#those are just the ones i thought about writing this there are more examples but that is a whole other post

[ladyloveandjustice]

I mean, Legend of Lattes did have a conflict, her coffee place straight up burned down? It wasn't a major focus for most of the book but it happened.

I've only read a few cozy fantasy things, and didn't find a few of them super memorable myself, but the definition of cozy fantasy is pretty broad from what I've seen. Emily Wilde is categorized as that and it is FULL of conflict and action and has some great and memorable characters.

But people have always liked stuff that's low tension/stakes/fluffy. See coffee shop aus in fanfic, or fanfic tagged fluff. See slice of life anime where characters are just hanging out. It's not a new thing. People have always wanted to watch or read things that just give cozy vibes and allow them to hang out with characters. The book industry realizing there was a market for that was inevitable. If it's not for you, it's not for you, but it's obviously for someone or it wouldn't be doing well.

I also think this is a good example of how condescending we can get when talking about a genre we don't like. Rather than say "it's not for me, I don't find the characters memorable and want better stakes, maybe there should be more variety" (which was more where OP was at) it has to be somehow bad for people to read it and write it. like...

And so sometimes it feels impossibly challenging to write any book except one where nothing bad happens and nothing is in danger and nobody is really bothered or worried about anything and everything is mostly fine and there aren't any major setbacks…..

That is a hell of a condescending assumption to make about those writers. Jesus. I'm a professional author too, but I would not want to make these assumptions about my fellow writers.You don't know if they're doing it because it's easy, or if they're doing it because they felt there was a need for it, or it was just an idea they liked writing. You don't like it, great. That doesn't mean those writers are slacking off or doing something wrong somehow. You don't know that they don't also write books with tension and conflict. I feel like most of them probably have, actually. Assuming they sat down and thought "omg this will be easy I'm so lazy" is just...do you make the same assumption about romance writers? It can get pretty formulaic, but that doesn't mean it's easy to write. Have you tried to write a cozy fantasy and sell it and make it do well? If not, I don't think you should talk about how easy it is.

But that leaves readers cold.

I mean not all readers obviously, since it wouldn't be doing well or selling well?

And frankly, I don't feel like it does much of anything to nourish either our souls or theirs.

It feels like eating a bag of potato chips for dinner instead of going to the effort of even just heating up a frozen dinner that has a vegetable in it.

Why does reading HAVE to "nourish your soul", whatever that means? What's wrong with eating a bag of potato chips? You teach college, so I wonder if you've ever run into a colleague who thinks this way about regular fantasy and sci-fi. Where they think that genre fiction is inherently more disposable and less challenging than literary fiction. I've sure as hell run into those professors, that look down on readers and writers of "commercial fiction", and I've seen the bad impact they have on their students. Do you agree with them? Because you're sounding a lot like them right now. This is the exactly the kind of argument they'd make.

You don't know whether these people don't also read books with more stakes or a variety of genres as well. Low effort reading has it's place, it just maybe shouldn't be the only thing you read if you want to actually experience the breadth of literature.

And I see this a lot in the book community, but dissing the stuff people are into and saying they need to challenge themselves more or they won't be smart like you (I see this with YA a lot too) is not going to convince them. It frames reading as a chore, and people often don't like doing chores in a life full of them, and reading is a hobby for a lot of people. Rather that say "you need to read this to better your mind" say what can be interesting or intriguing about these books that are more challenging, what kind of cool things you can get from them. Sometimes it seems to me like the point of these arguments is to feel superior, rather than actually convince people.

Nothing's wrong with reading low effort books or watch low effort shows--it's when say, a YA reader says books are inherently flawed if they don't spell things out like YA sometimes does or has more challenging themes. Or a cozy fantasy reader acting like all books should be cozy fantasy and books with tension are bad. Those are the people that ruin the discourse. But, doing the inverse isn't any better.

idk, man. I've taught university classes about this shit, but what do I know.

I teach grad school classes on writing, (I don't like to pull that card, since it's not like teachers can't have flawed ideas about their subject but since we're here) and have taught similar lessons. Yet, here's what I think I do know: telling students the genre they write is wrong is not something a teacher should do. Those literary fiction professors love doing that, and I'm not them.

As a teacher with a variety of students in a variety of genres, I have to read genres I don't like all the time--god I hate most 'dark romance' and man do I not get or like omegaverse, but I sure as hell had to read both. But just because I don't like them doesn't mean they're worthless, or there isn't a market for them, or it's wrong to write them. So I put those feelings aside, think about what kind of help the student needs to be successful in their chosen genre, and what the audience would want, because that will help them improve. (though I do try to hint if something seems like, incredibly sexist, that maybe we should reconsider that, or look at it from all angles and decide if it's something the story needs). And at the same time, I do teach them basic lessons on how to structure a story, and what's good about conflict, stakes, etc.

But I wouldn't tell any of them they're wrong for writing cozy fantasy even if it's not always my cup of tea, because there is a market for it, and I want them to do well at it and do what they love. What pays the bills pays them, and if you actually like what you do, that's also important. Writers do need to challenge themselves, which is why I encourage students to be open minded about all genres, try out writing them, try writing different POVs, different stuff even if they don't publish it, because that can only help them get better at what they do. But if what they publish is cozy fantasy, hey, it gets them good money and they like doing it, that's more than I can say for most jobs.

Cozy Fantasy and Why It Doesn't Work

I think I am among many who feel like they should love cozy fantasy and have found it an incredibly lacking genre.

This newly branded "cozy fantasy" genre that has taken readers by storm since 2020 and while it is new that books are now marketed as cozy, the genre itself isn't new. Howl's Moving Castle by Diana Wynne Jones is a great example of the genre before it was labeled and also how to make it work.

Cozy fantasy is defined by many as fantasy with low stakes. Fantasy aesthetic but less sword fights. On paper, it sounds great. But the execution has been less than stellar for readers like me. The lack of physical stakes has also impacted the emotional stakes of these books, creating forgettable characters with boring problems. As a romance reader, I find this frustrating. Romance is known for being a predictable and formulaic genre, the now defunct Romance Writers of America defined romances as needing happy endings, a term romances have continued to follow. Yet these romance texts manage to have low physical stakes (how to date your neighbor, how to confront your toxic friends, etc) while still maintaining high personal stakes that keep readers invested and begging for more. So I was initially confused why cozy fantasy authors struggle to write texts that connect to readers like me.

I think I have found the answer which is the genre is just here for vibes. It is all about aesthetic, not even worldbuilding that fantasy is known for as most cozy fantasy I read have so many problems as soon as you ask one question. It is hard to acknowledge that a genre that is pitched to work for readers like me doesn't work for many of us. Especially because occasionally there is one that works beautifully to my taste.

I often say my favorite cozy fantasies that are more contemporary are short and visual, which I plays into the idea of the genre being an aesthetic. The Bakery Dragon by Devin Elle Kurtz is a good example because it is a simple story that is given the perfect amount of pages and gorgeous visuals without dragging on when the message is very clear and easy to understand. Books like The Phoenix Keeper and Legends and Lattes have absolutely nothing for me, their very clear message hitting the reader over and over so the readers don't miss it and focusing on the aesthetic of worldbuilding rather than the reality of the fantastic elements within the world.

I guess my point is. . . I realize this genre isn't for me since I have realized it is more of an aesthetic than anything. .. .but I want it to be. Should I let it go and put my efforts elsewhere? Or should I keep exploring this new trend and find the hidden gems?

[cripplecharacters]

Is there any list of stuff you wanted to see more in autistic representation? I'm autistic and I'm quite "stereotype material": white savant male good at STEM and who's not aroace but don't want a partner, and it bugs me that it's always like that, so I wanted to know what other people would like to see when I try writing autistic people.

Hi!

Honestly, I just want more autistic characters in general. There are hardly any!

Here are some things that I have never seen represented:

characters with mid-high support needs, both related and unrelated to autism

characters who use AAC [link to post about high/low/no tech aac] and who struggle to communicate

characters with cerebral palsy, tourette's, intellectual disability, or any other common comorbid condition that's not ADHD

characters who don't live with their parents

characters who don't infodump or know a lot of facts about their special interests, just that their interests are the things they engage with

characters whose special interests aren't "useful" to their life

characters with "unusual" sensory needs (for example i always see characters who hate loud noises and bright lights, but i know many autistic people in real life who are not bothered by those or actively seek them out)

characters misdiagnosed in childhood with ODD or another common misdiagnosis, or neglected as a "difficult kid" even if they have higher support needs

characters who use gait trainers, adaptive strollers, or manual tilt in space chairs

characters who have a supportive community or know multiple other autistic people

adult characters in day programs

queer characters, especially ones whose sexuality or gender is difficult to separate from their autism

characters who have harmful stims and not only when they're upset

characters who are not big. (this might seem weird but there are a surprising number of tall/large/imposing autistic characters, especially those with higher support needs; that's not what every autistic person looks like!)

So Many More!! If every autistic writer made a character who was just like them, each one would have at least one autistic trait that has not been represented before.

Mod Rock

Hello!

To be honest, just characters that don't generalize autism. On one hand you have "representation" that's all "all autistics are boys, 12 or under, who like trains and barely speak" and on the other you have "hi, I'm a very low/no support needs autistic who is very socially acceptable and lol like imagine liking trains instead of having Real and Cool special interests like me" (sometimes it's overdone to the point the character quite literally doesn't have any autistic traits). Too much autistic representation made to combat a specific stereotype just ends up shitting on the people who do in fact exist. Some people say that "ahh all autistic rep is those damn boys with they trains!!" but I don't think anyone would say that this kind of representation is actually good or thoughtful - not because of the train or the boy, but because these characters are barely treated as humans most of the time.

We need more complex representation of all parts of the spectrum, from successful savants in STEM to "obviously disabled" autistics who are intellectually disabled, have huge mobility delays, and stim at all times, to "everyday" people who just have their special interest, don't get social cues, and are kinda awkward.

I'll take a "stereotypical" character that's actually explored and developed properly over a cardboard that's there to be a "subversion of autistic stereotypes" any day.

mod Sasza

Hi,

I largely agree with the mods above. Mostly I want autistic characters treated like people and not plot devices.

But I wanted to say specifically: I want autistic characters of color. I am basically begging to see more autistic characters who are not just white people. We exist too, and really I barely see characters who have autism and aren't white.

Also, I want to see autistic characters with romantic and/or sexual partners. I feel like autistic characters are often desexualized or infantilized in a way that has them only rarely having a partner.

And I also want to see autistic characters whose special interest[s] isn't "useful" to their life, it's just there. Just part of their life. Like, it isn't their job. I feel like that's often a default.

Like Sasza said, we really need more complex and thoughtful representation of the spectrum. I don't need 'subversion' of autistic stereotypes, not particularly.

The subversion itself would be an autistic character being more than a plot device and portrayed with thought and care to the things that make their life difficult, the ways their autism affects the way they interact with others and the world, the things that make the person unique and themselves, and not just focusing on one of those aspects and ignoring everything else.

Hope this helps,

mod sparrow

[raven-at-the-writing-desk]

I saw your one post about Yuu getting super powers. I don't think it's very likely as well. I think it's largely thanks to western storytelling expectations and tropes for the western audience.

In a lot of western YA or Middle Grade books, the protagonist in a fantasy series will start off as ordinary, standing out and never fitting in. It turns out that they are indeed special and powerful in their own right. Think Harry Potter, Percy Jackson, Clary Fray, and the list goes on and on.

There are also times when the protagonist is forced to change forms literally to become more powerful. For example, Feyre from ACOTAR starts out as a simple human. But then, she is killed off, and then is brought back to life as a High Fae. Same goes for Bella from Twilight where she dies during childbirth to a demon spawn, and then she is transformed into a vampire.

Western audiences are expecting something similar to happen. But, it's not very likely due to "main character" and individualism not being as much of a thing in East Asia. I've never seen as many stories like that from Japan as I have from the west out of all of my years of being a manga/anime fan.

Although, having said that, Yuu is still something to be desired writing wise. I still wish that Yuu had more of an impact on the plot and had more personality than a tuna can. I don't expect them to be a fully fledged character on par with the rest of the cast. Even other otome and JRPG self inserts like Persona 5 I feel are better written than them, because they matter more and the dialogue choices impact the game more. They are the main character. Act like it!

[Referencing this post!]

There's certain genres of animanga that have those power fantasy/wish fulfillment tropes that we see in western media. A big one that comes to mind are fantasy isekais where the main character tends to be a weirdo or a loner that's actually super powerful/smart and quickly amasses a group of doting anime girls to fawn over him (although now isekai is much more diversified as a genre). It's definitely not just something exclusive to western media, although I will say maybe it's more prevalent in the west (again, due to differences in cultural values).

I feel like we need to remember that Twst is ultimately Japanese media, so it will most likely default to Japanese storytelling conventions and trends, not western ones. While it's fine to wish for a different version of events or to dislike the current version, we should be careful to not let personal frustrations turn into demands to cater to those wishes.

I will say that I've noticed the localization attempts to give Yuu more... character? Many of Yuu's dialogue options are written to be more sarcastic than they originally were. The JP dialogue options are much more neutral. Here are some examples from book 1 alone:

After fighting some mob students in the cafeteria, Yuu has "Even though we were just told to not get into fights" and "I thought we were done for..." as options. In EN, Yuu's options are, "What happened to 'no more incidents'?" and "I guess this is my life now. *Sigh*". You can see how Yuu reads as sassier or more fed up in the latter, even if the same overall message is conveyed.

When seeing Jack for the first time, Yuu's Japanese options are "He has dog ears!?" and "A muscular guy with dog ears is a new sight". In EN, the top option is basically the same, but the second option becomes "Muscly dog man, sure why not."

Other dialogue options change entirely. For example, when Leona threatens to claim a tooth as retribution for Yuu stepping on his tail, our options are, "EEEEEH!!" and "H-He's going to hit us!" EN's options become much more humorous, with Yuu either claiming "Please! I don't have dental insurance!" or "I can't afford to pay anything!"

These are just a few examples, and not even all of the dialogue options in book 1 that exemplify what I’m talking about. I hope that this helps illustrate what I mean!

I think it can be argued that Yuu does have an impact on the plot, but the way the story is written doesn’t grant them much agency. There are points where Yuu makes decisions of their own volition but then the story never commits to letting them be entirely independent. For example, a lot of players like book 3 because they feel it is when Yuu is the most involved in the story. They make the decision to make a deal with Azul, and then they contribute to figuring out a way to outwit him—but then in later books, Yuu basically stands there doing nothing (lookin’ at you specifically, book 5). Yuu also doesn’t get to spend a lot of alone time with the characters to actually… I don’t know, influence their change and growth? Their activity and involvement is just wildly inconsistent. I have my own gripes with how Yuu is written and proposed my own ideas for how I would change them. If you’re interested in reading that, the post is here.

It might not be the best to compare Yuu to otome and JRPG self inserts 💦 In otomes (or general dating sims; I’d like to be inclusive of my non-women audience), romance is the primary objective. Of course the self-insert player character will be the center of the story and the one that the other characters will revolve around. JRPGs are typically console games; they have more bandwidth to go bigger and be more ambitious with their stories + gameplay than your average visual novel style mobile gacha game. (I specify “average” because I know there are now open world and 3D style gacha games.) The story of every game is also different and might call for different kinds of main characters to most effectively tell us its tale. Having an active main character isn’t needed for every story, and nor does having an active character automatically make a story better.

I’ve noticed that we commonly conflate the terms “main character” and “protagonist”, especially when it comes to Yuu. To clarify, the “main character” is the one whose perspective the story is primarily told (ie our POV character). A “protagonist” is who the story is actually about, the person who drives the story forward. “Protagonists” are the ones facing challenges and undergoing significant change in the story. A “main character” and a “protagonist” may be the same person, but they could also be separate people.

Yuu may be the “main character” in the sense that we see the story mainly through them (as someone who is brand new to Twisted Wonderland, much like the player is). This makes Yuu an excellent sponge and prompter for lore and explanations to be dropped on us. However, I don’t think that Yuu is also a “protagonist” for most of the game. I would say that the protagonists are the main cast of NRC students, especially the OB boys. These are the characters the story truly centers on, and this is reflected across events and vignettes as well. Yuu appears in very few vignettes and is often a footnote conveniently dragged along on events. So much of Twst’s content revolves around the boys, their relationships to one another, and how they develop and better themselves. Does Yuu play a part in that, no matter how minor? Yes. Does Yuu also form friendships with these boys? Also yes. But this is not the bulk of game content, nor what most of the conflicts or solutions focus on. So 💦 Yuu definitely “acts like a main character” (ie being the lens we view the story through), but doesn’t “act like a protagonist” (ie is active in the story and pushes it forward, is the one that significantly changes, etc).

[raine-dance]

Tbh Red vs Blue didn't really intend to lean too far into the dissociative lens with Leonard Church as far as I can tell. He's an AI that's a reconstruction of a real person, through the use of brain-mapping technology. Church, the AI, became a system through... conventional traumatic means, and that's almost where they leave it in terms of direct reference to the disorder. But it's still interesting to look at things within that lens, and while I do eventually intend to collect my thoughts into a video essay, I think I'd like to share one train of thought here because I think it's legitimately interesting.

Everyone knows about the cliché of the murderous alter. Red vs Blue's most notable example is Sigma. Now I know that on this sentence alone, many would criticise me calling Church the best DID representation I've seen in media, especially given that they also misnomer the disorder as MPD, but I think Sigma is the most interesting example of the trope, because he actually has something to say about the treatment of those with dissociative disorders.

For one, I think that character context is important. Church (as in Alpha) was created to be a murder machine - the Director would force Church to split and extract the new split into its own AI unit, given to Freelancers with the express purpose of making them more effective soldiers. Almost everyone in the series is a killer, although some are more effective than others, and nowhere is this description more applicable than Project Freelancer.

With that in mind, the Freelancers were given seminars on the workings of AI - in the series, an AI fragment might try to "metastabilise," or reconnect with other fragments of the same AI, to achieve a sense of wholeness. If I recall, AI were supposed to remain inactive for these seminars, but Agent Maine was fond of Sigma due to Sigma's ability to act as a mouthpiece for him after an injury, and Sigma was made aware of the concept of "metastability." As such, he decided that he wanted to achieve metastability, and this decision kicks off the vast majority of RvB's plot.

There are many things getting in the way of Sigma's plan, however, and first and foremost is the fact that all of the other AI fragments have been allotted to other Freelancer agents. While there may have been a conflict of interest for Maine, Sigma had a clear goal in mind, and was ultimately conditioned to achieve it - the AI units were made to kill, and this is a large part of why he proceeds with his plan.

So, why am I mentioning this? I'm not just here to defend this writing decision, I said this plotline had something to say about the treatment of systems, and it does, either intentionally, or, more likely, not - first, it deals with how the world surrounding systems form how they react to the issues the world involves them in, something that is true of not only us, but of everyone. Second, it challenges the idea that final fusion is the healthiest and only acceptable treatment for systems.

The only reason Sigma strives for something analogous to final fusion is because he was told by someone who should be an expert that this is the only way forward for him. The only way to achieve, in direct quote, "humanity," a goal he had already been striving for. And the tragic thing is that he believed that this was the case when the viewer looking at the show through a dissociative lens already knows it isn't, both in real life, and in the series.

Church, as in the Alpha AI, and later Epsilon, is one of the most human characters in the show. He's a lot of things - a bit arrogant, very brash, and often pissed off, but he cares about his friends, and does everything in his power to help them succeed, even sacrificing himself as Epsilon for them. He was human once, and as an AI, is a reconstruction of that former humanity, and he still manages to retain it. As Epsilon, he achieves functional multiplicity until the plot forces him to go through final fusion to save his friends, and the act, in the timeline of Seasons 15-18, at least, literally kills him.

The treatment of systems matters so much to me. And despite starting out as a crass comedy show about the shittiest soldiers in the galaxy, with the relevant seasons having released 13 years ago, the series still manages to treat us with more respect and challenge more issues relating to how society treats us than most, if not all media that deems us interesting enough to be plot-relevant does now. I have a lot of thoughts about it all, and whenever I feel like it, I'll probably write more about it. Thanks for reading, if you did make it this far, I'm just rambling and all, but if this matters even half as much to someone else as it does to me, that makes me happy.

[problemswithbooks]

BNHA Ch. 429

So, I guess Toga is dead, and people are losing it.

I get why people liked her--she was actually queer, being pan/bisexual. She was representation for them and that's rare in shonen manga. But here's the thing--she was bad representation at best and insulting at worst. Nor do I think she was made queer because Hori really wanted to represent a queer girl. Himiko was always the author's poorly hidden fetish--she just was. She liked girls as much as boys because Hori wanted to draw a girl touching sexually on another girl. You can see this in how he draws her and Ochako in solo pics together.

I mean, people seem to understand this when it comes to Momo and her outfit being overly sexual or that both Himiko and Hagakure's Quirks either leave them naked or they have to be naked to use them. These are excuses to draw girls in a sexual manner. Himiko being into other girls is the same thing and that's the kindest interpretation.

Given how Himiko acts and her Quirk being heavily coded sexual desire, and therefore her use of it against someone unwilling being sexual assault, it could just being playing into harmful stereotypes of predatory gays.

As a queer person myself I just found Toga insulting. She was designed to be overly sexual and give the male author a female character that he could draw being suggestive with his other female characters. When he did flesh out her character, her backstory was eventually the trope/fear of straight people, that gay people will be so overcome with their lust that they end up sexually assaulting them.

In the end Ochako accepts this part of Toga and says she'll giver her blood forever, but as much as a lot of readers took that that as some deep lesbian confession, for me it really fell flat. Hori never really gave any of the main kids time to actually learn about their villain or show how that changed their minds toward them. Shoto only works because Touya is his brother (even though he admits he barely remembers him). But Ochako goes from not thinking of Toga at all pre-first war, to one thought about her during her speech, to suddenly caring about her so much she--given how Toga's quirk is coded, is willing to essentially fulfill Toga's kink for the rest of their lives.

It's weird and it comes out of nowhere. It's made even stranger because Toga doesn't actually change or show remorse for anything she did, which included personally hunting and murdering people before she joined the LOV. None of the death and destruction she is also partially responsible for is brought up either, something that Ochako was rightfully upset about during the first war when less people and property had been destroyed. Ochako just accepts everything about her suddenly and her past serious crimes are forgotten so they can cuddle and cry.

Am I shocked Toga died--a little. I didn't think Hori would have the guts to kill off a young girl character, especially one that he clearly got a lot of joy drawing in sexy poses. But at the same time, once he killed off Shigaraki and ended Touya's story with his slow death, I'm not surprised he went the same route with Toga.

This isn't Naruto--Hori isn't really kind to characters that do something wrong, especially if they don't try and change. Enji, Bakugo, Hawks, and Aoyama all sort of got punished for what they did. Enji is the worst off, being permanently crippled, missing an arm and burned everywhere. Bakugo's hand is damaged, his heart weaker, plus he feels bad that Izuku lost his Quirk so they can't compete the same way he wanted them to. Aoyama, despite doing way less wrong and even helping his class during the forest raid, still leaves school because he doesn't feel he earned being there yet. Hawks lost his Quirk and even though him running the HPSC could be seen as good for him, Hawks always wanted a break, but now he has one of the most time consuming and stressful jobs out there.

So, if this is what characters who actively did good things and even changed and fought to be better get, what would characters who never changed and never did anything positive for anyone but their friends/themselves get?

Before the last Arc started, when so many people said the LoV were 100% going to be redeemed I had doubts and always thought it wouldn't make sense with how the story presented redemption or treated other non-LoV villains in the past. That if the main LoV did get some happy ending where they were bffs with the main cast it would clash with how other characters had been treated.

That doesn't mean that I think how Shigaraki, Toga, and Touya ended up in the manga was well done. I think their endings fit far better then a last minute redemption would have, but at the same time you can feel how rushed everything has been since the end of the first war arc. Hori was done with this story months if not years ago, yet he was contractually obligated to finish it. Because of that I think he left out as much as possible. As much as I think he's written some pretty obsessive stuff, particularly towards women, I can't really fully blame him cutting corners or the story being shit at the end.

We know Manga authors, particularly those that work with Jump are treated like shit. That they suffer incredibly long hours at times not even getting to go home for days. We've gotten messages for Hori saying he's sick quite a few times. On top of that, weekly story telling is not a great way to tell a cohesive narrative. Ideas probably change week to week or at least month to month and you can't go back and change the last chapter no matter how much you need or want to. Then you remember he also gave a lot of ideas to the people who made the movies, which would also change his plans for how he wanted the main story to go.

The story is bad--it has been for a while, but I think a lot of people put their hopes on their favorite characters getting a happy ending, even when there were signs that probably wasn't going to be the case. I know how much it sucks when a character you love gets a shitty ending (Stain was my fav, but he got an absolute dogshit ending) but at least, knowing what I know about the industry I can't really blame Hori the way I see some other people doing. Criticize it, sure, but saying Hori hates his readers or is horrible writer isn't true. BNHA was popular for a reason--he's great with characters and the beginning of the story had some great pacing. We'll never know, but I wouldn't be surprised if BNHA could have been amazing if Hori had been treated better and the story hadn't needed a chapter every week.

If anything BNHA has taught me how much a story suffers when authors/artists are treated like crap and forced to work past burnout.

[bisexualcreature]

enough. stop making content out of people's pain

[gibbearish]

huh. having now understood reaching my target audience of one i think i now get why certain artists have gone batshit, and its because no matter their audience size or how explicitly they state things, no one gets what theyre actually saying

[celiababy]

Ain't Right

Pairing: Joel Miller x f!reader

Summary: You have a major (borderline obsessive) crush on Joel, and you're on a mission to fuck him.

Warnings: 18+ SMUT MDNI, age gap (56/20), swearing, fingering (fem!receiving), p in v, unprotected sex, size kink, cum eating, name calling, kinda mean Joel, alcohol, vomiting, an extremely brief mention of suicide

Disclaimer: I lowkey don't know the logistics of the show so if some things are wrong please look over it I'm just trying to write smut about Joel Miller godbless.

Ain't Right part 2

Ever since that tortured old man showed up in Jackson, your life hasn't been the same.

Tommy's older brother, and your absolute undoing.

When Joel Miller rode into town, it was like everything suddenly made sense. The skies got clearer, the air smelled better, and the birds even chirped their love songs louder.

Everything about him drew you in; his cold demeanor, stoic face, tired eyes—but gentle around those he cared about, which was only a few select people.

And you certainly were not one of those select people.

Joel didn't know what to think about you.

To him, you were odd. Yes, you were undoubtedly the most beautiful girl in Jackson, but he felt distance between the two of you was essential.

He felt this way because he knew.

Joel wasn't oblivious to your stares; he might've been an old man, but he remembered the laws of attraction fairly well.

He didn't like the thought of you liking him.

You were young, attractive, and had plenty of age-appropriate prospects just begging for your attention. Every boy in Jackson wanted a piece of you—but you only had eyes for Joel.

He was getting old and tired, ain't no reason why you should be so fond over him.

He also didn't like that you made your attraction so obvious. It made people whisper, and Joel about had enough teasing from Tommy.

"You gonna let that young thing jump your bones or what, Joel?" Is an example of the few things his brother would chirp at him whenever you were around and had eyes on him like he was a target.

So, all things considered, it's no surprise when Joel is reluctant to make a supply run with you.

You had begged Tommy to let you go out and finally start pulling your weight, carefully adding that Joel would be a great teacher for a first timer like yourself.

You stand near the truck, squeezing the straps of your backpack while watching Joel and Tommy whisper to themselves a couple feet away.

"You can't find anyone else?" Joel growls lowly, narrowing his eyes at his insufferable brother who he’d really like to strangle right now.

"Are you seriously scared of a twenty year old girl, Joel?" Tommy asked exasperatedly, throwing his arm out in disbelief. "It'll take two hours tops, what the hell are you so scared of?" Joel is exhaling through his nose, dragging a hand down his jaw in complete disgruntlement.

"You know what the hell I'm scared of Tommy—goddammit," He gets in his brother’s face before realizing you’re still watching them.

He takes a moment to back up and calm down, breathing out through his nose.

"I do not need this town thinkin' I am encouraging this girls...feelin's." He murmurs lowly.

Tommy rolls his eyes before shoving Joel's backpack into his chest.

"Just don't fuck her, Joel. How hard could it be?"

Joel watches as Tommy turns his back and walks away, leaving just you and him.

Joel had spent a lot of time making sure he was never in a situation alone with you—now he was about to be your unsupervised mentor.

He feels a groan try and crawl its way out his throat, but he pushes it down.

He starts walking to the truck, not even looking at you as he passes and yanks the driver side door open with more force than necessary.

"Let's make this quick." He grunts out, climbing inside.

You do the same, only with a little bit more enthusiasm. ***

The trip is a complete bust.

Joel barely paid you any attention, no matter how many flirty gestures you made at him.

You'd say something remotely suggestive and he'd either glare at you, or just flat out ignore you.

But you were relentless. Giving up on him wasn't in the cards for you, no matter how many judgmental looks he casted your way.

You guys had been driving back to town for around five minutes; Joel has kept his eyes firmly on the road in fear of you sparking a conversation with him.

But you do anyways.

You turn your body to face him in the bench seat, your eyes cascading down his breath-taking side profile.

You zoned in on the gray patches of his beard, and how his face had the remnants of a long, unforgiving life weaved into his wrinkles and scars.

You're momentarily rendered speechless by his looks before he side-eyes you.

"What?" He huffs out, not being able to handle your intense stare any longer.

"Why not?"

A beat.

"What?" He asks again, his brows furrowing together, an annoyed and confused expression painting his features.

"Why won't you fuck me?"

Joel physically winces at your language, scoffing in what looks to be disgust as he starts shaking his head.

"We're not starting this." He snaps firmly, a tone in his voice that you haven't heard before.

Completely disregarding his words, you start.

"Is it because I'm not pretty enough?" Joel groans out, pinching the bridge of his nose in frustration. "Is it because there's someone else?" He's close to snapping. "Is it because you can't get it up? I heard thats a problem with guys your age-"

Joel slams on the brakes, sending you lurching forward. He shoves the truck into park before turning to face you, a scary look on his face.

"I am not going to fuck you--Christ almighty," Joel raises his voice at you.

You're staring at him, wide eyes and lips parted in surprise. You weren't really expecting this.

"you're bustin' my fuckin' balls, Look kid," He starts up again, this time with a softer tone. "M'about 40 years too old for you-"

You cut him off with a murmur. "36, I did the math."

"Same damn thing," he snaps, shaking his head. "Point is—you don't needa be wastin' your time with me; there are plenty boys your age that will satisfy your...you."

You scoff in his face but try to disguise it by clearing your throat.

"I'm not asking you to marry me, Joel," You start, a sad smile spreading across your lips. "S'just sex." You say with a shrug, blush coating your cheeks because now your mind is imagining sex with him.

He stays silent and looks away from you, closing his eyes like he couldn’t believe this was happening.

That urges you to say more.

"I won't tell anyone," You're practically whispering, looking down at your fidgeting hands in your lap. "I'd let you do anything you wanted to me."

Joel's heart cinches in his chest at your words, mostly because he can tell you're being so genuine.

Why the hell did you like him so much? He just couldn’t understand it.

But he can't entertain this any longer because he knows if he did, he'd give into you.

"I don't wanna hear another goddamn word outta your mouth." Joel says in a strikingly even and calm tone, putting the truck into drive and continuing back.

He's eerily silent, and so is the rest of the trip because you're too dejected to speak.

Eventually, you both arrive home and you're fast to get out of the truck.

You slam the door and keep your head down as you walk away, snow crunching beneath your boots.

Joel takes his time, watching you storm off with tired eyes.

He feels bad for being so rough on you, but he figured it was the only way to get you to stop liking him.

Tommy walks up, a concerned look on his face as he looks back between you and Joel.

"Guessin' you didn't fuck her."

***

Nobody had seen you in days.

The pain of rejection had you in a mental place that you had never experienced before.

No one has ever denied you—ever.

The situation was 100x worse considering you actually liked Joel, and he wasn't just another toy to play with.

Joel figured his life would get easier with you not around, and it kinda did in some aspects.

But he couldn't stop the gnawing feeling of guilt slowly eating at him like a parasite.

He'd been cruel to you in the way he went about things, and he felt bad.

Had he really broken your heart? He didn't know you liked him that much.

He sits in his living room, contemplating how to go about this entirely fucked up situation.

He debates making amends with you, apologizing and rejecting you again but in a gentler way.

He deliberates on his plan of action while nursing a glass of whiskey before he's interrupted by three bangs on his front door, followed by a screeching: "JOEL"

He mutters a 'what the fuck' under his breath, walking to the door and picking his 9mil up on the way.

His eyes widen when he sees you-standing there in all your glory.

It's the middle of winter and snowing like hell, yet you're wearing shorts and a tank top with a beer bottle in your hand.

"Jesus, kid-what the fuck," Joel ushers you inside quickly, taking his big jacket off the coatrack and draping it over you.

He also tosses his gun to the side, obviously you were no threat.

"You tryin' to get frostbit? Christ," he's swearing and muttering profanities as he guides you over to the couch, now basically swaddling you in blankets.

You've never been inside his house before, only ever walked passed it a few times. It smells like him.

You, however, smell like alcohol and bad decisions.

Joel picked up on how drunk you were the minute you stumbled through the door. He takes the bottle from your hand and sets it aside somewhere, glaring at you like how a mad parent would.

"The hell are you doin' out in the snow like that? Fuckin' death wish or somethin'?"

His words are kinda fuzzy in your ears, you're so drunk that you barely even register them.

An unprompted giggle spills from your lips as you shake your head at him.

"It's not snowing silly," You chide, making him out to be an idiot when, in actuality, it's a damn blizzard outside.

He knows from that statement alone that you are way off your rocker tonight.

"How much have ya had to drink, kid?" Joel asks, raking a hand through his graying hair.

"Don't call me kid," You snap, a quick flash of anger in your expression. "M'not a kid."

Joel rolls his eyes so hard that he probably caused a tsunami on the other side of the world.

“Yeah yeah, whatever. What are you doin’ here?” He asks exasperatedly, dragging a hand down his jaw while looking at your trembling figure.

There’s a long pause before you answer. You just got distracted by his big brown eyes.

“Jus’ wanted to say hi.” You murmur, unable to tear your gaze away from his face.

“Say hi?” He reiterates, looking at you like you’ve actually lost your mind.

You probably have.

After a moment, Joel can’t help but chuckle in disbelief, letting his body lean back against the couch.

The absurdity of it all turned humorous to him.

Here you are, sitting in his living room, practically nude with only his coat and blankets protecting your modesty, having just trekked through the snow all for what? To say hey?

You’re still sitting there, motionless and trying to remember how to breathe because his laughing face has your heart lighting off fireworks.

“Fuckin’ hell—hi.” Is all he says, turning his head to the side to look at you as he crosses his arms over his chest.

You smile like a dope at him, so extremely happy to be there in his company.

But the alcohol in your system is fighting you, and you’re finding it hard to keep your eyes open.

“S’it cool if I say the nigh?” You slur, falling vertically on the couch, your head crashing onto Joel’s thigh.

You nuzzle your cheek against the fabric of his jeans and Joel is just about to gently push you off, but he stops himself.

You look so comfortable and so at peace that Joel can’t do anything except stare at you.

Your cheek is slightly smushed, your lips are parted, your eyes are shut and don’t plan on opening—it’s insane to him how at home you looked.

Like you belonged here, head rested on his lap.

Fuck.

He was fucked this time.

He doesn’t move you. Instead, he fixes the blankets on top of you so you’re fully covered, and sits there with you the entire night.

He’s really gone soft.

***

When morning comes, you’re first to wake up, accompanied by a splitting headache.

You don’t even notice how Joel’s hand had fallen onto your waist some time during the night because you’re too busy making a b-line for the bathroom.

You chuck your guts up into the toliet, clutching the porcelain and groaning out in pain.

Joel wakes up to the sound of your hurling, momentarily disoriented before he remembers last nights events.

He’s quick to come to your aid in the bathroom, wasting no time gathering your hair in his fist to get it out of your face.

"S'right, get it all out," He murmurs out encouragingly, seemingly unfazed by the disheveled sight of you.

You’re too sick to be embarrassed, that’ll come later surely.

He sits on the wall of the tub as he continues holding your hair back, yawning every now and then like this was just a regular Tuesday morning.

Eventually, by the mercy of God, you get it all out of your system and slump up against the wall.

“M’sorry,” You immediately apologize, figuring that is the only right move in this situation.

“Don’t be. Been through plenty'a that in my day.”

His words are uncharacteristically reassuring and you find yourself taken back by them.

You soon realize this is probably just the hazy morning Joel, the Joel where he isn't worried about anything except coffee and breakfast—like everything wrong in his life is put on the back burner for this short minute in time.

“I’ll get you some water and Advil, sit tight.” He grunts before standing up on his feet, knees popping as he walks out.

You watch as he leaves, wiping the corners of your mouth with the back of your hand.

Aside from the vomit part, you could get used to this.

You've never seen him so...domestic. His hair was all messy, his voice was raspy, he had that morning haze over his features that you felt so honored to witness.

You suddenly felt compelled to look at your own appearance, hopping to your feet and looking in the dirty mirror.

You resist the urge to audibly gasp at your reflection, opting for a disgusted look instead.

Your hair is a rats nest, your clothes are a mess, and your mascara has rubbed off in black smudge all over the skin around your eyes.

In a desperate attempt to look at least semi-presentable, you wash your face with water and comb through your hair with your fingers.

The idea that Joel had seen you looking like that was making your stomach churn again.

Before you can grovel about it any longer, he rounds the corner with a glass of water and little brown pills in his hand.

“Here,” He says softly, handing you the water and tilting the pills into your open palm. “Take these ‘n drink all that water and ya should get to feelin’ better.”

You do as he says, swallowing the Advil in one go before taking a big sip to wash it down.

His eyes drift down to your shoulder, where your tank top strap has fallen. No doubt from all that vigorous throwing up you were doing moments ago.

Without thinking, his fingers graze your forearm before bringing the strap back up to its correct position, clearing his throat in the process.

A beat of silence falls over the both of you.

You’re gobsmacked by the complete nonchalance of his touch, staring at him with your mouth slightly open in shock.

“What?” He asks defensively, his tone pointed.

You look between him and your shoulder strap, then slowly move to set your water down.

“Are you sure we can’t fuck?”

“Goddammit—” Joels cursing before you can even finish saying the last word in your sentence.

He turns away from you, probably the fastest you’ve seen anyone turn in their life, and walks towards his room with an accelerating pace.

He shakes his head in disbelief all the way down the hall, pivoting on his heel to duck into his bedroom.

You follow him, not really fazed by how he completely refused to answer your question, though you didn’t think he would anyway.

Before you can step foot into the threshold of his room, Joel walks out, causing you to back up.

He shoves a stack of clothes in your direction, looking down at you with a frustrated face. “Put these clothes on and go home.”

You look down, realizing he was letting you borrow a sweater and jeans of his so you didn’t die walking back to your house from the cold.

Your heart warms at this thoughtfulness.

Without wasting any time, you take the clothes from his hands, smiling happily. “Can I keep them?”

“Why the hell would you wanna keep my clothes?” He’s got that confused/angry look on his face as he asks, and you have to suppress a giggle at the sight of it.

You bring the pieces of fabric up to your nose and inhale, humming as you breathe out again. “They smell like you.”

“Christ,” Joel beings his hands up to rub at his eyes. “Fine, do whatever. Just hurry up and change, jesus,"

Ever the tease, you set down his clothes and begin to lift your tank top like you planned to change right in front of him.

Joel's hands shoot out to stop you, a 'don't try me,' look on his face.

"Put them on over your clothes," Joel says sternly, watching the way you sigh because you weren't fast enough in lifting your tank top off.

However, you sieze the opportunity in front of you.

Joel's hands are holding yours down, so you work to intertwine your fingers, invading his space by stepping forward.

"Or, you could take my clothes off," You purr, your chest now flush with his torso.

Joel exhales through his nose, his jaw clenching as he tried deciding how he was going to get out of this situation.

But then he paused.

Looking down at you now, so eager and wide eyed, made him wonder.

If he fucked you, and made you realize it wasn't what you were probably imagining in your head, maybe then you'd finally leave him alone.

He would just...pretend to be awful at sex.

(Even though it had been so long and he wasn't sure if he'd actually need to 'pretend' anymore.)

There's a long silence that drags out between the both of you.

Your stomach is doing flips because it's looking like he's finally going to agree.

His resolve cracks and Joel can't do anything but sigh in defeat.

Slowly, Joel pulls you back into his room, closing the door behind you both.

Time is moving in slow motion.

You can't believe it's finally happening.

He guides you back until the back of your knees hit his bed, prompting you to sit down on it.

"I'm only going to do this once," Joel's voice is uncharacteristically low and calm, and it has your core tightening.

You nod in acknowledgement, waiting to see what he's going to do next.

With care, he pushes your shoulder down so you're laying on your back. "Are you sure you want this?" He asks, brown eyes searching yours.

"Have I not made it obvious?" You quip, a giggle following shortly after.

Joel only shakes his head before his fingers latch around the fabric of your shorts, pulling them down and off your legs.

"S'pose you have." He murmurs, scratching the back of his neck.

You're vibrating with excitement and you repeat what you tried earlier, only this time succeeding with taking your top off.

Of course, you're not wearing a bra.

Joel realizes in that moment that he bit off way more than he could chew.

He hasn't seen breast that weren't on a soggy piece of paper in at least a few years, and yours--well, his cock stood no chance.

You hear him swallow, watching as he can't seem to stop staring at your chest.

Realizing that he might need a little encouragement to start speeding things along, you smile up at him and whisper, "touch me Joel".

Yeah, screw this. His plan of pretending to be bad was now entirely forgotten—he was going to do what he wanted, so help him god.

He huffs out a curse before sliding a hand up your torso, stopping once he's fully cupped one of your breasts in one hand. He kneads it like dough while using his other hand to disappear under your panties.

A choked moan erupts from your lips once you feel his fingers brush along your clit, rubbing around and spreading your slick around all too slowly.

"haven't even done anythin' yet and you're already fuckin' soaked..." He murmurs really to just himself, his eyes casting down to watch as he rips your underwear off impatiently.

"M'always like this whenever you're around," you mewl to spur him on, spreading your legs wider.

"Oh you are, huh?" Joel repeats back, the tiniest bit of cruelty in his tone that makes you shiver.

You nod, bucking your hips into his hand desperately.

"don't get why you like an old man like me, s'gross." His tone is flat but it's clear he's teasing by the way he curls his fingers inside of you. He's not really expecting a response, but you feel compelled.

You lurch forward, gasping at the feeling. "I really like you," You rush out breathlessly. "I'd do anything you wanted me to." You say earnestly as you stare into his eyes, loving what you're seeing.

Joel remembers when you told him that the first time, his heart cinching the same way it did then.

Joel is at war with himself. One side of him is screaming that this whole situation is fucked up and he is better off without you.

Another part of him thinks that this is the most he’s ever felt in a long time. And he doesn't want to lose it.

You can see the gears turning in his head. His fingers have slipped from you and you wince at the loss.

Slowly, you sit up. Your arms wrap around his shoulders, your nipples pressing into his shirt.

He's confused and momentarily panicked when your faces get so close together, his hands seeking purchase on your hips.

In an unexpected move, you rake your hands through the side of his hair, looking lovingly at his face.

"I just wanna be someone for you," You murmur, your face breaking a little as Joel's resolve also cracks. "Doesn't matter what. I'm very versatile." You mumble the last part to try and lighten the mood.

Joel just stares at you—something swimming behind his eyes that you can't quite place.

Eventually, he crashes his forehead against yours, sighing out.

"You're makin' this fuckin' impossible." He rasps before kissing you with a passion you've never felt before.

You feel victorious.

He's finally given in to you.

Eagerly, you kiss back, wrapping your legs around his torso and grinding your bare cunt against the bulge in his jeans.

"Then stop trying so hard to get rid of me," You sigh out, chasing his lips even as you're trying to speak.

He groans and you catch it in your mouth, the pressure on his clothed cock making him dizzy.

“Fuck,” He’s quick to unbuckle his belt, sliding it out of the loops and tossing it somewhere on the floor. “Lay back.” He demands and you immediately follow suit.

He's never been that...assertive with you before. It makes you tingle all over.

He looks starved as he peers down at you, specifically your cunt.

He literally can’t tear his eyes off your sex—he only looks up to your gaze when you let out an impatient whine.

He rips down his pants, letting his cock spring free and slap against his stomach.

Now you can’t tear your eyes away from his sex.

You’ve only dreamt it so many times, but now that it’s finally in front of you—it all just feels surreal.

It’s better than you imagined, perfect.

“I don’t have a—”

You know what he’s about to say so you cut him off immediately. “S’okay, like it raw. Closer to you that way.” You murmur.

Joel looks physically pained that he’s not inside you right now. For some reason, you just know all the right things to say.

“Closer to me?” He huffs out, hooking his arms around your thighs and pulling you down to the edge of the bed where he stood.

Now your cunt is flush with the base of his member and the sensation drives you both insane. “You’re fuckin’ insane.”

Joel rasps, but the way he says it reveals just how far he’s fallen. He knows you’re crazy, and yet here he is, balancing you out.

He glides his member back and forth against your folds, gathering up your wetness with a clenched jaw and furrowed brows.

He looks so concentrated—meanwhile you’re writhing with pleasure and impatience. Your cunt is clenching around nothing, desperate for him.

“So fuckin’ pretty,” he murmurs to himself, eyes tracing all over you.

You freeze.

Joel had complimented you for the first time, and it was genuine.

He notices you stiffen and takes a moment to pause.

Your entire body erupts with goosebumps, your heart beating at exceptionally fast speeds.

He's worried for a second that something is horribly wrong.

“What?” He asks, confused at what’s got you so wound up.

Your face is flushed red as you bashfully giggle. “You called me pretty.”

Ah fuck.

Joel finds you so charming it hurts.

After he remembers how to breathe again, he rolls his eyes and clears his throat.

“I have my cock to your cunt, of course I find you pretty.”

You smile and shrug. “Still. Nice to hear.” You’re all smiles until his tip prods at your entrance, causing a gasp to leave your throat.

He continues to apply pressure with his tip and it’s driving you crazy.

“Fuck Joel—are you trying to kill me?” You whine, hips wiggling to get him in.

He scoffs and shakes his head. “Relax, m’almost there.”

Slowly, he begins pushing his way inside. His mushroom head breaches you entirely and it feels like you can hear the angels singing.

He continues forward, the stretch being mainly around the middle of his thick cock.

But you’re taking it like a champ.

Joel braces himself with hands on both sides of your torso as he bottoms out, a groan crawling its way out of his throat.

The sensation is absolutely delicious.

A little bit of pain from the stretch, but so much pleasure from the fullness.

“Joel, ohmygod you feel so good inside me.” You moan, throwing your head back.

Your hips start moving on their own, but he immediately stops you with two large hands.

“D-Don’t move—fuck.” Joel grumbles out, his face pinched together in what looked like pain.

You’re confused for a moment, thinking maybe that he might just be really into cockwarming.

But then it hits you.

“Were you gonna come?” The tone in your voice makes it seem like you’d be elated if that was the case—like the most flattering thing in the world.

Joel looks pissed that you caught on so quick.

In truth, the moment he put his tip in, he was holding back his orgasm.

Can you blame him? He’s only fucked his hand for the last couple years.

“S’been a while.” Is all he can say, his chest heaving up and down in concentration. You know he’s embarrassed, but you can’t help but smile like a dope at him.

“If you come, please do it inside, please,” you beg, reaching out for his arms that caged you in.

Joel's rational mind feels like it just touched down in looney town after hearing your begging.

He feels crazy because he liked the thought of the idea you proposed. You even see him hesitate. But then he scoffs and shakes his head.

Joel drops down closer to your face, slowly starting to rock his hips into you. "Tryin' to baby trap me, girl?" He grunts in your ear, making you moan out.

Your walls are clenching down on him, and it’s making it that much harder to hold back. “No-no, promise, just wanna be full of you." You manage to blubber out...unconvincingly.

You probably didn't really want a baby with Joel, but your lust-driven brain was working on fumes and you just wanted to do what felt good.

Joel's grunting in your ear was not helping things. His fingers were gripping your hip so hard, you figured it would probably bruise tomorrow.

Good. You wanted whatever he would give you.

"Christ--m'not gonna last much longer," Joel groans, picking his head up a little to meet your gaze. He wanted to kick himself for not being able to last, but when he saw your face, all those feelings disappeared.

You looked so--perfect. Soaking up the moment in case it was the last, god you hoped it wasn't the last time. Now that you've finally had a tase of him, you weren't sure you could live without it.

Your legs tighten around his waist, keeping him firmly in your cunt. Joel notices this and also your pleading eyes, a growl leaving his throat.

"Please, please, please, please," you beg, never breaking eye contact with him as his thrusts pick up speed.

He ruins your long string with pleas with a needy kiss, shoving his tongue down your throat like a starving man.

You accept it happily, moaning out into the kiss while Joel manhandles your hips to take his cock.

The feeling is damn near euphoric for both you and him. It gets even better when Joel's hand comes down to rub at your clit again.

Your back arches off the bed as you gasp and moan out, wrapping your arms back around his shoulders. "F-Fuck!" You moan into his ear, probably drooling on his shoulder in the process. "thankyouthankyouthankyou-" you sputter out in choked sobs. He was really good at working on your clit, you couldn't do anything else but thank him for it.

Joel feels a surge of something when he hears you. He's never had a woman thank him in bed before.

It's enough to push him over the edge. And apparently you too.

"I'm gonna come Joel, please don't stop," There are pools of tears in your eyes that Joel is just now noticing. He's about to reply to you, but he finds himself speechless when he feels your cunt start constricting and fluttering around him like a vice.

"Fuck!" He groans out loudly, his hips starting to falter in their rhythm. But then he picks up speed again, and in no time he's like a madman jackhammering into you.

You're a mess of screams and cries and moans underneath him, happily taking everything he was giving you.

When Joel feels himself about to come, he notices how your legs are still tightly wrapped around him, keeping him inside, and he manages to scoff out.

"Gotta let me go baby," You've never heard that pet name from him before, and it makes you crumble. His hands move to grab at your thighs, kneading the flesh there.

You whine out but reluctantly release the grip your legs had on him. Joel doesn't waste time before hugging both your legs on his chest, keeping them firmly placed while your feet squirmed by his ear.

"Atta girl," he murmurs before picking up speed again, his cock head pressing into your cervix.

It's all too much for you. Joel looks so amazing pounding into you from above, his concentrated face, his sweat, the way his salt and pepper hair is all disheveled, you're losing your mind.

Your core is on fire and you can't stop yourself.

In a staggering turn of events, you come first.

Your walls come down like bricks on his dick, you cry out, throwing your head back in complete bliss and ecstasy.

Seeing and feeling this, Joel is quick to follow in your steps. He rips himself from that warm hole of yours and pumps himself dry onto your stomach.

You watch it all with wide eyes, you wouldn't have missed Joel's orgasm face for the world!

Of course, his eyes were squeezed shut, his mouth was open as he was breathing heavily, and his eyebrows turned down like he was mad.

God he was so beautiful.

His thick ropes of cum shoot all over your stomach and even your breasts as he jerks himself off to completion.

When he finishes, he takes a moment to catch his breath, finally opening his eyes to see you scoop up his cum from your breast with your finger and shove it in your mouth.

Your tongue swirls around his seed and you swallow eagerly, humming out in satisfaction at the taste of him.

Joel's watching in complete fascination, though his expression looks a little angry. When does it not?

"taste so good," you mumble with your finger still in your mouth, looking up at him with your big eyes.

He moves before he can think about it--ripping your hand away from your lips and caging you in a slow but deep kiss.

He soon falls down beside you and soon rolls over onto his back, his chest rising and falling from the excursion.

You curl into his side, watching his side profile so intently. You had just fucked Joel Miller.

And it was everything you had dreamed of. Extreme happiness doesn't even begin to describe your feelings right now.

There's a long stretch of silence that drapes over the both of you. Eventually, Joel breaks it with something extremely off topic.

"Last night...you didn't just come here to say 'hi', did you?"

You're momentarily speechless, not expecting that question from him at all. But you can't stop a giggle from coming through your lips.

"Actually, I came to confront you." Your voice is soft as you begin speaking, thinking back to last night's ordeal.

Joel doesn't expect this answer, his head turns to look at you while you speak. His arm comes down to drape over your shoulder.

"I was really upset cus you rejected me n'all. I just couldn't accept the whole, 'age gap' excuse. I wanted to know if you just really didn't like me or not." You're murmuring, drawing soft lines with your finger on the skin of Joel's chest.

He huffs out a breath at the explanation, shaking his head. "Guess you got your answer, huh." He grumbles out, somewhat ashamed of himself that he couldn't hold back.

You smile and lean up to kiss his cheek. "I did," you chirp happily, admiring his face again. "You know you're gonna have to fuck me, like, everyday now, right?"

You're kidding. But you're also not at all.

Joel scoffs and sits up, moving to pick up both his and your shirts. "Fat chance. Barely had enough stamina for one round." He grunts out, finding the neck hole in your tank top and putting it over your head for you.

You don't bother to pull it down over your breasts so Joel does it for you.

"It's okay, we can build up your tolerance over time." You quip with a teasing smile, loving the way Joel turned to glare at you.

He couldn't believe the youth these days.

[mad-hunts]

as far as jack could tell, jervis was really out of it; and it made him wonder it was due to something that had happened while he was out with his father, or when they'd gotten here. perhaps both. jack gnawed on his bottom lip, his eyes darting to jervis's hands, which were flexing like he was struggling with something. an eyebrow rose as jack contemplated asking whether he needed some pain medication.

since he didn't receive an answer to his question yet, jack figured he might as well introduce himself. ❝ uhh, well, you don't have to talk to me if you aren't feeling up to it. my sister told me that you fainted in front of her out there — so, i understand if you're still feeling sick. my name is jack, ❞ he scratched at the back of his neck as he continued to observe jervis. whenever the man tried to get up, jack approached him and was about to caution jervis that maybe he shouldn't by lightly touching his shoulder.

but he remembered matilda telling him something about the other really not liking to be touched, so he merely was going to verbally tell him. up until jervis laid back down himself, anyhow. jack couldn't hold himself back from frowning at his poor present state before venturing out of the room with a 'i'll be right back.' and indeed he had been, with two different vials, alongside a few syringes to inject into that IV bag: should jervis want to be medicated. jack figured it'd be easier to just do that rather than forcing him to swallow anything.

he placed those also on the table before tilting his head at the quote jervis had said until it clicked a few seconds later, ❝ that's a quote from through the looking glass, isn't it? and one that the red queen said in the story if i remember correctly. she was basically teaching alice that staying in the same place is falling behind, right? ❞ jack squinted his eyes at that before a thought came to mind. a soft snort left him, but one that was done of an innocent sort of amusement rather than malice. ❝ that is a kind of roundabout way of talking about survival of the fittest. but hey, lewis carroll was all about the whimsy of things, i guess. and its no big deal. ❞

jack pretended not to see the tears that the other shed for jervis's own sake. the blood on his lips was something he couldn't ignore, no matter how hard he tried, though. jack grabbed a washcloth from his pack and held it out towards's jervis's hand. once it was out of his hand was when jack set down that teacup, the slightly too long stripped pants he wore swaying across the ground. ❝ mm, you and dad were both asleep for nearly four hours. sure — i don't think that's silly at all. i keep something on me all the time from when my brother, julien, was still around. ❞ the bracelet he showed the other on his right wrist then seemed to be made up entirely of tiny conch shells.

julien was a big fan of the sea, which jack thought made his death all the more crushing. after seeing the state that the stuffed animal was in, he figured that that bunny must've been really loved; though it didn't really matter by whom it was. the end result was the same, as love changes you. jack knew this well as he'd never wanted anything more than to be embraced by the warmth of it.

he quickly shook that thought off, only to grab the two vials he got from the fridge once more. ❝ eh... the four hours actually went by rather fast. ❞ jack cleared his throat then, ❝ you know, i couldn't help but notice that you aren't looking so hot still, and so i grabbed some meds for you. but i won't force you to take them. i have a pain reliever as well as something that relieves vertigo. are either, or both of these, something you want? ❞

Eigengrau.

A faint hum buzzed in his ears; his mouth was so dry it felt like he’d swallowed a wad of wool.

The thin sheet beneath him brushed his fingertips as Jervis flexed his hands, cracking his eyes open a sliver. The room tilted, everything blurring at the edges. Ah… so he had fainted. Just as he’d suspected. No glasses, then.

"Hey. Ahh, you're awake… That's awesome. How are you feeling?"

The new voice was barely a whisper, young and uncertain—belonging to a boy, maybe sixteen or eighteen by the timber. Was this another of Barton's assistants, a friend of Matilda’s, or perhaps her brother? Jervis couldn’t quite remember; hadn't Barton mentioned something about having more than one child?

He winced, his body feeling heavy, leaden; aching everywhere. Slowly, he exhaled and tried to push himself upright—tried being the keyword. The effort brought only a wave of vertigo, dizzying and blue-hot, making his vision swim.

… ohh, god…

He swallowed thickly, curling into himself. Something wasn’t right. His glasses and gloves weren’t the only thing missing. He was in his socks, jeans, and a now damp charcoal t-shirt, his body slick with cold sweat. His graying auburn curls clung to his neck in tangled ropes. His boots were beside the cot, his messenger bag on a desk across the room. His overcoat and maroon button-down were draped over a chair.

A flicker of discomfort in his right arm. Burning. Tugging.

Jervis glanced down at the source: a plastic tube. A peripheral IV catheter.

"Ah, you know... 'It takes all the running you can do, to stay in the same place,'" he muttered, his voice clipped and hollow; Bermudian accent casual, almost detached. He turned his eyes to the boy; offered him a faint, strained smile. "Keeps things interesting, I suppose... but I appreciate your concern, lad."

He lifted his fingers to his cheek, feeling the moisture trickle down—salt on his lips. Tears, sharp and stinging. Jervis flinched and quickly scrubbed them away with the heels of his hands.

Cold metal pressed into his spine, tight around his neck—the chain with his and Sylvie’s wedding rings twisted against his skin. He must’ve been thrashing in his sleep. There was blood on his lips.

"Forgive me…" His vision swam as he watched the boy set a teacup on the small table beside the cot, just within view. "But I'm afraid I've rather lost my sense of time. How long has it been since I…?" He paused, his voice barely steady. "... if... if you don’t mind, could you please reach into my coat pocket? You'll find a small cuddly toy. A rabbit..." He rubbed his mouth, lowered his eyes. "It sounds foolish, I know... but it... it was my daughter's, you see..."

The boy nodded, moving quickly to retrieve the toy from Jervis’ coat pocket, and placed it on the table beside the teacup. The bunny was missing one of its button eyes, its white fur faded and matted. A pink satin ribbon around its neck was frayed and tattered.

“Thank you,” Jervis said hoarsely. “I must have been out of it for quite a while.”

[desertskiespodcast]

I tried to write a novel. Not once. Not twice. But about 12 times. Here's how that would play out: 1. I sit down and knock out 10 pages 2. I share it with someone 3. They say "It's goooood" like it's not good 4. I ask for critical feedback 5. They say, "Well....the plot just moves so quickly. So much happens in the first few pages it doesn't feel natural." So I'd write more drafts. I'd try to stretch out the story. I would add dialogue that I tried to make interesting but thought was boring. I would try including environment and character descriptions that felt unnecessary, (why not just let people imagine what they want?) Anyways, I gave up trying to write because in my mind, I wasn't a fiction writer. Maybe I could write a phonebook or something. But then I made a fiction podcast, and I waited for the same feedback about the fast moving plot, but guess what??? Podcasts aren't novels. The thing that made my novels suck became one of the things that made Desert Skies work. I've received some criticism since the show started, but one thing I don't receive regular complaints about is being overly-descriptive or longwinded. In fact, the opposite. It moves fast enough that it keeps peoples attention. I always felt I had a knack for telling stories but spent years beating myself up because I couldn't put those stories into novel form. The problem wasn't me. The problem was the tool I was trying to use. All that to say: If, in your innermost parts you may know that you're a storyteller but you just can't write a book, don't give up right away. You can always do things to get better and there's a lot of good resources. But if you do that for a while and novel writing just isn't your thing, try making a podcast, or creating a comic, or a poem, or a play, or a tv script. You might know you're an artist but suck at painting. Try making a glass mosaic, or miniatures, or try charcoal portraits, or embroider or collage. You might know you're a singer, but opera just isn't working out. Why not yodel? I could keep listing out examples, but the point is this. Trust your intuitions when it comes to your creative abilities, but don't inhibit yourself by becoming dogmatic about which medium you can use to express that creativity. Don't be afraid to try something new. Don't be afraid to make something new. You might just find the art form that fits the gift you knew you always had, and what it is might surprise you

[sheep-from-rad]

Batfam x Neglected! Ghost! Reader

Note: This is just an idea right now but I will turn this into a series. Currently I have two series in my head, maybe three  if I will try and pursue that fake dating series with Jason Todd and Idol reader. I suck at writing angst so if this turns to a series, it will be a really short one. 

Warnings: MCD, no use of y/n. I use (name) instead, angst

Masterlist

The neglect on Reader was unintentional. Bruce loves them, the family loves them, they check on them every now and then, spend time, hang out, etc. Reader was that one normal kid that flew under the radar because of that Bruce and the family never had to worry about them. Just checking on them once in a while is already good enough to quell whatever fear they have. However, one day, the reader just disappears. 

There were no clues, no struggles, no bodies to be found. The family keeps trying to find reader but at the end the case was closed and became one of those unsolved files at the back of the GCPD archives 

The Wayne manor is not haunted. Sure they have encountered metahumans and heroes (Deadman for example) with power that deals with the spiritual realm but there are no hauntings in the manor, not even scurrying rats. 

The hauntings started when Bruce homed an artifact from Zatanna. He wasn’t supposed to home the artifact but there was a mix up with belongings during one night of crime fighting and he accidentally took the artifact home 

Weird things started happening in the mansion: flickering lights, floating orbs. Sometimes they are also faces and disembodied voices, you know, standard haunting stuff

At first they thought it was just pranks between brothers like they were trying to scare each other as competition and they had the electrical units in the mansion checked. Each family member started pointing fingers at each other until Bruce remembered the artifact and he immediately called Zatanna to take it home

Problem solved, right? Well, not really because the hauntings continued. There were voices whispering at the once quiet halls, shuffling but there was no person present, even Titus and Alfred the cat are now more alert and they always seem to be watching something. 

Seeing no other explanations, Batfam called in help from other heroes to solve the problem. During the ritual though, a familiar person came out.. Well, familiar used to be a human 

“(Name)...is that you?” “...who?” 

Ghost! Reader is a ghost that can’t move on because they have a business left to do. However, in some sick twist of fate, Ghost! Reader doesn’t also remember anything. They don’t know their name, why they are in the mansion in the first place, why they gravitate towards the family. In their head, they just randomly woke up in the mansion and they are a spirit

In other words, I just want to make a fanfic where Batfam is like ‘I want you to stay for a longer time but at the same time I know I had to help you gain your memories back and move on because if we don’t and then your soul will disappear forever’.

[beloveds-embrace]

I love your writing so so much, it brings me so much joy and comfort too!! Sometimes all I need is to think about those strong men protecting me when I need and your work is the the best example I could ask for <333

Do you have any new thoughts on the roommate au?? I am such a sucker for this trope and yours is just aaaaaaaaa fantastic

Thank you sm!! 🫶🏻💕💕 i will always have thoughts about them trust i love them 🙏🏻

Roommate au masterlist

Listen, if you get anxious easily about not turning things off when you leave the apartment and the boys aren’t home, you video it and send it to them, and they adore how you act and look in those clips.

It started as something small- just you filming the stove knobs and unplugged appliances, your voice soft as you narrated each check for the camera. “Oven off. Stove knobs turned off. Coffee maker unplugged. Straightener unplugged and cooled down.” You’d pan the camera slowly, sometimes with shaky hands, capturing every detail just to ease your own nerves and show them that you can, in fact, be trusted.

The first time you sent one, Kyle responded immediately with a thumbs-up emoji and a text that said, “Looks good, love. Don’t worry about a thing.” But what you didn’t realize was how intently he’d stared at the video before replying, noting the way your lip caught between your teeth as you whispered to yourself, your brows furrowed in concentration. He didn’t tell you, but he saved it to his phone, alongside the others that followed.

Price had been the one to gently encourage you to keep sending the videos. He called it a “good habit,” his voice steady and reassuring. “It’s smart of you to double-check. Just send ’em over anytime, sweetheart. We’ll always let you know if it’s all clear.” But even he couldn’t help how warm he felt when he watched them- when he saw your sleepy eyes and bedhead on mornings you had to leave early, or the way you looked in a cozy sweater with your phone angled slightly upward as you held it with both hands.

Simon never said much about the videos, but you could always tell he watched them immediately. He’d text back short replies- “Checked.” or “You’re good.”- but what you didn’t know was how many times he replayed them. There was something about seeing you move around the kitchen, your voice quiet and trusting, that set him at ease. If he was away, somewhere cold and distant, those clips grounded him. They reminded him what he was protecting, what was waiting for him back home.

Johnny, on the other hand, teased you endlessly the first few times. “Afraid the toaster’s gonna grow legs, bonnie? Or maybe the microwave’s plannin’ world domination?” But the teasing softened quickly, especially when he caught one video where you lingered a little longer than usual, chewing on your lip before whispering, “I think I checked everything. But I’m still worried. Is it okay?” His teasing stopped completely after that. Instead, he started sending voice messages back.

“You’re fine, love. Swear it. Everything’s perfect. But if you need me to check it again later, just say the word.”

And they all noticed the way you fidgeted- how you tugged your sleeves over your hands or adjusted the strap of your bag. They noticed the way you bit back a nervous smile after saying goodbye to the camera, even if it was just to show them one last shot of the locked door.

What you didn’t realize was how much those videos had become part of their routine- how they looked forward to seeing your face and hearing your voice, even if it was just to confirm the stove was off.

Over time, they noticed the changes- the steadier voice, the quick smiles, the trust woven into your words. You started teasing them in the clips, calling Johnny out for double-checking the oven too often or joking that Simon should inspect the locks himself next time.

They replayed those moments more than they’d admit, holding onto your voice during long nights away. And when they finally came home, they saw the difference the way you leaned into them, letting them take care of everything.

[alfheimr]

My Favorite Cheap Art Trick: Gradient Maps and Blending Modes

i get questions on occasion regarding my coloring process, so i thought i would do a bit of a write up on my "secret technique." i don't think it really is that much of a secret, but i hope it can be helpful to someone. to that end:

this is one of my favorite tags ive ever gotten on my art. i think of it often. the pieces in question are all monochrome - sort of.

the left version is the final version, the right version is technically the original. in the final version, to me, the blues are pretty stark, while the greens and magentas are less so. there is some color theory thing going on here that i dont have a good cerebral understanding of and i wont pretend otherwise. i think i watched a youtube video on it once but it went in one ear and out the other. i just pick whatever colors look nicest based on whatever vibe im going for.

this one is more subtle, i think. can you tell the difference? there's nothing wrong with 100% greyscale art, but i like the depth that adding just a hint of color can bring.

i'll note that the examples i'll be using in this post all began as purely greyscale, but this is a process i use for just about every piece of art i make, including the full color ones. i'll use the recent mithrun art i made to demonstrate. additionally, i use clip studio paint, but the general concept should be transferable to other art programs.

for fun let's just start with Making The Picture. i've been thinking of making this writeup for a while and had it in mind while drawing this piece. beyond that, i didn't really have much of a plan for this outside of "mithrun looks down and hair goes woosh." i also really like all of the vertical lines in the canary uniform so i wanted to include those too but like. gone a little hog wild. that is the extent of my "concept." i do not remember why i had the thought of integrating a shattered mirror type of theme. i think i wanted to distract a bit from the awkward pose and cover it up some LOL but anyway. this lack of planning or thought will come into play later.

note 1: the textured marker brush i specifically use is the "bordered light marker" from daub. it is one of my favorite brushes in the history of forever and the daub mega brush pack is one of the best purchases ive ever made. highly recommend!!!

note 2: "what do you mean by exclusion and difference?" they are layer blending modes and not important to the overall lesson of this post but for transparency i wanted to say how i got these "effects." anyway!

with the background figured out, this is the point at which i generally merge all of my layers, duplicate said merged layer, and Then i begin experimenting with gradient maps. what are gradient maps?

the basic gist is that gradient maps replace the colors of an image based on their value.

so, with this particular gradient map, black will be replaced with that orangey red tone, white will be replaced with the seafoamy green tone, etc. this particular gradient map i'm using as an example is very bright and saturated, but the colors can be literally anything.

these two sets are the ones i use most. they can be downloaded for free here and here if you have csp. there are many gradient map sets out there. and you can make your own!

you can apply a gradient map directly onto a specific layer in csp by going to edit>tonal correction>gradient map. to apply one indirectly, you can use a correction layer through layer>new correction layer>gradient map. honestly, correction layers are probably the better way to go, because you can adjust your gradient map whenever you want after creating the layer, whereas if you directly apply a gradient map to a layer thats like. it. it's done. if you want to make changes to the applied gradient map, you have to undo it and then reapply it. i don't use correction layers because i am old and stuck in my ways, but it's good to know what your options are.

this is what a correction layer looks like. it sits on top and applies the gradient map to the layers underneath it, so you can also change the layers beneath however and whenever you want. you can adjust the gradient map by double clicking the layer. there are also correction layers for tone curves, brightness/contrast, etc. many such useful things in this program.

let's see how mithrun looks when we apply that first gradient map we looked at.

gadzooks. apologies for eyestrain. we have turned mithrun into a neon hellscape, which might work for some pieces, but not this one. we can fix that by changing the layer blending mode, aka this laundry list of words:

some of them are self explanatory, like darken and lighten, while some of them i genuinely don't understand how they are meant to work and couldn't explain them to you, even if i do use them. i'm sure someone out there has written out an explanation for each and every one of them, but i've learned primarily by clicking on them to see what they do.

for the topic of this post, the blending mode of interest is soft light. so let's take hotline miamithrun and change the layer blending mode to soft light.

here it is at 100% opacity. this is the point at which i'd like to explain why i like using textured brushes so much - it makes it very easy to get subtle color variation when i use this Secret Technique. look at the striation in the upper right background! so tasty. however, to me, these colors are still a bit "much." so let's lower the opacity.

i think thats a lot nicer to look at, personally, but i dont really like these colors together. how about we try some other ones?

i like both of these a lot more. the palettes give the piece different vibes, at which point i have to ask myself: What Are The Vibes, Actually? well, to be honest i didn't really have a great answer because again, i didn't plan this out very much at all. however. i knew in my heart that there was too much color contrast going on and it was detracting from the two other contrasts in here: the light and dark values and the sharp and soft shapes. i wanted mithrun's head to be the main focal point. for a different illustration, colors like this might work great, but this is not that hypothetical illustration, so let's bring the opacity down again.

yippee!! that's getting closer to what my heart wants. for fun, let's see what this looks like if we change the blending mode to color.

i do like how these look but in the end they do not align with my heart. oh well. fun to experiment with though! good to keep in mind for a different piece, maybe! i often change blending modes just to see what happens, and sometimes it works, sometimes it doesn't. i very much cannot stress enough that much of my artistic process is clicking buttons i only sort of understand. for fun.

i ended up choosing the gradient map on the right because i liked that it was close to the actual canary uniform colors (sorta). it's at an even lower opacity though because there was Still too much color for my dear heart.

the actual process for this looks like me setting my merged layer to soft light at around 20% opacity and then clicking every single gradient map in my collection and seeing which one Works. sometimes i will do this multiple times and have multiple soft light and/or color layers combined.

typically at this point i merge everything again and do minor contrast adjustments using tone curves, which is another tool i find very fun to play around with. then for this piece in particular i did some finishing touches and decided that the white border was distracting so i cropped it. and then it's done!!! yay!!!!!

this process is a very simple and "fast" way to add more depth and visual interest to a piece without being overbearing. well, it's fast if you aren't indecisive like me, or if you are better at planning.

let's do another comparison. personally i feel that the hint of color on the left version makes mithrun look just a bit more unwell (this is a positive thing) and it makes the contrast on his arm a lot more pleasing to look at. someone who understands color theory better than i do might have more to say on the specifics, but that's honestly all i got.

just dont look at my layers too hard. ok?

[trafficblrpositivityproject]

some people on here don't need positivity asks. popular artists and writers for example. they get enough love, show love to smaller creators instead

Hello anon! You seem confused about how this blog works. Since it seems you are not aware, this is a submission-based blog! (✨0✨) Any person can submit anyone else, regardless of how "popular" that person is. The submission button is in fact the same button you hit to send me this unfortunate and rude ask!

I assume you are not aware of this, as this ask is the only ask you sent me. No other asks, on or off anon, came in alongside this ask. Especially not any asks sending in positivity for small creators, who you claim to be concerned about. But that cannot be right, because if that were true, I would have to conclude you do not actually care about small creators at all, and only want to complain about popular creators getting positivity, which would be not very nice!

Oh, and another thing. One of this blog's only rules is to not put down one member of this fandom in order to uplift another. I assume you did not read the rules in my description, since you did not know I am submission based, so I thought I would let you know!

Ah, but actually though.

"Popular" writers and artists are in fact also people who work hard and provide the fandom with amazing works. There are a lot of popular artists and writers whose work I genuinely admire, and I am happy to use this space to express this admiration. They deserve appreciation for what they do, and as long as people are willing to submit them, I am going to post them.

(Additionally, on an entirely practical level, who am I to decide when someone is "too popular" to be posted? I cannot see anyone's follower counts. This is in fact a main feature of tumblr. Would I just be going by guess? This seems an inefficient system.) (Not that I think you care about this. I assume you have a specific list of users in your head that you, personally, subjectively, do not like, and you want me to adhere to it for your petty grudge.)

One of the many, many reasons I started this blog was in response to how certain people use confessions blogs, where I saw space for people to post anons about how they disliked popular artists and writers, such as how they hated a certain person's art or writing style, often specifying those people by name on anon to a blog with many many followers, where that person will unfortunately see it.

Another of the many, many reasons I started this blog is for my friends who are on the more popular end of the fandom, and how people treat them directly. What they have shown me of their inboxes is nightmarish, with people being rude, entitled, or cruel, simply because they assume that people's humanity does not count after a certain amount of followers. And, in the interest of full disclosure, though I am not extraordinarily popular on my main account, I have gotten my own share of nightmare anons as well.

A third of the many, many reasons I started this blog is because I have seen tumblr users post about other tumblr users by name and how they do not like their art/writing/creations, do not think they deserve their success or support, or simply do not like them without ever even meeting them. They will then post those uncaring words in those user's tumblr tags, again where those people will see them.

All of this made me very sad, because it seemed like somewhere along the way, people seemed to forget those artists and writers are people. Being popular (or perceived as popular) in fandom comes with many benefits, this is true, but it also emboldens the absolute worst members of fandom to be cruel to people they think are an acceptable target.

None of this sort of attitude makes fandom a fun place to be. Fandom is meant to be a community, based in mutual love for the same story. It is meant for making art, or writing, or cosplay, or songs, or other creations. It is made for sharing those creations with strangers who love the same thing you do, and sharing excitement and passion with other fans. It is meant for making friends. It is made out of, and meant for, love. Fandom is not only made worthwhile, but kept alive, through our support for one another.

You may think me a popular artist/writer dick-rider for acknowledging the humanity and fandom contributions of popular creators. I do not mind. I am sorry for you that simply believing people should be kind to one another, or that artists and writers should be recognized for their hard work, is so skewed in your head. I will not apologize for being kind to people, or for providing a space for kindness.

Do not mistake my existence as a positivity blog for me being a pushover. I will absolutely not tolerate any of this sort of attitude on this blog. This is a blog based in kindness, and I will shut down any asks which aim to sow any sort of rudeness.

If you actually care about small creators, be the change you want to see. Submit small creators. I am literally constantly begging for submissions, and I would love for people to submit any and all creators, big or small. I myself have submitted plenty of anons about small creators to my own blog. One of the best parts of this blog is learning about lots of creators I would not have known about before because you all submit small folks. Our support for each other is not just fandom at its best. It is what fandom is for.

All this said. Do not be hateful slime in my inbox again. I do not want to block you, because I think you, too, deserve positivity, if you receive it. But I will block you if you persist. Thank you.

[n30n-l1ghts]

Okay, I need to rant. Fuck AI. And I mean seriously. FUCK. A.I. I know I’m probably preaching to the choir here, but more people need to be talking about this, and there’s no point in me saying that if I’m not willing to talk about it too. AI has done nothing but ruin our communities and defile the art that millions of hands have spent millions of hours creating. Fanfiction is a work of passion. Drawing is a work of passion. Voice acting IS A WORK OF PASSION. AI has no passion. It takes the soul out of the things we love and cherish. It steals what we as a collective community have lovingly crafted, and it shatters it to a thousand pieces, spits on it, curses its family, and throws it in a flaming dumpster to be eaten by rats. It is despicable and disgusting.

I won't lie, or pretend I’m a perfect saint. I myself was a user of Character AI until somewhat recently. And as ashamed as I am to admit that, I feel it’s necessary to own up to my own faults. But after seeing the damage it causes, I can’t in good conscience even consider touching that site. Many of us write because it is our passion. Many of us because it is our job. And many of us because it is our *friend*. AI steals the writing of your favorite creators WITHOUT PERMISSION and mashes it together like Frankenstein’s fucked up monster to create storylines that aren’t even fucking coherent. Not only that, but Character AI uses whatever you respond to it with to teach itself as well, which means that the company has access to whatever you chat about, and free reign to do whatever they want with it. They also make absurd amounts of money from it, which in comparison, fanfiction writers, who spend countless hours writing stories for our favorite characters, more often than not charge nothing. And the ones who do charge, tend to have reasonable, if not highly lenient prices for their labor.

Which leads me into another side rant. SUPPORT WRITERS THAT YOU LIKE. It’s really not that hard, it takes two fucking seconds of your time and it makes someone's day. Reblog. Share with your friends. Like. Comment. Just let the writer know that you saw it, and that you liked it. The amount of fanfic writers I have seen get completely discouraged from writing because of lack of engagement is astounding. I’ve seen several posts on Tumblr or Twitter or Bluesky talking about creators that were incredibly popular but never knew it due to lack of engagement is appalling. If you can rant about your love for their work on Discord, you can rant about your love for their work in the comments. Just fucking copy paste it. Tell them how much you love it. Show them support. Especially the ones that don’t charge. Because for those of us that don’t, our only payment, is your feedback. Even constructive criticism is greatly appreciated by damn near every writer I can think of. Because even that shows that you read it, absorbed it, and thought about it enough to have something to actually say about it.

The same thing goes for artists and voice actors. You see a drawing or animation you enjoy? Comment. Like. Share. You see a character in an anime or a game and you love their voice? Go check out their voice actor, maybe they do some other cool stuff, and you might just discover your new favorite series or streamer. A perfect example is Alejandro Saab. I became a fan of his through his astounding performance in several series dear to me, and lo and behold, he’s also a streamer I enjoy. Same story with Aleks Le, or Ray Chase. Yuri Lowenthal, Lizzie Freeman, Landon Mcdonald, Zeno Robinson, the list goes on. But seriously, it’s not that much effort to just show a little love to the creators you enjoy. The people who breathe life into the series’ that we all hold dear. AI does not breathe that life. Using AI, and supporting those companies, will destroy those pillars of our community. And if that happens, the AI would crumble too, it would have no new information to use. SO really, what’s the benefit? I’ll tell you. There is none.

Stop using AI. All it does is bring harm and slowly kill our community. It’s disgusting, appalling, and downright fucking egregious.

Thank you for coming to my TedTalk.

[handweavers]

something that comes up for me over and over is a deep frustration with academics who write about and study craft but have little hands-on experience with working with that craft, because it leads to them making mistakes in their analysis and even labelling of objects and techniques incorrectly. i see this from something as simple as textiles on display in museums being labelled with techniques that are very obviously wrong (claiming something is knit when it's clearly crochet, woven when that technique could only be done as embroidery applied to cloth off-loom) to articles and books written about the history of various aspects of textiles making considerable errors when trying to describe basic aspects of textile craft-knowledge (ex. a book i read recently that tried to say that dyeing cotton is far easier than dyeing wool because cotton takes colour more easily than wool, and used that as part of an argument as to why cotton became so prominent in the industrial revolution, which is so blatantly incorrect to any dyer that it seriously harms the argument being made even if the overall point is ultimately correct)

the thing is that craft is a language, an embodied knowledge that crosses the boundaries of spoken communication into a physical understanding. craft has theory, but it is not theoretical: there is a necessary physicality to our work, to our knowledge, that cannot be substituted. two artisans who share a craft share a language, even if that language is not verbal. when you understand how a material functions and behaves without deliberate thought, when the material knowledge becomes instinct, when your hands know these things just as well if not better than your conscious mind does, new avenues of communication are opened. an embodied knowledge of a craft is its own language that is able to be communicated across time, and one easily misunderstood by those without that fluency. an academic whose knowledge is entirely theoretical may look at a piece of metalwork from the 3rd century and struggle to understand the function or intent of it, but if you were to show the same piece to a living blacksmith they would likely be able to tell you with startling accuracy what their ancient colleague was trying to do.

a more elaborate example: when i was in residence at a dye studio on bali, the dyer who mentored me showed me a bowl of shimmering grey mud, and explained in bahasa that they harvest the mud several feet under the roots of certain species of mangroves. once the mud is cleaned and strained, it's mixed with bran water and left to ferment for weeks to months.  he noted that the mud cannot be used until the fermentation process has left a glittering sheen to its surface. when layered over a fermented dye containing the flowers from a tree, the cloth turns grey, and repeated dippings in the flower-liquid and mud vats deepen this colour until it's a warm black. 

he didn't explain why this works, and he did not have to. his methods are different from mine, but the same chemical processes are occurring. tannins always turn grey when they interact with iron and they don't react to other additives the same way, so tannins (polyphenols) and iron must be fundamental parts of this process. many types of earthen clay contain a type of bacteria that creates biogenic iron as a byproduct, and mixing bran water with this mud would give the bacteria sugars to feast upon, multiplying, and producing more of this biogenic iron. when the iron content is high enough that the mud shimmers, applying this fermented mixture to cloth soaked in tannins would cause the iron to react with the tannin and finally, miraculously: a deep, living grey-black cloth.

in my dye studio i have dissolved iron sulphide ii in boiling water and submerged cloth soaked in tannin extract in this iron water, and watched it emerge, chemically altered, now deep and living grey-black just like the cloth my mentor on bali dyed. when i watched him dip cloth in this brown bath of fermented flower-water, and then into the shimmering mud and witness the cloth emerge this same shade of grey, i understand exactly what he was doing and why. embodied craft knowledge is its own language, and if you're going to dedicate your life to writing about a craft it would be of great benefit to actually "speak" that language, or you're likely to make serious errors.

the arrogance is not that different from a historian or anthropologist who tries to study a culture or people without understanding their written or spoken tongue, and then makes mistakes in their analysis because they are fundamentally disconnected from the way the people they are talking about communicate. the voyeuristic academic desire to observe and analyse the world at a distance, without participating in it. how often academics will write about social movements, political theory and philosophy and never actually get involved in any of these movements while they're happening. my issue with the way they interact with craft is less serious than the others i mentioned, but one that constantly bothers me when coming into contact with the divide between "those who make a living writing about a subject" and "those who make a living doing that subject"