and nothing else mattered.

But as he pulled back to look at you, his brow furrowed, the warmth in his eyes gave way to something colder, sharper.

"What happened?" His voice was a low growl, his eyes narrowing as he caught sight of the bruises on your arm.

You tried to pull your sleeve down, to hide the marks, but it was too late. Nyx’s gaze had locked onto them, and the fury that flared in his eyes was immediate and all-consuming. His jaw clenched, the muscles in his neck tightening as he took your arm gently in his hands, turning it to get a better look at the bruises.

"Who did this?" he demanded, his voice deadly calm, though you could feel the storm brewing beneath the surface. His wings flared slightly, a sign of his agitation, and shadows began to gather around him, responding to his rising anger.

"Nyx, it’s not—" you began, but he cut you off, his grip on your arm firm but careful.

"Who. Did. This." Each word was spoken with such force that it sent a shiver down your spine. You had never seen Nyx this angry, not like this. He was always so in control, so composed. But now, the fury in his eyes was barely restrained, and you knew that whoever had dared to touch you would regret it.

"I don’t know," you admitted, your voice soft but steady. "It happened so quickly. They said... they said I was a distraction. A weakness."

Nyx’s eyes darkened, the shadows swirling around him growing thicker, more menacing. His hands clenched into fists at his sides, and you could feel the raw power radiating off him in waves. He was furious—no, more than furious. He was enraged.

"A weakness?" he repeated, his voice a deadly whisper. "You are my mate. My equal. No one touches you. No one threatens you. Not ever."

You placed a hand on his chest, trying to calm him, but his entire body was tense, his muscles coiled as if ready to strike. "Nyx, please," you said softly. "I’m fine. It’s just a bruise."

His gaze softened for a moment as he looked down at you, but the fury never fully left his eyes. "You’re not fine," he said, his voice low and filled with the weight of his emotions. "Someone dared to lay their hands on you. They dared to threaten you. That is unforgivable."

You could feel the bond between you humming with the intensity of his anger, and though you understood why he was upset, you didn’t want him to lose himself in his rage. "I didn’t want to worry you while you were away," you said. "I didn’t want to distract you from your duties."

Nyx let out a harsh laugh, though there was no humor in it. "You are never a distraction. Never." He cupped your face in his hands, his touch gentle despite the storm raging inside him. "You are my mate. My future High Lady. No one has the right to harm you, and I will not allow it."

"I can handle myself, Nyx," you reminded him, though you appreciated his protectiveness. "I’m not helpless."

"I know you’re not," he said, his voice softening slightly. "But that doesn’t mean I’ll let anyone hurt you. Ever."

He pulled you into his arms again, holding you tightly as if the very act of embracing you could shield you from the world. His wings wrapped around you once more, a cocoon of safety and warmth, and you could feel his heart pounding in his chest, matching the rapid beat of your own.

"I will find out who did this," he vowed, his voice low and dangerous. "And when I do, they will regret ever laying a finger on you."

You knew he meant every word. Nyx was not one to make idle threats, especially when it came to you. Whoever had dared to threaten you had made a grave mistake, and they would soon realize just how far Nyx was willing to go to protect his mate.

But even as you stood there in his arms, surrounded by his strength and love, you couldn’t help but feel a pang of worry. You didn’t want Nyx to lose himself in his quest for vengeance, didn’t want him to be consumed by the darkness that sometimes lurked at the edges of his power. He was the future High Lord of the Night Court, and with that title came immense responsibility.

"Promise me something," you said, pulling back slightly to look into his eyes.

"Anything," he replied without hesitation.

"Promise me you won’t let this consume you," you said softly. "I don’t want you to become something you’re not because of me."

Nyx’s eyes softened, and he cupped your face in his hands once more, brushing a gentle kiss against your forehead. "I promise," he said, though you could still see the fire burning in his gaze. "But I will protect you, no matter what

[respectthepetty]

Sun x Moon in The On1y One

I wrote briefly earlier about the “looking at the moon” scene in episode eleven of The On1y One, but regardless of how this cookie crumbles in the last episode, I think this conversation was excellent.

The boys are the sun and the moon, which I wrote about at the midway point of the series.

Wang is sun-coded. He is yellow and orange. He is openly friendly to his peers and warm toward them.

And the show has stated that he is the sun like when Wang was teasing Tian about the love poems he marked in the book, all the love poems were about the sun!

A girl's shyness is like a tender cherry under the sunlight; 16- and 17-year-olds are like fruits in the morning sun, sparkling

Therefore, the love poems were about Wang.

Tian is moon-coded. He is blue (and black). He isolates himself from his peers and is cold toward them. And now the show is stating that.,

But just like the book of love poems that revealed how Tian feels about Wang, we get an indirect glimpse of how Wang feels about Tian through this conversation.

It doesn't matter how good or bad the subtitles are because the focus is that Tian views the moon as something bad.

Life has it's ups and downs just like the moon waxes and wanes. It feels like everything connected to the moon is sad and full of regret. The moon shines on Earth every day, but only lights up half of it. Is that half kind of an eternity?

Tian thinks of himself and his life as sad. Everything that is connected to him, he thinks is full of regret. And he only allows people to see his outside by never letting others in. Yet Wang started this conversation off by stating his mom loved the moon and the Teresa Tang song, which we all of know since it was also featured in Moonlight Chicken!

"The Moon Represents My Heart" is an extremely popular Chinese song:

You ask how deeply I love you And just how great my love is My affection does not waver And my love doesn’t change The moon represents my heart

So not only has Wang established that he was raised to love the moon, but he also mentions this song which declares that he feels very deeply for his love and the fullness of the moon represents that love, which is probably why in the fourth episode, he was on the moon when his rocket ship came to get him.

In response to Tian's comments about the moon, Wang offers his take on the moon:

I don't agree with that. I think the moon often symbolizes light and hope, so even if it's only half, or just a moment, a second, as long as it's imprinted in your mind, it's eternal.

The conversation began because Wang's mom would ask his dad to pick between the moon and the sixpence, and in this, we see the great debate of love versus money, the future versus the present, and the abstract versus the practical. The moon is far and can't be held yet the sixpence is close and can be held. The moon would take time to get to, but the sixpence is within reach. The moon is a thought since it holds no value that can be seen, but the sixpence is money that can be used! And that's why the moon is love. And that's why Tian is the moon.

The Eclipse, Big Dragon, and Moonlight Chicken are just some BLs that gave us this sun and moon,

And the thing that they all get right is that the moon isn't the negative while the sun is positive.

The sun can burn. The sun can blind. The sun can harm. So it isn't always the positive entity that people tend to make it out to be. But the moon offers light in darkness. The moon guides the water in and out of the shores. The moon gives hope and guidance to those struggling.

So Wang's mom wanted him to pick the moon because she wanted him to pick love. She wanted him to see the possibilities rather than settle for what he had, which wasn't much. She wanted him to look to the future instead of worrying the present. She wanted him to not fear the distance, but instead know that the moon would guide him toward it. She wanted him to have hope.

And Tian gave him all of that.

So the conversation is lasagna. It has layers. It's about all these different things, but all these different things are the same thing. It's about Wang's mom. It's about the moon. It's about Tian. It's about love.

And it's about hope because regardless of what happens and no matter the distance, the moon always shines in the darkest of times, and guides those who are lost.

So even if everything looks bleak and all hope is lost, the moon will guide you home.

[figmentof]

i'm pitching kaos exclusively to ofmd fans bc i think it's a show that is right up our alley, plus it's on netflix which is the service that djenks is currently trying to get the attention of, so why don't we show them what we're capable of in terms of audience numbers? 😏

for starters, kaos does what tumblr loves, which is take existing ips and give them a modern twist. we got to see that firsthand with bbc sherlock and elementary (and to a lesser extent, house md), and even though ofmd is kept in its historical setting of the 1700's, it's anachronistic af what with all the modern lingo and therapy speak

kaos is extremely queer, obviously a show that is based off of greek mythology not being queer would be weird, but it's not just that there are an abundance of queer characters, you can tell the show itself has queer writers (the showrunner is nonbinary) and queer people working behind the scenes. the queer characters all have a story beyond their identity, there's no unnecessary commentary on their queerness or any fixed labels, queer people just exist and are very much characters instead of caricatures. there's a wide array of queerness across the board-- the fates are portrayed by trans/nonbinary actors, the furies are motorcycle riding butch lesbians, and caeneus is portrayed by a trans man (his story is interwoven with his identity)

more than half of the cast are poc-- poseidon is portrayed by a māori actor, eurydice and persephone are black women, and honestly there's so many characters of color it'd be hard to include them all in this post without like, spoiling the whole season lol

there's disability rep in this show as well, with several supporting characters that don't hide their disability onscreen and play crucial roles to the plot

most importantly, it's a show that delves into deep topics while still remaining a comedy, it's not afraid to be a bit camp at times and it doesn't take itself too seriously. i know a lot of ofmd fans have no interest in shows like iwtv bc although it's very queer and has it's comedic moments, it's not remotely in the same genre nor has the same vibe as ofmd, plus "queer media" isn't one single genre to begin with. so i genuinely do think kaos is a show ofmd fans would appreciate, and idk, maybe it could fill a little bit of the hole ofmd left and tide us over until we receive news about netflix picking ofmd up or... dare i say, grant us a third season?

[youcouldmakealife]

Stuff that Helps me Write: Pacing (no, not that kind), and burnout avoidance

So this was supposed to be about something entirely different., but every time I started making a point, I got distracted by a second, bonus idea (ways to trick your brain when it's not cooperating with you! things I've tried (I will try everything) and what worked and didn't! what to do with writer's block!) and then start writing about that, and I've got half a dozen unrelated paragraphs going in my drafts, so I think I'm just going to make this a mini-series of 'stuff that helps me write and may also help you (or maybe they won't, I don't know, this shit's all subjective)'.

If there's anything in particular you'd like to hear about, or something about my process you're curious about, absolutely feel free to reply or shoot me an ask and I'll do my best to address them as I go.

But yeah, pacing. And more specifically, not burning out. I figured it was important I hit this one first, because I think it's the most important one, or at least, the one that makes the biggest difference.

With the caveat that I am someone who has repeatedly driven myself into burnout, I'm also someone who now knows why that is, and have been teaching myself how to, you know, not do that.

So. Here's how I, you know, don't do that.

Will preface this by again mentioning that most writing advice (and advice in general) never seemed to work for me, and I mostly thought I was just Bad at Doing Things, until I learned my brain's literally wired differently, and that I'd been trying to apply processes that didn't actually work for said wiring.

So instead, I figured out what worked for me. And what works for me isn't necessarily what will work for you, or even what will work for me a month or five years down the line, but it's going okay right now.

I'll straight up say that, contrary to all the Writing Advice, I don't write every day, and I don't think it's necessary, or even necessarily a good idea -- I have at times, but I no longer do, because if I write for more than six days straight I find the proverbial well dries up and I write less than I do had I just taken a break when I needed it.

Cognitive energy and the sort of ephemeral ~inspiration (work that's been done on a subconscious level) are fundamentally no different than physical energy: if you don't replenish it, you will run out. If you overdo it, you will run out. If you consistently overdo it without replenishing it, you will burn out.

Taking a page from hockey players here: if you did an intense workout right before a game they'd ask what the fuck was the matter with you. You need a nap and a meal and to get some stretching and light work in. Running at 100% all the time will burn you out in every single field, including this one.

That's not me saying not to run at 100% at all. I generally try to pace myself now, but if I'm really in it, and the words are coming easily, I don't stop until they stop -- I wrote just shy of 4k of later scenes for SAIT last week (my 2024 record!), all in one sititng, by hand, when I was supposed to be sleeping, because that's when the inspiration came. I didn't fall asleep until past 6am that night, and my hand is still mad at me.

But you know how much writing I got done the follow day? (None, I was busy transcribing 4k of handwriting). The rest of this week? (Not much more than that). Those bursts of energy are awesome, and honestly can make you feel like a writing god, but the well's the well, and I've learned my personal well is about 5000 words a week deep.

Before my most recent scrape with autistic burnout, which I'm still sort of climbing my way out of, that well was closer to 7500 words. But honestly, it probably wasn't; I was likely just siphoning words from future wells and then it all caught up with me when I was looking at a horizon of dry-ass wells ahead of me. (I'll admit this isn't a perfect metaphor.)

But seriously, my advice for basically everything, not just writing (and something I wish I'd learned before I hit my 30s), is 'figure out what pace you can work at sustainably'.

Please note that 'sustainably' is not 'without literally dying'. Because my literal ass thought when people said 'give everything 100%' they meant, you know, 'give everything 100%' (I know! absurd of me), rather than 'give the best effort you can give in this moment considering your current resources'. So I gave it my all (also interpreted that one wrong I guess?). And then I wondered why I kept hitting a wall all the time. And why, eventually, I stopped being able to climb that wall entirely.

I don't think I'm ever going to reach that 7500 word threshold again. There will be weeks I'm so inspired I write that much, but the next week I probably won't manage more than 2500. Or maybe I'll have two 7500 weeks in a row, but I'll need to take a whole week off after that, or spend several weeks working at a lower tempo while I let the well replenish itself.

I've been tracking some metrics quite closely as I sort of tweak my life into its new shape (said shape being 'do the best you can given your resources') , and during my most productive month of this year I wrote 3x as much as the worst (writing wise, I was finalising publication at the time), my current weekly average is about 4800 words. Sometimes it's a bit higher or lower, sometimes much higher or lower, but that's what I can sustainably do right now.

Frankly, I'm a little cranky about this: I know I can do more, because I did do more. But my priority now is not to send myself straight back into burnout again, so when I sprint, it's just that, rather than my previous 'trying to run a marathon at the pace of a sprinter'. I'm writing less than I used to, but it's honestly not that much less: because the pace is sustainable rather than boom and bust, I don't run myself ragged enough to desperately need a break.

I'm aware this advice only works if you have control over your own time, and a schedule that doesn't force you to focus on writing say, one day a week, or around other obligations, but the only real workaround for burnout is consistency, and that consistency cannot be your maximum.

Or, it can, but I guarantee you that will bite you in the ass at some point, and the pain of not getting enough done is nothing compared to the pain of not being able to get anything done because your nervous system threw up its hands and decided if you weren't going to listen to their clues (feelings, symptoms) or their warnings (Feelings, Symptoms) that you were overdoing it, they were going to shut your ass down until you listened.

0/10 do not recommend.

Next week: how to trick your brain into doing shit that it doesn't feel like doing, even though it's onto all your tricks by now. Or at least, how I trick mine.

[imagineitdearies]

I know that anyone under 100yo is considered young among elves and vampires. But I do wonder. Do you think Astarion or Tyrus ever trully noticed their age gap?

Hey anon!! Great question. As per usual, our boys have very different mindsets about things, so I'll talk about one then the other 😂

Astarion: At the start of their first true meeting (in ch4), Astarion already goes in with assumptions about Tyrus being young, both because Tyrus looked young in their brief crossing-paths in ch2, and because Cazador generally likes his spawn young. Considering he's a drow/full elf, though, there's a good amount of room for error--Tyrus could look the way he does and be anywhere from 20 to 140 years. And after learning Tyrus is almost a century (96 years) younger than him, Astarion does feel a bit guilty for finding him attractive, but his actual horror when Tyrus says he's 24 and Astarion calls Cazador "that fucking monster" isn't just about the number. It stems more from the fact that Tyrus hadn't even left his childhood home behind, or experienced any true hallmarks of adulthood before being imprisoned eternally. In that sense, Tyrus is Turned with the least amount of life experience of any of Cazador's spawn (save Amanita).

Throughout part 1 and part 2 of PS--whilst Tyrus is just learning how to survive and then acclimate in Szarr Palace--Astarion is mostly just wrestling with the problematic aspects of their inevitably-deepening intimacy, this included. Tyrus's youth adds yet another layer to the skewed power dynamics, after all. It takes a while (three years, to be precise) for Astarion to reconcile his feelings for Tyrus given Tyrus's stolen adulthood and sexual inexperience, on top of other things like Cazador's clear manipulation and the weakness Astarion thinks love can be. But by the time Tyrus says the big ILY in ch15, Astarion finds he can no longer tell himself the lie anymore that Tyrus only has fallen for him because Cazador made it all so. "Gods be damned, I even believe you," he realizes aloud.

From then on, these sorts of concerns fade into the background of his other growing concerns for Tyrus's wellbeing, their freedom/survival, etc.!

Tyrus: On other hand, Tyrus? He has zero concept of why this might matter. Astarion is obviously more informed about the hell they live in, more experienced in weathering it, but really that's true of everyone around Tyrus. And with a mixed race family (Dad being a full drow, adopted Mom and Cynda being half-elves), from a town that seems to have a lot of elf and human and intermixing between the two, I don't think Tyrus grew up seeing this as abnormal.

. . . that being said, I have thought for a while it'd be funny to write a little scene about Tyrus complaining in a big brother fashion about the Cynda/Halsin age gap (a much larger 224 years), then Astarion scoffing and pointing out their own to Tyrus at last 😂

Thanks a ton for this lovely question anon! Always happy to discuss Tystar 🥰🩵

[saxandviolins88]

TF: ONE - My thoughts

Spoilers? All of them

First of all, Transformers as a franchise and cinema have a tumultuous relationship. The 86 movie is definitely dear to me, but I can't deny it was made with a clear commercial purpose, and it shows how eager they were to clear the cast and add new toys. It has interesting ideas, sure, but those ideas were only to gain form in the third season of the cartoon (which is good, you guys are just mean.)

Now the Bay movies... It may come as a shock to all of you, but I actually enjoy those movies, not as a Transformers fan but as an enjoyer of non-sensical gory violence and cool robots. Though these movies succeed in being brain fodder, anytime they try to tell a compelling story (if they even try), they fall flat; not only for not understanding the characters people love... but also not understanding their own characters and universe. So when the worst qualities of Bay join together in a confused movie with bad designs and sub-par action... You get franchise killer TF5. (fun fact, but that was the first TF movie I sat down to watch and try to get into the franchise... it took a few years for me to recover...)

After that, TF movies turned into course correction and tried to get TF back into the mainstream. Don't get me wrong, TF IS mainstream... But movies are what the public wants. (easier to consume and don't waste your time.)

I gonna say, the Bumblebee movie is a good movie... With TF things slapped on it. Generally speaking, Bumblebee (2018) is a modern Herbie, the Love Bug, a Travis Knight vanity project. I'm being a little evil here, but it is what it is.

Now... ROTB... It is a movie. It has all the aesthetics of a movie... And there are transforming robots in it. Look, I like ROTB, I saw it on debut day and I was hyped, but it makes so many weird decisions... From Optimus's weird unfocused character arc, Unicron... Mirage... if I can even call him that. It's a bullet-list movie with a few funny moments. Oh and Beast Wars cast, but they're the most nothing-burger characters ever in that movie.

NOW TF: ONE

It is a good movie!

A course correction movie, but a good movie. It's a more or less safe bet by Hasbro. It hits the re-start button, so new audiences won't be intimidated by MCU-ness AND it is animated, easy cash with the kids and their parents who'll have to buy two tickets.

ANIMATION AND VISUALS

They fucking lied when they said it was "spider-verse levels", like bruh.

BUT the animation of TF: ONE is very good. Sure, some places had more care than others, but the final product wasn't affected and it was a smart choice. I'm more impressed by the fight scenes, which are well choreographed and spaced while using the characters' transformations creatively - and in that, I have to commend TF: ONE for doing something I always wanted to see - transformation isn't something these characters just happen to be able to do, it's an essential part of who they are and this also plays into the plot. Another thing I'm very pleased with is the character acting in general, you get the feel these animated robots are real people, and this is done through their facial expressions and body language (though, this is more notable on D-16 and Orion Pax.) The designs are nothing to write home about, serviceable at best, and boring at worst. Still, I'll have to give this one to Megatron, but ONLY because he hasn't had a good tank design since... I wanna say Armada, but part of me says it's G2. Sentinel Prime is boring, but he has the fucking Titans Return toy knees, wth? Great design just on this basis.

Now WRITING AND GENERAL PLOT.

One thing I'll applaud this movie for: It knows what it is.

When I saw the first trailer, I had a nagging feeling in the back of my skull that this would be one of those movies... where it promises you stuff while not doing it and overstuffing it with half-assed characters, thoughtless plot points, and uninspired dialogue. (I'm a DC fan, I see the abysm every year or so... Kal-el no😦!)

Well, I am happy to say that wasn't the case.

If I had to describe TF:ONE in one(lol) word, it would be: focused.

It knows its runtime, it knows its audience(s) and it knows the franchise(the good, the bad, and the controversial.) It's a break-up story between two friends - where one falls from grace and the other ascends.

I found this movie quite enjoyable in the dialogue and character writing aspect too. Each character feels distinct enough and they're so quippy, it's a joy to watch them talk to each other. However, the crux of this story is D-16 and Orion, and they REALLY succeded in selling not only their friendship but also the rift in their relationship. This movie isn't afraid to touch on some dark themes; a political scandal disguising itself as a MacGuffin hunt is very welcomed in the MacGuffin Hunt franchise. (still has a MacGuffin tho, it's logically IMPOSSIBLE to write a Transformers story without a MacGuffin)

Sentinel is a perfectly serviceable villain, uniting all existing versions(minus G1) into the ultimate jackass. D-16 is a good voice of reason that breaks into Megatron, his descent into evilness was believable enough for the runtime. Orion is the hero's journey circle. Elita-1 is a supporting character who sometimes delves too much into Hollywood girl boss, but at least they didn't insert the inevitable romance in this movie but still made her valuable to Optimus. Badassatron is a funny comedic relief that could be removed without changing the plot too much (and he didn't have any reason to be Bumblebee.)

To cut an already long post short. I expect the sequel to focus on the Quintessons, I do NOT care about more thirteen primes content (MAKE IT STOOOOOOP), and I also really want them to keep Megatron complex (make him doubt his cause, make him remember his gay little roommate, DO something with the character you've developed.)

and uh... just so I don't lose my brand

*cough cough*

I want the Constructicons in: "TF: ONE: 2: Electric Boogaloo"

[andwhentheangelscome]

go off about the DE debrief pls

Okay okay okay okay SO - gosh, where to even begin.

Okay, so: You're standing above the Whirling-In-Rags (which - by the way - is an INCREDIBLE name for this particular location, as Harry is quite literally caught in the storm of his own hopes and failures and responsibilities and poverty BUT I DIGRESS ALREADY), and you're invited to take in a view of the square which will comprise a central location for the game's central drama, and here, at the end of your first day - for a new player, spent running around haphazardly, talking to people who hate you, who have strong opinions about you and about this world that you barely understand - both as the player AND diegetically as Harry - and right before you try to pack it in and give it another go tomorrow, Kim does something important: he invites you into the story in a way that frames not only what you have done in a way that is encouraging (something needed as a player after all the disorientation) but also deeply personal for this character.

This moment isn't just about the narrative gameplay utility of taking the player aside after they've finished Chapter One (so to speak) and making sure they understood the major components of the story that they're in. It's about giving the player a chance to see Kim Kitsuragi - a character who is deeply straight laced, and particular, and necessary for Harry's potential to heal and to move forward from this point where he's found himself - in a moment of genuine vulnerability, and also genuine power.

Kim pulls a cigarette. His minor vice, his personal challenge, one of the markers of his Cool. He takes you through the days events, making sure that as a new player, you aren't completely lost as to what your goals are here, and what's central to achieving them.

(I had forgotten about this until I've been watching it back - he also compliments the snakeskin shoes!!! The green does compliment the orange!!! And those SHOES - one of the many things that makes me headcanon Harry as a closeted-even-to-himself bisexual, like - Kim KNOWS that it's a bold fashion choice and admires it, okay I'm veering off what's just in the text itself now here)

And then he "zooms out," so to speak. We get a discussion of the RCM, an organization which is core to Kim's belief system, which I read as being a steadfast commitment to the ideals of self-governance, of propriety in the social order, of there being a right way to carry a weapon, and a right way to protect the things worth protecting.

He talks about having been a Moralist (a political ideology coded as being similar to specifically European Liberalism), when he was younger, and falters when trying to articulate why he moved on from their beliefs, except for throwing in a comment about how their motto is more about "what they want you to think about them" implying that, for all their talk, they fail to truly meet those values of "Love, Compassion, Self-Discipline", a statement which the situation in Martinaise genuinely supports.

And it's hard to understate how good the music is in this scene too. Breathy and expansive and yearning and defiant and sad.... It's everything that the story is set up to make you feel. It's big, and it's aching, and musically it's all about how it isn't time to give up yet, not now, not while there's still some way to stand on your two feet and do something about all the problems in the world.

And what's insane about that feeling and that idea is that it's actually the central thing that Harry and Kim deeply share. It's what makes them good cops. The story tells us - both directly through text, and through their actions (assuming that you're not playing Harry as a fucking fascist) - that they get up, every day, broken as they are, and try to Do Good in a world that is beautiful, and hostile, and complicated, and impossibly hard to see clearly through all of the ideologies, and the daily grind, and all the pointless pain, but you still have to try to do the right thing. Because it's worth it. Because that's what you owe it.

Harry has been beaten down by this challenge. He's tried to be good, and smart, and tough enough to take on the problems of the world, and of his community, and he has been brought here: to his last leg, to the Whirling-In-Rags, certain in his heart that he's been beat.

But Kim refuses to accept that answer, and so does Harry's soul (a stand-in for us, as the player), he refuses to accept that nothing can be done, just because the problems seem so large, and intractable.

And then Kim does the best thing that he could for Harry, and for us, who are facing the same exact questions in our own, much bigger, just as complicated world:

He stares the challenge down with courage. And despite what he believes through the clarity of his sight, he hopes for a better world:

It's this line, this Perception check, that I always come back to, when I think about what this game really wants me to take away from this whole story. There's more to it than just that, of course, this game is full of lessons about money, soldiers, workers, sex, power, honor, and beauty,

but this is the thing that I need the most, when I'm trying to find my own way forward. I need to be able to acknowledge that maybe I won't see the world become more kind, more loving, and more honest before I die. Maybe it'll still be just as hard and bleak in 20 or 50 or 100 years.

But still.

I still have to believe that the struggle won't break me down. That the work, the very belief that trying is worth it, will drive me forward,

that it will make me look young. when it should make me look tired.

And then just like that, it's over. It's time to go back inside, to let the moment fade, and to take that courage as far as it will take you.

There are so many good scenes and interactions in this incredible masterpiece of gameplay and storytelling, but the Day One debrief will stick with me forever, I think.

[m1zumono]

dean winchester and autism because this man is autistic and i will not accept otherwise:

his reaction to sam giving him the giant slinky at the end of 7x14 'plucky pennywhistle's magical menagerie'

actually physically stimming when he enters the bunker with sam in 15x14 'last holiday' and sees the christmas decorations

the boxing episode, 11x15 'beyond the mat', where dean spends the entire episode fanboying and (for lack of a better word) plays in the boxing ring

wearing the same thing (flannel, jeans, in earlier seasons the leather jacket) almost all of the time while not in disguise to work cases

eating the same thing (cheeseburger with extra onions or pie) at almost everywhere they go, as often as he can (about dean winchester and food, i could talk about that for hours he has so many issues with it and it's all john winchester's fault)

his ability to recite movies line for line, and his tendency to communicate almost entirely through references and movie quotes, and expecting people to understand what he means

about references, he makes jokes and references when it's not appropriate, he doesn't understand that something isn't appropriate in a situation where it isn't specifically pointed out to him, and he generally has a pretty messed up sense of empathy and inability to 'read the room'

‘you’re always calling me a geek, but you know every word to every led zeppelin song, backwards and forwards. you can discuss in detail every major rock drummer between ’67 and ’84… and you watch ‘jeopardy!’ every night.’ - directly quoted from sam winchester in 14x20 'moriah'

in 13x06 'tombstone' when they go into the motel and dean talks about the cowboys, identifying all of them and going into quite a bit of detail about a few of them, even though nobody asked him about it and he is absolutely infodumping. 'he really likes cowboys.' 'yes. yes, he does.'

his knowledge of cars, particularly baby, and how he takes her for a ride when he's sad because of the comfort she provides him. also about baby and comfort, the way he offers to let people drive baby when he realises that they're sad, thinking it'll make them feel better as she makes him happy and he doesn't understand how else to help

in 1x03 'dead in the water' he talks to lucas about how he didn't speak as a kid, he plays with the toy soldiers and it doesn't come across as playing with them to make lucas trust him, it actually comes across as him finding genuine enjoyment in it

in 1x15 'the benders' when he's talking to the kid who mentions godzilla, dean brightens immediately and goes off topic talking about his favourite godzilla film, and has to be reminded that he's working a case by sam

the entirety of 14x04 'mint condition', how dean gets to express his interests and be himself and how a lot of people have mentioned that he seems to be genuinely himself in that episode instead of the act he puts on

larping with charlie, no explanation needed

he shuts down when things go badly, often blasting music and ignoring everything and everyone around him

he always picks scissors when playing rock, paper, scissors, and it's actually something that comes up multiple times within the show - in 2x17 'heart', sam says, 'dean, always with the scissors,' and along the same lines, his excitement both times he actually wins the game

in 1x04 'phantom traveller', dean is terrified because of the plane and sam points out that he's humming metallica. he replies that it calms him down, and that just seems very autistic

[bearenjoyers]

sorry im just thinking about bcs but like. why not add a few smaller scenes of gus interacting with his own men? why does it seem like, in comparison, mike is almost immediately elevated to a higher status than those two in bcs purely because we actually get to see him having normal conversations with gus? like i understand they might not keep the plot moving as well because of the fact obviously if victor is currently doing something it’s because gus told him to etc. but for the most part all of the smaller interactions gus does have with those two ends up being in a somewhat high stress situation where it feels very tense between everyone. and it’s just like damn! is it always like that?? why do those two even care that much about their jobs if their boss is a bit of a dick? etc. i think even an additional scene or two with those guys (either alone or the both of them) talking with gus in a more normal situation could’ve both added a bit more depth into how gus treats his employees (we got a lot with how he treats lyle and co., but not a whole lot with the illegal side of things), how comfortable vic and tyrus feel around him in a calmer setting, and exactly why they both feel the need to be as loyal as they are to the guy.

and also on the other side of this i don't think it'd hurt to maybe elaborate on their pay just a bit..? i'm not saying to randomly put a number out into the atmosphere but i just mean some smaller things like. do they buy nicer things for themselves? what's their housing situation? what's their car situation? are the escalade / yukon their own vehicles or does gus just use those two for business situations? do they use them when they're doing their own stuff off the clock or do they have their own cars? etc. that can also help with understanding their motivations a bit. don't get me wrong i don't think they should be visibly rich or something because that's not what gus would want but just smaller things! cause it's easy to write their loyalty off as Well they probably get paid super well, which i'm sure is true, but if they don't show a single hint of that then what's the point. even something as simple as giving tyrus a nice watch, or maybe victor having a nicer looking gun, etc. something small like that. because as it stands right now the average 41 year old viewer who watched the show once only knows and will only ever know victor and tyrus as those two guys in the background who do random stuff for gus with no clear motivation. just the personification of "On it boss (salute emoji)". and to be honest this is true for a whole lot of fans who do watch the show multiple times and enjoy thinking about it more in depth, because on screen we barely have anything about the two.

and to be clear i'm not trying to say we should have an episode just for them or something like no i understand they're side characters. i understand we don't need all that. and i understand this is also primarily Jimmy's show. but it's not like these two are on the same level as like, arlo or paige and kevin etc. these guys have been around since brba. victor was literally introduced in the same episode gus was. and they are a huge part of gus's story, especially in brba. s4 wouldn't have been what it was without victor and tyrus. and in bcs, ignacio's situation wouldn't have been the same if it weren't for victor and tyrus as well. and i just personally believe that if their goal with gus in bcs was to go back and elaborate on how everything came to be and show what he was like a few years younger, they could've dragged victor and tyrus into that. and i think his character would've benefited from taking that extra step with those two.

[arolesbianism]

I wanna take a crack at making some fake screenshot graphics for my Sif Odile duo loopers au but I do not feel confident enough in my ability to mimic isat's art style and I also have a crippling fear of drawing backgrounds

[cacw]

i do still stand by this and it's kind of upsetting me they don't hate him but they really obviously dislike him and his place in the story

[ayrennaranaaldmeri]

people with their fave's extra hours of dialogue and double the romance scenes claiming the char in question wasn't l*rian's writers' pet... I can't this is a stupid fucking hill to die on and that is objectively provable there is a reddit thread where someone literally did the maths. You are just wrong and you need to shut up.

[unproduciblesmackdown]

bonus thing i cherish in this shot is that it's the one time it's immediately noticeable that her hair length is uneven....let's go Cutting One's Own Hair (With Or Without A Mirror) look havers irl (b/c of cutting one's own hair with or without a mirror, maybe) & even when it's recreated on purpose like so

[captorcorp]

obscure media you got into has no tumblr tag posts no ao3 fics... the struggler...