#thoughts i have while doing some writing

[streets-in-paradise]

Instead of the classic " meeting the ex leads to women fighting because she wants the guy back", I have more fun with " meeting the ex raises questions in the current partner when she advices her that being with him is a terrible idea."

[elsecrytt]

Satoru Gojo goes to the same cafe every day for his coffee-flavored confectionary beverage. You are the barista tasked with pumping his drink with the unreasonable assortment of syrup squeezes.

You don't blink at it. You've been in customer service forever. Everything is second nature to you. But you give him a look when you hand him a drink and he just starts going.

He likes to make small chat, you learn. About meaningless things - desserts, drinks, the weather - but he makes you laugh, and he laughs at your jokes, too. He's smiling every time you talk.

He's beautiful - in that way that makes you uncertain if he's really there - and friendly, and he seems a bit lonely, eager to converse.

Something tells you Satoru probably doesn't have a lot of close friends. He's rich, too, judging by the massive tips he leaves you.

The thing is, you do a lot of things on autopilot. It's just the way these things get after a while. Pouring drinks, "What would you like today?", "I'll have that out for you soon!", "Have a nice day!", all that stuff.

Sometimes, though. Sometimes. Wires get crossed.

He's picked up his drink to leave, giving you a cheeky smile and a little wave, and you tell him, without thinking twice:

"Love you, bye!"

Oh. Oh fucking hell -

"Love you too!"

[avastyetwats]

Izzy Hands and his fascination/love for candles.

[robinfollies]

KEEP THE DANGER OUT // KEEP THE DANGER IN

[artbyblastweave]

ask game; Victoria Dallon, aka Glory Girl aka Antares

I've always thought that Victoria's first appearance is quite the bit of deft needle-threading.

The thing about Interlude 2 is that Vicky is our first example of one of this setting's established heroes actively fighting crime- not just swooping in to vulture up the accomplishments of an up-and-comer- and a therefore a major goal of the sequence is to ensure that the audience comes away structurally unnerved by what counts as business as usual for the heroes, set the stage for the hurricane of ass-covering to come. So we have a sequence where she lords her power over a baseline criminal who has no realistic chance to fight back or get away, where she cripples and nearly kills him in a display of excessive force, where she uses her connections to other capes to duck out on the consequences of her excess once she realizes that she's crossed certain moral and optical Rubicons. All of this is gross, all of this speaks to an alarmingly cavalier attitude amongst even the most ostensibly accountable heroes. And from a protagonistic perspective, all of this serves to soften the blow of Taylor's actions at the bank in act three, because we're predisposed to see Vicky as an arrogant, overprivileged loose cannon who'd actually have a significantly higher body count than all of the Undersiders put together if not for the cushion afforded to her by her status as a superhero. A golden child up against the already put-upon underdog.

But. She also does all of that to a Neo-Nazi, who was fresh off committing a hate crime. I mean, if this was violence against a purse-snatcher, a drug-dealer- It would be very, very easy to block this sequence in a way that would set her up as a villain and nothing else for the rest of the work. In The Boys, for example, Homelander debuts by incinerating one bank robber's hand and throwing another a thousand feet into the air to land hard on a parked car, and the dissonance between that casual brutality and his chumminess with the onlookers is the thematic backbone for... basically the entire show, because he was in such total control of the situation that the only reason to do it that way is that he fundamentally doesn't care. In Super Crooks, it's made abundantly clear that the superheroes trying to arrest the titular supervillains are significantly more destructive to the city than the villains are, because their institutional backing removes any incentive to do anything but pursue the flashiest arrests possible for the sake of ratings. But Glory Girl? She's a sixteen year old putting her money where her mouth is on the unconsidered-dilettante suburban-left-ish tumblrite rallying cry of punching a Nazi. She's living out a near-boilerplate superheroic fantasy of righteous violence against an uncomplicatedly righteous target- likely a fantasy entertained at least once by the median cape fan, if we're being honest- and then, in the aftermath, blood on her hands and on the pavement, staring down the full weight of the prospect of actually having killed a person in an unconsidered spate of rage, is very much a panicked teenager about it, scrambling for a way to walk it back.

Which, independent of the specifics of whether this particular asshole had it coming, is the problematic element of this that generalizes- that superheroism in this world is a system that puts the social license to use concrete-shattering power in the hands of a kid with the judgement and attitude of someone scheming up ways to dodge curfew. She's done this before, she's gonna keep doing this, she's gonna keep being two-faced about it with her public-facing golden-girl image. But she wasn't wrong to be angry. And the fact that this is the kind of thing she gets angry about is hard to separate from later beats where she tries to do right by people, hard to separate from her willingness to put herself on the line against Endbringers and the Slaughterhouse 9. It's a bad situation, a horrible system that's guaranteed to incentivize bad behavior, they shouldn't be assigning any of this shit to a 17-year-old. But later on, when things go south for her, the seeds are planted so that she can retain audience sympathy in a way that she likely wouldn't be able to if this story was a banal hatswap, with unfairly maligned "villains" who do no real wrong against supervillains who happen to call themselves superheroes.

[fatedroses]

And some days, I just wish you wouldn't look at me at all.

[splickedylit]

Can't believe I thought I was almost ready to start posting this GamKar winter soldier pastiche like two years ago on halloween it's grown by several hundred pages and 100,000+ words since then. Current count is 325 pages, 167,000 words, 15 chapters. fukkin UNIT of a fic

EDIT for my own personal satisfaction:

10/25: 167,000

10/29: 174,700

10/31: 180,460

11/7: 185,775

11/18: 189,500

[thirdeyeblue]

“Nine would have treated Martha better than Ten did”

I need to talk about this argument that never seems to stop circulating.

Note: Not a venomous/anti post. There’s more than enough of that across fandom spaces as is, and this is supposed to be a place for ✨sweet, blissful escapism✨

When making this argument, people seem to envision a scenario in which Nine never met Rose.

While I can appreciate a good hypothetical, recognizing Rose's significance to the Doctor (Nine and Ten) is essential to understanding why things with Martha played out the way they did in the first place.

In the third series, the Doctor is grieving. This grief is deliberately threaded into nearly every script, whether spoken aloud or not (and these are just a few examples):

He's burning in Rose’s wake the entire time Martha travels with him, which is why it’s so frequently called upon: It’s 100% deliberate in framing his grief. He grieved as Nine too, of course— having been fresh on the heels of the Time War — but then he met Rose, which changed everything.

Back then, he was still a rude, traumatized pain in the ass, but we watch Rose soften more of those jagged edges with every episode as they grow closer; as he lets his guard down and forms a deep connection with her.

He falls in love (against his better judgment) and it's game over.

And yes: provided S1E1 had been titled 'Martha', one can realistically assume things might have unfolded similarly to how they did with Rose. However, it wouldn’t have been that way just because the Doctor was Nine and “Nine was different” — it would be because he wasn’t already in love with someone else. The same can't be said for the start of S3.

Think of it like this: if Rose AND Martha had been in that cellar — if Nine had taken both of them along with him in S1 — we’d eventually be looking at the most melodramatic love triangle ever, what with him living in close quarters with two brilliant, gorgeous, compassionate young women... But Doctor Who is plenty “soap opera” as is with just one woman in the TARDIS.

(I certainly wouldn’t object to reading that fic, though)

Now, regarding the unrequited elephant in the room…

His inability to be romantic with Martha isn’t because he thinks her lesser, nor is it for lack of compatibility. It isn't because Rose is any better than her. It certainly isn’t just because he’s Ten.

It’s really only for one reason, which can't be denied — and now I’m a broken record:

He is still in love with Rose.

(cut from a tenrosedaily gif)

Nine is Ten, and Ten is only such a mess in S3 because he’s just lost the love of his life. Martha merely got caught in the crosshairs of a volatile Time Lord in mourning, and yes — it sucks. Absolutely.

But it also feels dismissive to chalk Ten and Martha’s relationship up to little more than some sort of mindless dance of pining, jealousy, and toxicity.

Ten trusted Martha with his life over and over again — and hers, with him. He constantly praised her brilliance, happily carting her around time and space with no intention of letting her go. In the BBC’s extended universe of novels/comics/cartoons/etc, there’s so much depth to their relationship: love and trust and trauma and sacrifice. They had their own special bond as mates, their own complexities — so it’s a bummer that it's forever overshadowed by the other things.

I’m not denying that there was a lot of stuff that sucked/was for sure toxic about Ten's S3 behavior, but so many of the things I've seen him catching flak for can be directly attributed to being A Clueless Fucking Alien Idiot (not a trait that’s unique to Ten) — as well as his flat-out obliviousness to Martha’s feelings.

So yes, I agree: if Rose never existed, he would have treated Martha differently as Nine. He also would have treated her differently as Ten. Certainly.

But Rose did exist, and when discussing canon, it matters.

“He tells me that he absolutely, 100% loves Rose... He tells me how my daughter; my wonderful, beautiful, clever little girl saved him from himself before… And he says that’s all because of me! I made her into the Rose Tyler that saved him.”

-Jackie Tyler, Flight Into Hull!

Martha got the short end of the stick in S3. She came round at the wrong place and time, but that doesn't mean it was all bad. It doesn't mean the Doctor didn’t adore her. It certainly doesn't mean the time they spent together was wasted or worthless. They were brilliant!

Sure, he could be a twat, but let it be known that he was a twat with Rose as well, both as Nine and Ten. I’m sure Tentoo can be plenty infuriating, too. So while I'll defend Ten (and Tentoo) into the ground forever and ever and ever, I'll concede that he's fucked up.

The Doctor is a certified Pain In The Ass. It’s one of the things I love so much about this character — dynamics.

But never forget that Martha was goddamn tough as nails and overcame every bit of it. She moved on with her life, and the Doctor moved on with his. One can only pray that, when they inevitably drag her back onto the show (which feels inevitable if I'm honest), we see at once that she's been living her best life for all these years.

[necrotic-nephilim]

there is not enough femslash in batcest circles. the girls deserve to be just as weird about each other as the boys are. if BruDick gets to be weird father/son/brothers/lovers/friends/rivals/soulmates then it is only fair that Babs/Cass get to be mother/daughter/sisters/lovers too. Something about that deep intrinsic but undefinable love that is born out of trauma, especially if you consider Cass not knowing what healthy love looks like in the first place. i think it's fun and deserves just as much fandom content.

besides that, you can get even more niche with rarepairs like Helena/Steph. Huntress/Spoiler: Blunt Trauma is already a fantastic comic and even though it's their only real canon interaction it has so much potential. very comparable to TimJay in how Helena tries to get Steph to understand her morals and the corruption you could play with it.

batman: huntress/spoiler: blunt trauma (1998)

that comic also highlights on how both Steph and Helena are outcasts of the Batfamily and don't have the approval of Bruce to be doing what they do in "his city". I think there's so much Potential in Helena taking Steph under her wing because Bruce won't let her in and it becomes a weird codependent toxic sapphic mess. I think the protectiveness Helena feels over Steph from the get-go is so clear and the way she wants to look out for Steph, wants to make sure Steph understands the real world? I love them. Helena should be allowed to steal Steph, actually. I think it'd be fun.

there are a lot of other possibilities too like Babs/Steph or even getting weird with Helena Bertinelli/Helena Wayne and the existential question of "is it selfcest or not." But these two specifically live in my head rent-free, especially Helena/Steph and one day I'll convince everyone else to ship it too.

[merlins-strawberriesandroses]

TO be honest. I don’t understand what it means when people say Merlin was Arthur’s bane. Mayhaps I misunderstand but. Arthur was a bit of an assassination magnet (not to mention all those magical creatures and bandits... so many bandits), and Merlin actively prevented Arthur's death for years, which would have occured without him anway in the very first episode. I can see why one might argue that Merlin was just delaying the inevitable, or that he didn't succeed in keeping Arthur safe until Arthur could enact the golden age, but certainly I don’t see how he could have been Arthur’s bane.

Also, it’s implied in the last episode that the golden age does occur, but under Guinevere. Which makes sense as she knew Merlin was the sorcerer and that she was pleased about it (and I recall it was confirmed in interviews), so I also don’t follow the twin train of thought that Merlin was his own bane or even Camelot’s. Camelot was already bane-d(?) under Uther. But partly because of Merlin's steady friendship, Arthur matured into a king who was kinder than his father. He also actively sought magic's aid on multiple occasions, so he knew magic had potential for good (like healing his queen) without Merlin needing to tell him about his magic.

I don't think it's fair to say Camelot's laws on magic remaining relatively static was because no one close to Arthur came out as having magic. There was still much risk in that, and for Merlin a lot at stake, not just his life. A law change was still possible (and almost seemed to be set up that way) without Arthur needing someone he was personally close to having to do the work to humanize it for him (in the sense that the episodes with the druids, the druid boy with Elyan, and the dolma seemed like they were pointing to a law change because Arthur sees the diversity of magic and those who have it).

At worst Merlin’s efforts didn’t change the status quo, but we do have things indicating that they did. And Merlin was not single-mindedly serving Arthur at the expense of everyone else. He saved Camelot as a whole multiple times. He was also very willing to stick out his neck for many others even during the height of his anxiety and agitation in season 5. (Also only being slightly silly when I say this, but he was also THE wingman for Arthur when he was getting with Gwen, so in a way Merlin’s help led to their courting being a success and thus contributed to her being in a great position to change the laws. so personally I give points to Merlin for that). Most of the decisions centering Arthur's safety seemed to stem from the fear that Albion would crumble before it began if Arthur were to die, so he tried his best to prevent that from happening in any way he knew. (Like, when Arthur is dying, Merlin asks "So I failed?" regarding the whole golden age thing, which I think is telling that the prophesy and his role in it was still VERY much at the forefront of Merlin's mind).

And this is a digression but I know people think Merlin should have done more for Camelot, or for folks with magic (like, as a revolutionary or something akin), which I understand but no one reached out to network with him really? It'd require resources, people (always confused why there weren't a whole bunch more folks offering Merlin material/intellectual/emotional support if they thought he should be the one to bring about the golden age. all he was told was that the forseen way it actually happens succesfully is through Arthur), time (I doubt it’d have been much of a ‘quicker’ way necessarily), and incredible planning + foresight if it's meant to be something that works out effectively + long-term. Okay I think I've digressed enough now. This is a whole seperate thought that I don't think I'm gonna do any justice here lol, and I'm already rambling, so I'll stop now :,)

But anyway, in terms of being his own or Arthur’s bane, we know Arthur will return, and we don’t know how Merlin spent his years. His magic can play with time and maybe he learns how to control that, or he could have entered a stasis like in various legends, etc etc etc. And I mean it is tragic on many levels, and it’s sad we didn’t see Arthur’s arc completed, and that Merlin sacrificed so much for a goal that didn't get much acknowledgment by the show at the end, but still. I don’t think Merlin was Arthur’s bane, or Camelot’s, or his own.

[hanzajesthanza]

if witcher 4 is set in the past, but in the recent past… in other words, the heyday of witchers… that would actually be way more interesting than setting it in the distant past, because we have so much more developed, canon context already for that period. there’s already a skeleton to hang a story on.

in addition to being able to bring back some already known characters. imagine meeting like, hen gedymdeith. what if we can know of tissaia training philippa as her pupil. meet eithné… uh… just the same as she ever was i guess, but with her daughter alive this time. encounter future scoia’tael agents as kids. i want to see falka on the stake

[beetlethebug]

And if I wrote the pilot program all messily getting together during a chimeron house party, would y’all be into that?

[simcardiac-arrested]

growing up is like, every single thing you thought would be so complicated and unmanageable and unthinkably difficult turns out to be, actually, pretty simple. and every single thing you thought was so simple and easy to understand and how come adults don’t get this turns out to be painfully hard to deal with, to actually understand and internalize.

the thing you thought you had all figured out—somehow, you forget the right way to handle it. the thing you thought would dictate the course of your entire life, the thing you thought would ruin you forever—you move on in 2 months. the worst thing to ever happen to you hasn’t caught up yet. maybe it never will. maybe life shouldn’t be based on which worst thing happens when.

a hobby you thought would be a silly one-off becomes an all-time favorite. a genre you could never see yourself getting into can offer you the best story you’ve ever experienced. an inherent belief you thought you’d never budge on starts getting cracks. a person you’ve only ever seen in passing and had short conversations with can become your closest three, five, seven years later.

everything you thought about yourself can turn out to be wrong. you’ll get better in ways you didn’t know you could. you’ll slip and fall just as much, get new scrapes along the way as you survive yet another mess of a job, a situation, a relationship. it might be fear, or it might be happiness when you’ll look at yourself in the mirror and not recognize who it is.

so yeah, i guess, if i had to describe what growing up feels like, i could say i’m closer to figuring my life out, or i’m even more lost than before, or that it’s like a rebirth, i’m becoming a new person, i’m finally getting to know myself, or the many, many other things people say when you ask them.

and they’re all right, of course—the future you dreamed for yourself at age 12 is no longer there to guide you anymore, but sometimes it does feel like you see things clearer, like the pieces occasionally click in your head even if you can never comprehend the puzzle. you’re still who you were at your core, but you’re also starting to peel back the layers, to find such things that you never even imagined could be you.

so yeah, i guess, growing up is all of those things and more. it never stops to wait for you to realize it’s happening. it’s changing, changing in a way you can never anticipate, changing in a way that will simultaneously ache deeply and make you the happiest you’ve ever been. it’s the most complex, most intricate experience a human could have.

but, like most complicated things, it’s also actually pretty simple.

i mean—it’s just plain fun, isn’t it?

[ashmp3]

hi friends hi teo nation i come to you with tail between my legs i am unfortunately still alive

[kikizoshi]

Sun and Moon as Two Broken, Overcompensating Parts of a Whole

I think treating Sun and Moon as opposing coping methods in the same person/body could be an interesting slant to the Daycare Attendant. Where Moon is the part of the DCA that needs them to stop, to rest, they can't keep going on like this. And Sun is the part of the DCA that can't stop no matter what, that has to keep things together, that can't let them rest because the moment they relax everything will fall apart. The need for rest vs the need for progress, acted out in two personalities in one body. Neither are fully right, and neither are fully wrong. They can't give up and succumb to their circumstances (Moon), but they can't keep burning themselves out trying to shove broken pieces back together (Sun). And actually, both are making what the other needs a hostile option. Sun needs to rest, but he can't because the moment he does, Moon will shove him down forever. Moon needs the drive to keep going, but Sun is actively burning them out and making it so excruciating that Moon can't even consider trying. Since neither can reach true peace solely with their own methods, they overcompensate with their faulty coping mechanisms and spiral almost past the point of no return.

That's why merging into Eclipse finally gave them peace. Because together, they have the ability to rest, take things calmly and slowly, not succumb but allow space to breathe. Whereas apart, they literally split at the seams; Sun will forever keep trying to run and Moon will forever keep trying to stop. Crucially, because both are a part of a whole--they'll never be able to operate on their own entirely because they each need the other to be their whole self. Which is literally what Eclipse is. Yin and Yang slotted together.

(This post is a mix of speculation and ideas for how the DCA works in a narrative. It's not meant to be a lore analysis or 100% canon-accurate, just to work from a story perspective.)

[yellowocaballero]

Been a fan of your fics for YEARS. I was just telling my friend how despite how much I read fics I never actually love them, with some of your fics (especially TMA) as the exception. Felt the need to reread some of them and saw you reblogged some ISAT fanart. So. Any thoughts on ISAT you'd like to share?

Hope you have a wonderful day!! So happy I found your fics again!!

I avoided answering this for a while because I was trying to think of a way to cohesively and coherently vocalize my thoughts on In Stars and Time. I have given up because I don't want to hold everybody here all day and I have accepted that my thoughts are just pterodactyl screeching.

I love it so much. I have so much to say on it. It drove me bonkers for like a week straight. I have AUs. It's absolute Megbait. They're just a little Snufkin and they're having the worst experience of anybody's life. Ludonarratives my fucking beloved.

I am going to talk about the prologue.

The prologue is such a fascinating experience. You crack open the game and immediately begin checking off all of the little genre boxes: mage, warrior, researcher, you're the rogue...some little kid who's there for some reason...alright, you know the score. You're in yet another indie Earthbound RPG, these are your generic characters, let's get the ball rolling.

Except then you realize that these characters are people. You feel instantly how you've entered the game at its last dungeon, at the end of the adventure. They have their own in-jokes, histories, backgrounds, adventures. They get along well and they're obviously close, but not in a twee or unrealistic way. They have so much chemistry and spirit and life. I fell in love with them so quickly.

But Sif doesn't. Sif kind of hates them, because they will not stop saying the same damn thing. They walk the same paths, do the same things, make the same jokes, expect Sif to say the same lines. They keep referencing a Sif we do not see, with jokes we never see him make and heroic personality he never shows - they reference a Sif who is dead - and Sif can't handle that, so he kills them too.

They become only an exercise in tedious frustration. Sif button mashes through their dialogue, Sif mindlessly clicks the same dialogue options, Sif skips through the tutorial, Sif blows through the puzzles. Sif turns their world into a video game. Sif is playing a generic RPG. Sif forgets their names. They are no longer people with in-jokes, histories, backgrounds, adventures. They're the mage, the warrior, the researcher, and...some random kid.

I did not understand the Kid's presence at first. I had no idea what they contributed to the game. They didn't do anything. As a party member in a video game, they're a bit useless. Why is the Kid there?

Because Sif's life isn't a video game. Because the kid isn't 'the kid'. They're Bonnie. Bonnie, who the party loves. Why is Bonnie there? Because they love them. There is no room for Bonnie in the boring RPG that Sif is playing. And then you realize that Sif is wrong, and that they've lost something extremely important, and that they'll never escape without it.

Watching the prologue before watching ISAT gave ISAT the most unique air of dread and horror, because you crack open ISAT and you see the person Sif used to be. You realize that Sif used to be a person. Sif used to be the person who made jokes, who gave real smiles, who interacted with the world as if they are a part of it. And you know you are sitting down to watch Sif lose everything that made them a person, to lose everything that made them a member of this world, and turn them into a character in a video game who doesn't understand the point of Bonnie at all.

At the climax of the game, when the others realize that something is deeply wrong and that Sif physically cannot tell them, they realize that there is nothing they can do. So Bonnie declares snacktime. And for the first time they have snacktime.

What is snacktime? Classic JRPGs don't have snacktime. There's literally no point to a snacktime - not in a video game, and not in Sif's terrible life. It's not fixing this, because nothing can fix this. But Bonnie gives Sif a cookie and Sif eats it.

It's meaningless. It's a cutscene. It didn't save Sif and it didn't change a thing. It will make no difference in the end.

But it did make the difference. It made all of the difference in the world. Bonnie is a character who you really don't understand the point of before you realize that Bonnie was the entire point.

ISAT is about comfort media. Why do we play the same video games over and over again? Why do we avoid watching the finale of our favorite shows? What is truly comforting: a story with no conflict, or a story where you always know what is about to happen? Do you want to live in a scary, uncontrollable world, or do you want to play Stardew Valley? Do you want a person or a character?

When I beat Earthbound for the first time (and if you don't know, the prologue/ISAT battle system is just Mother) and watched the ending cutscene where the characters part ways and say goodbye...I felt a little bit sad. I wanted them to be together forever. But that's something only characters could ever be.