#tumblr does that thing where it doesn't show the whole post if it's long but

[vartouhix]

This song ( english translated lyrics here ) almost perfectly describes how she felt about Suguru in her teen years. The only part that doesn't really fit is the "Have you ever spent the night with someone you just met?" because. She was baby!! Sex was something she read about in her steamy romance novels but couldn't fathom being brave enough to do!!

Because of a scary experience with some boys in middle school, she was very wary of being alone with men... But the boys of Jujutech quickly helped her get over that lingering fear. Yu with his puppy dog friendless. Satoru with his chaotic but playful energy. Nanami with his maturity. I suppose she couldn't have come to crush on Yu or Satoru at this time because they were simply too much for her shy nature to handle. In Nanami's case, he wasn't quite warm enough at the time for her to develop any feelings. But Suguru...

He was kind to her, but he was more reserved. He was mature, but not overly so. There was still a playfulness about him, just not quite one as over-the-top as Satoru. Though these are still somewhat lukewarm reasons, you have to remember that she was bullied throughout elementary and middle school. None of the boys in her past had ever shown her kindness or friendliness. So to receive it so suddenly, and in that "just right" spot that Suguru fell into, he appealed to her. And obviously, it helps that he's attractive lol.

It started with her just being so curious about him. Just like in the chorus, she wants to know all the details about him, even the tiniest, most trivial ones. The lyric "You comfort me" sticks out to me, too, because he was the boy she felt most comfortable with. And "just give me yellow"... Yellow like "go slow," which is exactly what she wanted/needed at that age. She had the sense that Suguru, out of all the boys, would, if he were to return her feelings. Slowly her curiosity developed into a craving for his attention. She would try her very best in everything from sparring to cursed technique training to academics... That was already her way as it was, but she had new motivation: to impress him, to have him look at her, notice her. Honestly, you can chalk those two things up to just an intense admiration, but it did eventually develop into a full-blown crush, with her feeling fond of him and wanting him to feel fond of her in return.

She wasn't good at hiding it. She blushed easily and frequently around him, stuttered... Had a hard time meeting his gaze at times, and when she did, got that awestruck look about her. She gave him the most compliments, and was always attentive to him. (An example would be that if he seemed sluggish, she would buy an iced coffee from the vending machine to give to him.) She also gave him homemade honmei chocolates on Valentine's Day, though she never specified that they were. (She never considered he might notice that his chocolates are different from the other boys' chocolates.)

After the events of the star plasma vessel mission (which she never got the full details on), she did notice something was wrong with Suguru, but never felt comfortable outright asking if something was wrong. At this time in her life, her insecurities were still deep enough that she always doubted whether the others considered her close enough to them to be able to do that sort of thing. She would approach with a "How are you?" or "You okay?" in hopes he would just give a hint that something was up--anything for her to gently pursue further. (If she had been the one he was sitting with when he said his "Present company included?" line, she would have latched onto that.) She did try to take care of him more. For example, she would ask if he wanted her to cook for him, or if he needed help brushing his hair... Little things like that.

I mentioned in this headcanon post that she isolated when Yu died. She was too afraid of bringing up the pain for the others, and was too busy drowning in it herself to continue paying such close attention to Suguru.

Naturally, when Suguru murders the villagers and his parents, she is devastated. It hurt almost as much as Yu's death. She did have a small, tiny ember of hope that whatever switch had flipped in him, would flip back. The death sentence scared her. Even if Suguru was now "the worst curse user," she couldn't just erase her friendship with him and crush on him. She wanted him to live. To repent, maybe, but to live. To come back.

So many years passed. Her feelings faded.* She accepted that the Suguru she had been smitten with was gone, even if Suguru himself wasn't dead. And then he paid his little visit to the campus to make his introduction to Yuta, and once she heard about it after the fact, she was livid. Her desire to protect the students ( yells heR KIDS!!! ) far outweighed any fond memories of a previous friendship.

*Subject to change depending on if anyone has a verse where he repents or if I decide to make a verse where she becomes a curse user.

On that note, all of this is subject to change depending on individuals and what they want out of plotting/rping with me. But this is my "default Jangmi lore" for her connection to Suguru. I figured it would be easier to make a post about it because 1) I can send this to any future muns that are interested in writing together as a starting point, and 2) I've yet to really get to rp with a Suguru so... xD I NEEDED SOME INFORMATION ON HIM.

[dinogoofymutated]

THAT POST ABOUT CLEANING IN THE FLOWY DRESS? THINKIN ABOUT HANK? HNNNGGG PLEASE I BEG OF YOU

NSFW!Beast/AFAB!reader. - NSFW HCs! I was already on it when I got this ask heehee. These hcs were originally suppost to be part of another NSFW request I got for him but I was thinking about this too hard and comepletely forgot the actual theme of the req! So I decided to save it for later and just post it under your ask lol Anyway I need him my god. I was writing this while picturing watxm Hank but I'm pretty sure it works for any version. TWS: MDNI!!! smut under the cut. PNV smut. Eating out/head. Cum descriptions. Reader written with Fem in mind and also wearing a dress is mentioned, but overall no pronouns used. Creampie. Getting caught after the fact but not during the deed.

Okay, We all know that Logan has incredible stamina, and there's quite a few mutants that you would just expect that from anyway, but I'm 100% sure the one person that a good bit of people would NEVER expect to have insane stamina in bed is Hank. Like yeah he's nerdy, but dude straight up went to college on a SPORTS scholarship on top of his academic ones.

There is no fucking way this man has anything other than the most insane stamina. Dude is the perfect package of nerdy genius and athletic perfection. Can you imagine how long he could go on for in bed?? While you're sweaty and absolutely exhausted he's having the time of his life. Sure he's sweaty to but he's still. fucking. going?? It's like you'd been having sex for three minutes instead of four hours. He obviously gives you breaks and takes care of you, keeping you hydrated and such- but every time he begs you for "just one more". He's so gentle when he's gathering up your limp body and he's kissing your temples and forehead and massaging your tender spots, but he's a scientist at heart. He wants to know how far the two of you can really go, and he wants to know BAD.

I saw in a post somewhere on tumblr that he mentions that the one thing he doesn't have control of is his libido or something like that? It was from a comic snapshot so obviously this isn't even a hc it's fully cannon I don't make the rules.

THE FUCKING PHEROMONE THING!! For those of you who don't know, Hank was confirmed to have some minor Pheromone manipulation abilities. Like oh my god?? I definitely think that he will use it in sweet ways where he just wants some cuddles without asking you for them, but I feel like when he's hot and heated he just subtly does it without even knowing. Like he's super pent up one way and for some reason every time you greet him or pass him by you just start having more and more inappropriate thoughts about him. He'd feel so guilty if he catches himself doing it but at the end of the day, you don't really mind. Don't think too hard you beautiful big guy, can we just fuck already??

He will absolutely use his strength to hold you in any position possible. As long as you're both comfortable with it no position or hold is off the table for him. I don't think he'd be into BDSM or anything that has to do with hurting you, but I do think he's the type to read through the kamasutra and want to try all the positions to find the one you both enjoy the most.

He will fuck in the lab. He might do a whole "Oh my! Not in here, dear ;)" But most of the time he's instigating it! Sure he makes sure to lock the doors and everything but he's not shy when he has you splayed across his work tables, bent over you as he gently kisses and brushes his fangs over your skin. He likes how flustered it makes you.

He also cums A LOT. Like a lot a lot. He's most certainly got the heaviest balls you've ever seen, and they're not just for show. Every time he cums inside he causes you to practically overflow, and he's usually still cumming when he finally pulls out of you as well. He's a little embarrassed about it, and will clean you up very well because of that. He doesn't want you to deal with the sticky feeling of it drying on your skin, especially not if you have sensitive skin/texture issues. He is defiantly down to eat his one cum out of you though ;)

also, I think that he has a thing for long flowy dresses. I know there's a ton of dudes who say they like them bc of "easy access", and I know for a fact that Hank would find that sort of mindset disgusting. He just loves how beautiful and feminine you look in them, and also just happens to really enjoy the feeling of the fabric against his arms as he hitches up your skirt, his hands trailing up your thighs. As depraved as it might be, he also likes giving you head underneath your long skirts. He'd be apologising for being so ravenous and thanking you for letting him have you in such in intimate manner, all while giving you the most earth-shattering head. He's just so sweet about everything in the bedroom I swear.

    You swear you didn’t fully expect to be in this exact situation when you were getting dressed this morning. Sure, you knew exactly how much Hank loved to see you in sundresses and were definitely going for a certain reaction out of him, but you never would have expected to be pinned against the wall of his lab, his large hands cupping your ass and thighs as he holds you suspended whilst using the wall as leverage. His thick cock is pumping in and out of you at a quick, needy pace. He goes back and forth from biting his lips and letting his moans and groans ring out and echo in the cluttered space. You’d never done this position before, although you certainly knew that Hank had more than enough strength to pull it off. Still, you were sure that the image of him fucking you, hands beneath your long skirt as it bunches at your hips and drapes down below you, was certainly a sight to behold.

    “Ah- Please, let me know if this is uncomfortable in any way- nhg… I’m sure your anatomy is taking me quite… deeply, in this position.” Hank grunts, his thrusts deep and steadily paced in a manner in which he knows you like best. You smile at him, desperately trying to keep your eyes open as your hands clench and unclench on his shoulders every time his thrusts catch you Just right.

    “Is that what you’re calling it now? “Studying” my anatomy?” You muse. You wonder if he had noticed you catching on to the glances and stares he does when he thinks you’re not paying attention. You purposely poke your chest out as you mention it, and Hank huffs in amusement before he buries his face into your semi-exposed cleavage,  licking and sucking as he shifts your weight onto one hand as the other takes hold of your cheek. He puckers your lips, nipping at the top of your breast before he pries himself away, sending you a smug smile as he leans in teasingly close.

    “You know, I really think we could be using that quick tongue of yours for something a little more useful than backtalk.” Hank chuckles. He kisses you in a way that leaves you breathless, still holding you effortlessly even with a single hand as he keeps up his thrusts. His free hand drifts down to your clit as your walls begin to flutter and clench around him, a sign that he knows means you’re approaching your peak and fast. His kisses match the intensity of his hips as he closes in on his own pleasure. You cum barely a second before he does, his cum warming your insides as he cums, and cums and cums. He overflows your cunt quickly, and it drips down your legs when he pulls out. Hank makes sure to help you keep your balance when he sets you down, your legs shaking from your orgasm but also a bit numb from the position he had you in. He kisses you gently as you recover from your high, doing so over and over again all across your skin. The gentle touches make you giggle a bit. 

    “Had a feeling that we would end up like this today. Maybe I should wear dresses like this more often.” You hum. Hank chuckles deeply before drawing you into another sensual kiss, his hands stroking up and down your now-clothed body in a loving way.

    “I wouldn’t mind testing that theory.” He says when he separates from the kiss. You shake your head at him, laughing a bit more as you cup his face with love.

    “Of course you wouldn’t.” You say sweetly. Hank is smiling at you, his hands beginning to wander again right before the two of you hear a mortifying swish of the doors. Hank quickly tucks himself back inside his pants before the two of you instinctively turn to face the door where Logan is standing with a bit of a confused look on his face.

    “Logan! We were just-”

    “Hey, Logan! Nothing to see here!” Both of you are scrambling to fix the situation, utterly and spectacularly failing as Logan takes one sniff of the air and then smirks.

    “I’m all for a bit of risk, but at least lock the door, lovebirds.” Logan gives the two of you a sardonic wave before marching straight back out the door. Leaving both you and Hank more than a little mortified. As embarrassing as it was, you can’t help but begin to laugh, Hank joining you as you shake off the adrenaline of technically being caught red-handed.

    “Let’s go wash off before we have any other unexpected visitors,” Hank suggests. You agree wholeheartedly, your laughter picking up once again as he lifts you off the ground in a bridal hold to head to the showers.

[goat-guy-tm]

I was talking about deep analysis of Curly and Jimmy's dynamic in my discord server (which you should join), and I thought "Hey! Maybe tumblr would like this!" So, here this is! It's a rough copy paste of what I said, edited slightly to fit better in a post format:

Also long post warning.

I feel like because a lot of ppl haven't experience people like Jimmy irl they have a hard time understanding why Curly acts the way he does, and by no means is it still 100% okay, but when you know someone that's been mentally manipulating you for years if can become easy to be tunnel visioned to they pain they cause others. I think a big example of that is when Anya shows concern over Jimmy's last psych evaluation but when Curly does it Jimmy (from the little text we get about it) tells him it was just all jokes, which could have been, but when it's just Jimmy and Curly it's much lighter in perspective, because Curly believes him, and Curly sees no reason for Jimmy to lie to him about his mental state (which he obviously was doing as he has quite the psychotic break a few days later)

Not to mention, Jimmy gets quite aggressive at Curly when he notices that Curly is rethinking his career. He activly calls him horrible things for 'not appreciating his position and wanting something new' (<not direct words but overview), when if Jimmy was a good friend he would have been talking about it with Curly. Instead he shames Curly for it, that in Jimmy's mind it's unfair for Curly to not be happy cause Curly has a better seat than him, but he'll frame it as them, the whole crew, to make Curly feel bad about it.

Like, when the rest of the crew learned they were going to be let go after that haul, none of them were really mad at Curly for him being the only one to be given a recommendation and compensation. Yeah Anya and Swansea are upset about it, but only Jimmy is the one to call out Curly for being the only one to relieve special treatment, when it's pretty established Curly is/was one of Pony Expresses' best pilots. But Jimmy doesn't talk about himself during the party. Swansea mentions how unfair it is that PE is throwing them to the side after all these years, Anya almost has a panic attack over not having any money in savings, Daisuke isn't really phased since he's only an intern, but Jimmy gets mad at CURLY, not Pony Express. He even full on calls it Curly running away, as if Pone Express closing them down is Curly's fault for wanting something different for his life

I mean what's wild to me is I'm p sure Curly even has a conversation with Jimmy in the game about how he hasn't been handed anything and has been working hard for where he is. Curly never out right really says it, but he does make mention of both of them working hard. Then again Curly doesn't talk about himself a lot even in conversation (minus the "on the edge of a bridge with your feet in the cememnt" one cause Jimmy made it about him)

When going back through the playthrough, I realized Jimmy is such a well written villian because he convinces even Curly that Curly is the villian here, the one in the wrong. Curly isn't perfect, he is quite literally the imperfect victim, but Jimmy is such a big manipulator that he convinces Curly it's HIS fault all this is happening, that Curly needs JIMMY so that he can fix all this, only for Curly to realizes what Jimmy's been doing when he finds Jimmy curled up outside the cockpit with a ship wide system failure blaring.

Buddy Corl: "Hey, just an idea, would Jimmy keep Anya alive so that Curly can stay alive? He berates her medical expertise but never elects to care for Curly beyond feeding him pills."

I'd say 50/50. A big thing is Jimmy quite obviously doesn't view Anya as a person, or at the very least views her as bottom of the barrel useless, but after the crash and with Curly how he was, there was no way he'd be able to do it and survive, because the entire time Swansea has the axe and Jimmy even recognizes that if he steps out of line too far within the lines of "I'm captian so I say so", then Swansea would basically usurp him. His own personal caring for Curly was most likely to keep him suffering. He voted on keeping Curly alive, and unless he was just trying to blend in with the others, then he did it because he wanted to keep Curly suffering.

Friend Corl again: "There was a Tumblr post that claimed the hands of the others were missing (the overview angle of Curly on the table was used as evidence) but this could just be the angle of the scene itself as he was going to die shortly after."

Hm, it could have been either the angle, a rendering choice from the devs or Jimmy could have cut their hands off. Idk why he would only go for the hands though, since he seems to show full intrest in cannablism. But you could chalk it up to a concept of keeping them from being able to do anything. Yes they are dead but Jimmy is far gone enough to believe that cutting their hands off could still make him better because they can't do anything to change what he's done.

Anyways that's it! For some context on why this is so important to me, from elementary school to the end of middle school I had a 'friend' that I was extremely close with. She was a horrible person who mentally, emotionally and physically tortured me for years, but since I was a child I never saw anything wrong with it. I would even rush to her defense when people would point out to me that what she was doing was bad. Now a days I hate her, and I love to talk shit about her, but I think a lot of people don't fully take in Curly's actions because they haven't gone through that (and they shouldn't, mind you).

I feel for Curly a lot, because I see myself in him in how he tries so desperately to protect someone he didn't even realize was killing him. Curly isn't perfect, and believe me I wasn't perfect when I was friends with her. She made me act out against people to gain her approval, she made me bitter and mean to others, do things I would never do. Very few people acknowledge what an over powering manipulator that has been controlling you for years can do to a person.

[pikahlua]

Wait pika do you really mean don't ask you about predictions? Some of my favourite Tumblr posts of all time are your thoughts, theories and predictions! :((

Please sleep also, but when you can let us know what's going on in that head of yours. I'm desperate for someone with a brain cell to discuss this chapter! (Twitter is a cesspit)

I mean, you can ask lol. I just sometimes get these vague "any predictions?" asks and it's like, YES. YES I HAVE SOME. BUT IT'S FAR TOO MANY TO JUST LIST LIKE THAT, CAN YOU PLEASE BE MORE SPECIFIC?

Okay, I'll tell you about my thoughts.

This is a new frame of the scene in chapter 1. This perspective doesn't exist as a drawing in chapter 1, but we know pretty easily what this scene was about. Why is Horikoshi putting the scene here though? Why does this scene have the line "Let go of One For All"? Why not draw Kudou saying it, or Izuku's reaction to it? Is it because this is a memory of the scene where Izuku receives OFA, so giving OFA up is coming around full circle to this moment again?

I don't think so.

This is not the moment where All Might proclaims "you are worthy of inheriting my power" and Izuku looks up in shock. This is the moment where All Might says the words Izuku has longed to hear his whole life: "You can become a hero."

We're coming back to this moment now because the emphasis is on Izuku's upcoming choice. This is about the MEANING Izuku places in OFA. All Might told Izuku "you can't become a hero without a quirk," then shows up to tell Izuku he can become a hero...by giving him his quirk.

To Izuku, letting go of One For All is sacrificing his greatest dream. He believes by giving up One For All, he can no longer be a hero. Even though there have been moments where All Might let on that the reason Izuku deserves to have OFA is because he's already a hero, Izuku never seems to internalize that answer. He thinks his heroism is tied to being the bearer of One For All.

No one has ever told Izuku he can be a hero without a quirk.

I said before I had a big guess about why Katsuki's memory was wiped at the end of Heroes Rising. Notably, he is allowed to remember most of what happens. His memory cuts off from the moment Izuku passed One For All onto him. Do you remember what Katsuki said after he got OFA?

"This is the end of your dream then, too, huh?"

That's the last thing he ever says on the matter. Sure, it's the moment where Izuku answers with "It's okay if it's you" and all that, but Katsuki never responds to that. We don't know what he's thinking about this moment.

The only clue we have is the fact that he accepted the quirk from Izuku, and how he reacted to that. He seems quite upset by the prospect, but in the end he relents and accepts OFA willingly.

Perhaps the issue he is grappling with in his heart in these moments is not the fact that he has to inherit OFA but that Izuku has to lose it. Which means...the reason he loses his memory is because his reaction is important. It's a moment we will have in the manga, which makes it a spoiler.

We've never heard Katsuki tell Izuku what he thinks of quirklessness now. All he's ever told Izuku is that way back when, he thought it meant Izuku was supposed to be beneath him. He doesn't even tell Izuku why he felt like somehow Izuku was actually above him.

He's also only ever told Izuku his actions were correct ever since he received One For All, nothing about before.

I think Katsuki's reaction to Izuku losing OFA--which could come before the final battle or after--will have to be about his feelings regarding Izuku's quirklessness. I think Izuku is going to be incredibly hurt by losing One For All because he'll think he has lost his dream, and Katsuki is going to have to set him right, because only Katsuki knew who Izuku was before he had One For All. All Might is the only other person who had at best a glimpse of Izuku.

I think Katsuki has been coming to terms with just how special Izuku is, how heroic he always has been, and that he's the only one capable of acknowledging it in a way Izuku will be able to hear because he knew Izuku before he got One For All. I think he's been grappling with this possibility ever since DvK2.

And I think he grapples with it again in Katsuki Bakugou: Rising.

In the same way Izuku saw something great in Katsuki that he wanted to cling to so he could see what Katsuki would one day become, Katsuki has always seen something great in Izuku, which awed and scared him. Their greatest divide was in not knowing what greatness the other saw in them. Katsuki has to tell Izuku what Izuku is to him.

Katsuki has to tell Izuku the words he's always wanted to hear, that he can be a hero, quirk or no, that Izuku always has been a hero, more than anybody else. Katsuki knows the truth of it firsthand.

[nadas-dirthalen]

A Veilguard Achievement Icon Opened My Eyes on 15 Years of Lore... but Was I Right?

PART TWO: What Veilguard Did Narratively, and What That Tells Us Going Forward

[ 1 ]

Hello again, friends and travellers. Now that I've beaten Dragon Age: the Veilguard, I wanted to go through all those 30,000 words of predictions that I wrote in the ~11 days leading up to its release. I'd seen an achievement icon that pieced together a lot of Dragon Age lore for me.

But, I hadn't played Veilguard. All I had was the footage from September 19, the achievement list, and anything else BioWare had released.

So... was I right? And if so, how much was I right about?

This is your warning:This post will contain spoilers for the entirety of Dragon Age: the Veilguard, and all Dragon Age content made before Veilguard.

(my davrinmance is going great as i try and collect every codex, thanks for asking!)

Today's Discussion: to Understand Dragon Age, We Must Understand Its Writing.

Before I can go any further on why I think the way that I think, or why I imagine the story might take us in certain directions, it's essential that you all understand where I'm coming from. Veilguard, like any game, is a piece of art. Its bones are built with similar narrative structures to novels (though not identical, and that's important!). To make sense of what's to come, we must examine Veilguard's bones the same way.

I've seen a lot of people wondering why, for instance, the Inquisitor is not Veilguard's protagonist. I've seen people lamenting the fact that there were not on-screen clarifications of popular lore theories. Before this series goes any further, I need to say my piece about why I believe that it was essential that Veilguard was written as it was, and why its writing does in fact help us better predict Dragon Age's path forward moreso than even Inquisition.

That said, today I hope to cover:

What Veilguard Demanded of BioWare's Writing Team, and Why

The Protagonist: Why Rook's Perspective Matters

The 3 Act Structure: Our Lens

The Companions: Paths to Our Answers — and Future Games

What Veilguard Demanded of BioWare's Writing Team, and Why

Let's get this out of the way right away: it has been 10 years since Inquisition. And, like it or not, that means one gigantic thing for BioWare: if they wanted to have any hope of making more Dragon Age, they needed to bring in new players and resuscitate the interest of many old players who did not stay in the fandom the whole time. They didn't—and couldn't—write Veilguard specifically for you or I, people of Tumblr. If they did, it would've pleased us... and then cost them so much money that we'd never get any more Dragon Age.

That doesn't just mean modernizing the game's aesthetics, or providing a glossary in its Codex. It means they would have to balance all of the following (just at a glance):

Managing the learning curve in general. Not even I looked in the glossary as I played. Me, supreme enjoyer of all codices ever. It's just not something most players are ever going to do, as much as it the lore is such a fundamental part of the game in general. That means simplifying terms where possible — elven gods in place of Evanuris, for example — but also trimming down what would have to necessarily reference past games. Only a tiny fraction of the fanbase has played Inquisition in the last 3 years, nevermind this year.

Recontextualizing the lore. That does not mean rebooting it, it means situating all we have learned so far in a framework that fits all we have learned so far. Much of what we learned about the Evanuris seemed, for so long, to be totally separate for the things we knew about the blight and Blights. Veilguard needed to show us how those things relate, and to do so in a fresh context that would allow everyone to develop new understanding.

Pushing us one step past Inquisition's knowledge. Veilguard, after reframing the lore, had to leave us a path for new lore, and increased understanding. I think the devs put it really well when they say that their aim is to give us some answers, but leave us with even more questions. More on that later, and in future posts.

Updating Thedas' ethos. Let's face it. It has been 15 years since Origins came out. The things that were more typical of scifi/fantasy (SFF) then are just not the same now, and would not be perceived by 2024 players in the same way as by those who started Origins in 2009. The world has changed; our cultural understandings are broadening and need to continue broadening. BioWare is doing a good thing by incorporating things like nonbinary identities into Veilguard, and it is good that Veilguard is progressing the world of gaming in that way, especially considering its success. (This is also, I wager, why we choose an Archon out of two choices who want the same thing, rather than leaving that open to a more "evil" option).

Dislodge older fans from their Solas headcanons to get everyone old and new to the same confusion and potential distrust. Hear me out. Everyone who's stayed since Inquisition has beliefs about Solas. Even me, who got here in March of this year, whose fic reads overly soft now because I just didn't know Solas' grander plan until 48 hours before Veilguard came out. Everyone has had headcanons for so long that everyone has had time for their opinions of Solas to cement themselves. In order for Veilguard to work as a story, they had to debunk what everyone thought they knew: both lovers and haters of the famously controversial egg. By breaking down our existing beliefs, the devs open up essential curiosity from the players as to who—and what—Solas really is, which propels us through the narrative and has us absorbing information.

And this curiosity? It is why Veilguard could not have the Inquisitor as its protagonist. To keep us curious as players (and "readers" of the lore), BioWare needed a new protagonist.

Specifically, they needed Rook.

The Protagonist: Why Rook's Perspective Matters

Here's the thing. The protagonist is not just the face of the game. They are our vehicle to understanding that game. The plot follows their wants and responds to their understanding. What they don't know, what they want to know, is what makes up our every objective. Their emotional journey through the game is our emotional journey through the game. Following it, going after the things that matter to our protagonist, is how the entire game (including its lore) takes shape in our minds.

That's why it's essential that they don't know everything—especially after a ten year interim between games.

Veilguard's plot and twists proved that the Inquisitor did not know everything. They, in fact, knew less than half of everything. If we had kept them as the protagonist, all of our knowledge and curiosity would be shaped by the Inquisitor's understanding: a wrong understanding. We could constantly be fighting with what we think the Inquisitor should know, what should be true because we had seen it through the Inquisitor. We would be set up to be at odds with the very events of the game. Rook is a blank slate, barring a few key tonal indicators, and that blank slate allows for us to fit all previous lore into its new, recontextualized shape that I mentioned above. (Again, note that I am not saying rebooted.)

That, and Rook has multiple motivations. The Inquisitor is focused largely on stopping or saving Solas; Rook is charged with figuring everything out as it is happening to them in real time with almost no context or experience, AND stopping or saving Solas. The Inquisitor has existing allies and resources; Rook does not. Rook must build their own campaign from the ground up, and that means the player is building their own experience from the ground up. Their allies, abilities, and home base, yes, but also their knowledge. Discovering things at the same pace as Rook, with a similarly urgent drive to do so, keeps the game from infodumping at us. It keeps the reveals evenly spaced, but also immediately interesting to the player.

And best of all? Rook allows the writers to do what they want to Solas without breaking his dynamic with the endless sea of Inquisitors (or, at least, with way less risk of doing so). We needed to have our theories about him broken down and rebuilt as players; to do that to the Inquisitor would damage an entire sea of headcanons. We'd never get the Solavellan ending we wanted, for instance, if Solas had played mind games with Lavellan for that many months. And if Solas didn't do those things, if he'd been wholly defanged, he would have lost his appeal and importance in the narrative. He wouldn't be the Dread Wolf in the ways that matter to Veilguard.

It's important, then, that Rook has just the slightest bit of backstory. They care about their allies. They are not a potential political force like the Inquisitor. They have many options to be impulsive. Every single Rook has rebelled against authority. Every single one has a stubborn streak. BioWare put all those qualities there on purpose, because Solas uses every single one, in every single Rook, as a tool. That was all essential for his character development in this game! At the same time, they couldn't do that with the Inquisitor as protagonist, because after 10 years, no two Inquisitors are similar enough to predict/script their actions and responses in that way.

Those twists are perhaps the most important tool for forward momentum in the game. The more they keep us guessing, the more we'll play and seek new information, the more we'll learn. Which brings me to...

The 3 Act Structure: Our Lens

Like I said: BioWare couldn't just infodump at us in Veilguard. It wouldn't be interesting to even half the fans that stayed, these ten years. To keep us engaged as players, they had to string the lore through a series of engaging events. Keep the momentum up, so we would not be lazily looking over codices, but chasing new knowledge and understanding. It all had to be emotionally relevant and resonant to keep us caring, because very few people play games they don't care about.

Veilguard, like a lot of written art, follows the three act structure. Though there are a lot of variants on the more precise beats, they all broadly follow the same-ish path.

Hook: The opening image. In Disney movies, this is the song where the character sings about all the things they want in their journey, and what they truly need is only implied. It gives an opening note for the theme by showing what the character lacks, and what they might need to gain before defeating the final villain. In Veilguard, this is our prologue, centered entirely around Varric: the big red herring where we see that Rook is out of their depth, opting to push over a support beam rather than take on the Dread Wolf. Off-screen, it is also the background information about Rook, showing us who they are and what they want before we play.

Inciting Incident: The event that kicks off the main plot. In DA:tV, there's a big collection of these (because every companion needs one; we'll get to that). The first big one is, of course, the failed ritual. The death Rook doesn't see. The Evanuris are freed, but Rook has only half the information.

First Plot Point: "Plot Point" means "big/defining decision" in writer-speak. This is the moment the protagonist decides to go forth on their adventure. In video games, this is more or less determined for you, but you have the option to flavour this moment in Veilguard. You can choose how to tell Solas that you'll do what he wants: either by appeasing him or angering him. You do the same for Neve and Harding afterward, and then again in Arlathan and D'Meta's Crossing. You state that you're doing this, no matter what it takes.

First Pinch Point / "The Setback": "Pinch" means "twist" in writer-speak. It's the first time the narrative is shaken up, and is also usually the first time we see the true scope of the villain. In Veilguard, the first big twist has been called "the Setback" by some of the devs (notably, I heard it at a panel in September). For Veilguard, this is Weisshaupt. We see the true scope of Ghilan'nain's horrors, but we also see the first BIG hints (outside of Varric) that Solas is manipulating us—because he really doesn't seem to hate the Wardens as much as Inquisition enjoyers like myself expected. This event concludes act 1.

"New World" / "Fun and Games": The devs have remarked that they wanted to see the tone of their setback (Weisshaupt) threaded through the rest of the game, and we do: through Davrin and Lucanis' banter, through the reflections on the consequences of Weisshaupt, through every character struggling with their confidence and identity after that point, through the blight getting worse and worse and worse. That's what the New World is: the characters getting used to new circumstances after that first big twist. The Fun and Games are the slow and steady recovery from the twist, warming and solidifying formerly tenuous relationships. This is where we do a lot of companion and faction quests.

Midpoint: In a narrative that ends in a victory (so most games ever), the midpoint is a false victory. We think we've nailed something, only for something else to happen that begins to seed doubt in the protagonist's capability and/or ability to solve the plot. For Veilguard, this is the blighted dragon fight: we think we've got Ghilan'nain, but then Elgar'nan shows up and demonstrates that Rook is in so, so over their head.

Second Pinch Point: The second twist. The villain's identity is crystal-clear, and by now we've definitely interacted with the villain more directly. This is Arlathan, Elgar'nan's mind-trap—and Solas' "rescue" of Rook, showing his duplicity in full. Elgar'nan notably says a line about not falling for Fen'Harel's tricks again, and it foreshadows what we will see of Solas.

Disaster / Crisis: This is the event that triggers the protagonist's downward spiral. Not a twist (necessarily), but a catastrophe. In Veilguard's case, it's both: the Ghilan'nain fight leaves one companion dead-dead and another presumed dead. Then, the twist: Solas using Rook's sharply felt regret to pull his gambit and swap places with them. A series of events that literally had me gasping so frequently I got dizzy. Thanks, BioWare :) Many people say that this event, or something between this event and the "All is Lost" beat, conclude act 2. For games, the pacing is sometimes different, as is the cutoff mark, because otherwise the third act has the potential to be very short.

"All is Lost" / The Dark Night of the Soul: It's exactly as the name suggests: all has been lost. The protagonist doubts themself completely. It seems like nothing more can go wrong, and like nothing might ever go right again. The protagonist is at a loss for how to move forward. In Veilguard? Varric is dead. Davrin/Harding is dead. Bellara/Neve is dead. Rook is literally trapped not only in their regret, but in a reflection of Solas' regret. And to get out, they'll need...

"The Epiphany" / Second Plot Point: "Plot point" means "big/defining decision" in writer-speak, as stated above. Only this one contains more layers than the first. This is where the thematic statement of the piece comes out: the lesson that the protagonist must learn is stated, clearly, for all of us to see. It is the thing that picks them up off the ground, giving them strength to face the climax and the danger it promises. In Veilguard, this is Varric saying to Rook, "Have you learned nothing here?" and reminding both Rook and player that he chose this; Rook's companions chose this; we cannot blame ourselves for the actions of others. We cannot carry grief for other people, or we'll drown in it. Sound like any other character we know?

Climax: The big fight! But also, the big moment where the theme is shown to be the narrative key. In every ending of Veilguard, Rook being Solas' perfect mirror is the key to winning the day against the Dread Wolf. It just depends on what facet of Solas Rook chooses to mirror: the trickster, the nasty combatant, or the person who was haunted by their own failings and lost companions.

Resolution: Narrative threads are tied up, or a promise is made to tie up those loose ends in future installations. Veilguard's credits do both of those things. :)

Why am I telling you all of this? Because the lore must follow that skeleton. Every reveal we get must fit into both the timing and the feeling of those events. It would not fit to suddenly drop everything about the Titans right after Rook gets to the Lighthouse, which is why those enemies you need to kill to get the last memories are level 30-40. It would not fit to uncover everything about the blight's origin before Weisshaupt. If they forced us into that as players, all the casual fans and new players would duck out, feeling overwhelmed.

Even for us older fans, narrative structure shapes significance. You can tell a lot about a codex's overall importance and tone just by understanding where you find it, and when. That's why the Trespasser codices carry so much weight, even the ones about the Evanuris' actions that we don't see on screen at all: they are at the bitter end, and so they carry all the bitterness, longing, and mourning of that ending. Without the context of Trespasser, they mean less.

This is also why Veilguard paces its companion quests this way, not allowing you to complete them until later in the game. Every companion has something to teach us, and BioWare wanted to give each companion's narrative the weight it deserved.

The Companions: Paths to Our Answers — and Future Games

Anyone who's played Inquisition knows that companion quests shape entire facets of the lore in individual games, as well as set us up for the trajectory of the next games. Just look at Solas and Cole: together, they shaped our whole understanding of spirits in Veilguard. They set us up to ask all the right questions about not only spirits being bound as demons (Solas' quest), but about spirits being able to manifest in physical shape (Cole's quest). Together, their narrative conclusions foreshadowed much of the Evanuris' reveals in Veilguard: that they were spirits who could manifest into corporeal shape, and that they had the ability to ask others to manifest—and then bind them.

Again, these quests are paced throughout Inquisition's main plot. You cannot do their before Skyhold, and you cannot do them after the cutoff of (I believe) the Temple of Mythal. Inquisition forces you to see those quests' endings in the exact right spot: sometime around the midpoint (Adamant/WEWH), but before the disaster/dark night (the Temple of Mythal). They do that so you will feel that those things are significant.

Veilguard does the same thing. Every companion has a facet of the lore attached to it, but you cannot follow those threads to their conclusions at the beginning of the game. The game won't let you, because the moments need to be spaced out properly and carry the necessary emotional weight. Not all of their quests promise speculative material for future games in the same way, because some explain the context of the current game (Varric, in DAI, accomplished both with the red lyrium content, for instance; Leliana, meanwhile, dealt with the theme of faith in DAI and did not promise future speculation).

These concepts will all get far more attention in due time, but in short, here's what I think is associated with each companion:

Harding: Titans! But also, angry titans, and the difference between "angry titan" and "source of blight." In the same vein, what the dwarves should do going forward, and where they should place the titans in their culture.

Neve: The soul of Veilguard; her narrative is very current to DA:tV, in my early understanding. But she brings forth a lot of nuance to the themes of regret, and what that regret looks like on a smaller scale (a city, rather than a world). She does a lot of work in showing us that regret is regret, no matter the scale, and that the work we do to do better matters, no matter the scale. Additionally, her personal quest foreshadows Solas' use of blood magic against us being more than we thought by showing off Aelia's puppets, suggesting to us (tonally) that Rook may be Solas' puppet.

Bellara: The Forgotten Ones!! Anaris! Also, the place of ancient elvhenan in the future of Thedas, and what the elves should do/feel going forward.

Lucanis: I think they were going for some Forgotten One/Forbidden One hints, judging by some notes from the Ossuary and some banter between Lucanis and the others. This needs more dissection. Lucanis sort of does both what Bellara and Neve do: the Forgotten Ones, and also the heart of Veilguard's theme, with a lot of found family vibes thrown in.

Davrin: The blight itself, and the future of the blight without any archdemons left to cause capital-B Blights. Thedas' path to healing its nature.

Emmrich: The nature of what spirits are. I need to go screencap more specifics, but I swear this necromancer has referenced the difference between spirit and human soul and has stumbled upon saying that the two might not be so different at least once. Also, the Formless One centers around the Necropolis, and I'm thinking "spirits seeking bodies" and this whole idea of unlife/undeath is going to be explored later.

Taash: Remember how I said BioWare needed an ethos update? I think we see that most predominantly in Taash, whose entire personal quest is an examination of the values and priorities of different cultures, as well as the place of gender and gender ideology in Thedas. We saw this with Dorian and Krem in DA:I, but Taash modernizes that conversation (10 years has changed a lot!) and brings it front-and-center. At the same time, their existence is referencing (potentially) the Scaled Ones, and showing us that the kossith (Qunari) might have far more ties to Evanuris shenaniganry than we thought—and that those shenanigans did not happen on Thedas, but potentially far across the sea. (Neve and Lucanis accomplish this, also, with the Shadow Dragons and Crows, but not to the degree that Taash does).

This is why the companion quests MATTER, and (at least partially) why the game asks you to complete these quests or suffer consequences in the finale.

You know what else happens, upon completion of these companion quests?

You get codices. In Dragon Age, they are the threads that tie the seemingly disconnected pieces of the plot together, and that's on purpose. This time, they automatically unlock upon completing different stages of companion quests—and as far as I can tell right now, days after completing the game for the first time, the ones revealed later DO contain spicier hints about future lore than those revealed earlier.

And between ALL of these things—the demands Veilguard's timing placed on Bioware, the need for Rook as a protagonist, and the structure for every companion's quests—I think BioWare did an amazing, genius job with their narrative. Yes, I have seen some of the art book content, and yes, it would have been so cool to have those things, but... I truly do not think BioWare needed them, as close as I would have held cameos like Cole to my heart.

From a lore perspective? They knocked it out of the gods-damned park with Veilguard. They did an amazing job with each of their quests, and I promise: there is no shortage of juicy lore to be found in Veilguard. Now that I've inflicted an outline of what I know about stories upon you, I promise: all of this serves as context for everything I look forward to saying in future posts.

_____

If you got this far, thank you, as always!

This series is going to take a turn toward what I noticed in Veilguard, how I feel that Veilguard adds to my theories (or perhaps debunks some of them), and where I think the series is going to go from here. But in order to write all that properly and miss as little as possible (even though, in November 2024, with no wiki or transcripts, I am guaranteed to miss things), I need to keep playing the game and keep reading the codices I find.

Stay tuned for the next instalments, though I cannot say how quickly they will come after this. <3

[nyarlathotep-thecrawlingchaos]

Your Mihawk has me weak on my knees so I wanted to request something for him.

S/O has scars on her body, mainly on arms. She does fight but some of them look… too precise. One time after she loses a fight she is really pissed and nervous, she goes to a place alone. There he sees her just giving herself a scar with a knife on her arm. Turns out she was taught scars are signs of losses and if she doesn't get one in battle then afterwards she needs to do it herself. That's why she's so determined to always win. She hates scars.

@patisilence tagging since I'm not sure if you'll get this since I had to save it as a draft to format everything right.

Anyway.

I DID IT I ACTUALLY FINISHED IT

I'M SORRY IT TOOK SO LONG 😭😭

And I honestly really really want to thank you. This is my first ever fic-request, for one.

And also, writing this has been an absolute emotional rollercoaster. I have kind of a personal history with self-harm and I wanted to depict it as realistically as possible. Which resulted in heavy focus on character development, which resulted in this practically turning into a novella. I'm going to split it up into a few chapters to streamline things and link them all in this post.

If I do it right, then the entire thing should already be posted when I post this, but I'm still pretty new to Tumblr so bear with me. Each chapter should be between 3k-4k words.

And ALSO ALSO I've been planning a longer Mihawk X OC fic, and I really hope you don't mind me using this concept for it? Because it honestly ties a lot of things together for me

Soooooo without further ado, here's the whole author note thing.

Your Scars Are Mine

Ch. 1

LA! Mihawk X AFAB!Reader

Tags: Fluff, Smut, Hurt/Comfort, Graphic Mentions of Violence, I guess that's it, I'm bad at this

⚠️ MASSIVE ASS TRIGGER WARNINGS⚠️ : Self-harm, Blood, Implied PTSD

Summary: In the few months that he has known you, Mihawk has noticed the scars on your arm. You've refused to talk about them and skirted around the subject successfully, but a trip to Shells Town throws everything out into the open in a way that neither of you were prepared for.

Ch. 2

Ch.3

You were hiding something.

In the few months that Mihawk had known you, he had come to learn a fair bit about you. He knew, for instance, that you had over the past few years made something of a name for yourself as a sword for hire, typically among pirate crews who required a more discreet touch.

That this reputation of yours had led the Buggy Pirates to hire you to assist in stealing a map of the Grand Line from a Marine base in Shells Town. You had failed to procure the map before it was stolen by other hands, leaving you in their debt. Buggy had sunk your sloop to prevent your escape, and you had gotten stuck working for the ridiculous crew for a brief time, remained stuck with them until the Strawhat upstarts offered you passage with them.

Mihawk knew you had traveled with them as far as Baratie, where you had crossed his own path for the first time at the bar on the ship's deck. Where you had approached him with a bargain—if he left Roronoa Zoro alive after their duel the following morning, you would serve him for a year, an errand girl to send off on whatever menial tasks the World Government assigned him.

"And why would I want a little bird flitting around after me around for an entire year?" Mihawk had asked coolly.

And yet you had made a fair point—acting as a government lapdog was growing old. He had been sent after the vice admiral's grandson, for heavens' sake, as if he had nothing better to do with his time than to handle the old fool's family disputes.

Though the surly pirate warlord wouldn't have dared to dream of admitting it at the time, you had his attention. Your offer of unquestioned devotion, your confident demeanor as you sipped a glass of whiskey and kept your eyes on his without showing an ounce of fear or intimidation. You were certainly an interesting diversion from the otherwise dull task that had been laid before him, and your certainty that he would accept your offer had irritated and intrigued him in near equal measure.

It was intrigue that won out in the end. He had left his challenger clinging to the edge of life and taken you with him on his departure. You stayed toe to toe with him in wit and banter, and that alone would have been more than enough to draw him closer to your charm. He had wanted you before two weeks were out, wanted to claim you as far more than his "errand girl," and it was easy to see from the way you effortlessly returned his subtle flirtations that you wanted the same.

And now you were lying back across his broad chest in the hammock aboard your new sloop, a book open over your chest and his hand resting over your stomach, his other tucked under his neck as he frowned thoughtfully up at the roof of the small ship's cabin, pondering over the whirlwind of events that had led up to this moment.

It had been just over two months since the pirate lord had taken you as his lover, and you had been an open book about most things. Your training under your grandmother. Your setting out on your own from a small island village to find your parents, or some clue of their disappearance. The many and varied pirate crews you had served as a hired hand.

Yet you refused to discuss your scars.

Any seafarer with a history as sordid as your own had their share of battle scars. Mihawk had a fair few of his own; one didn't become the most renowned swordsman in the world without a few losses, after all. Yet your voice turned to clear contempt when yours were mentioned, even in passing, and you tensed like a statue when his hands brushed over them. You were confident to the point of near arrogance, yet you clearly held nothing but shame and contempt for the many marks that marred your delicate skin.

Some of which appeared oddly...uniform, for having been gained in battle.

It was in part—in great measure, honestly—the mystery of you that had drawn him in to begin with, and this was just another mystery that Mihawk intended to unravel.

You closed your book abruptly, stirring him from his thoughts as he glanced down at you. He watched you gaze thoughtfully toward the ceiling for a long moment, your hand resting over his at your stomach, before you finally spoke up.

"Reading a book is just staring at a dead tree and vividly hallucinating."

You tilted your head back, grinning as his mouth turned down in a frown and his brow furrowed at your ridiculous statement. Mihawk sighed wearily, plucking the book from your hands and lightly rapping you over the forehead with it.

"No," he scolded, as you giggled softly. He sighed heavily again, dropping the book over the back of the hammock before pinching at the bridge of his nose. "Are you trying to give me a stroke?"

"No," you said, imitating his scolding tone. You stretched your arms out over your head, arching your back for a moment, before rolling over to lay across his chest and brush your lips to his. "But it's fun seeing the look on your face."

"You irritate my very soul, little one," he said, shaking his head as he wrapped his arms around your waist.

"And I enjoy every second of it," you countered, grinning as you laid your forehead against his.

"I can tell."

Your grin managed to draw a small smile from him, before he lifted a hand into your hair and pulled you down into a slow, deep kiss. Your fingertips came to rest at his broad shoulders, the hammock swaying slowly in the steady ocean waves carrying the ship along. He knew as well as you did that he wasn't honestly irritated—your strange sense of humor had grown on him, as starkly as it contrasted to his dry sarcasm, and he rarely had the pleasure of meeting anyone as adept at keeping up with his own banter.

You lay your cheek at his shoulder when your lips parted, your eyes slipping shut and your contented sigh tickling against his neck.

"If the wind holds steady it will be a few hours before we make port," you said, your voice low and soft. "I suggest we don't move from here in the meantime."

"I'm not sure I've ever heard a finer suggestion."

Mihawk pulled one of your hands to his lips, brushing a kiss across your knuckles. He pulled his hat down over his eyes to block out the sun pouring through the windows of the small cabin, tucked his hand back behind his neck again, and shifted beneath you to get comfortable as he closed his eyes. His arm remained curled around your waist, his hand slipping just beneath the hem of your shirt so his thumb could rub slow circles over your soft skin as you both drifted off toward the peaceful recess of sleep.

The first thing that struck Mihawk when he woke was that you weren't in his arms.

Every day and night for nearly two months, he had fallen asleep and woken with you against him, and the absence of your warmth jarred him instantly awake and aware. His eyes scanned around his surroundings as he sat up, taking in where he was—the small cabin of the sloop he had recently bought you as a replacement for the one Buggy's crew had sunk.

His sharp yellow eyes darted toward the door, taking in the sound of unfamiliar, muffled voices outside the cabin.

He was standing in an instant, straightening his hat and pulling Yoru onto his back as he slipped silently through the door and onto the small deck of the sloop.

There was another sloop tethered to yours.

A pair of no-name pirates holding you against the bow ny your arms, their captain pressing the barrel of his pistol to your forehead as they bickered.

"There has to be something on board."

"We could just take her. Looks like she's probably a feisty little thing."

"Still have to check the cabins. Could be—"

Mihawk cleared his throat.

The trio turned their heads in almost comedic synchrony, their jaws dropping at the mere sight of him leaning against the door of the cabin. Mihawk's eyes flickered from them to you, and you averted your eyes, clearly ashamed to be seen in such a compromising situation.

So he shifted his gaze back to the opposing pirates, his eyes flickering between each of them.

"You will remove your hands from the girl or I will gladly remove them for you," he said levelly, lifting his eyebrows.

They quickly let go of your arms, and stepped away when he moved forward to wrap a hand around your wrist and pull you to him. He curled his arm around your waist, lowering his head over yours for a moment and murmuring quietly, "Are you hurt?"

You shook your head no quickly, your jaw set at a rigid angle as you turned your gaze down to your feet, your shoulders tense. He pressed a light kiss to your temple for a long moment before lifting his gaze back to the trio that had dared board your ship, his eyes narrowing in an unspoken threat.

"Go." They remained frozen, glancing between each other. "Now."

They scrambled back over to their ship immediately, severing the ropes that were tethering it to yours. Mihawk kept his arm around you, but his eyes remained trained onto the opposing sloop as it drifted away on the wind, debating on just drawing his sword and splitting it in half on the spot.

He turned his attention back down to you when you began to pull away from him. He pulled you in close again, frowning. It wasn't at all like you to be bested by a few no-names, and it was clear that you weren't taking it very well.

"Tell me what happened," he said finally.

"I woke up," you said curtly. "Thought I'd check the charts and see how far we were from Shells Town. They were already on the deck. Seemed to think this was a small merchant vessel since there's no flag. I'd left my knives in the cabin and I was still half asleep when I came out here. By the time I registered what was going on, one of them had a pistol to my head."

You really weren't making a very good case for him to not sink their boat. He cut his eyes briefly toward the sloop before looking back down at you, your face shadowed by your hair as you stared down at the deck floor.

"Their captain started questioning me about cargo," you continued. "Told them there wasn't anything valuable on board. They were discussing taking me as compensation." You sighed heavily. "And that's when you chose to enter stage left and take approximately twenty years off the end of their lives."

He rolled his eyes the slightest bit at your quip. "I would have taken a great deal more than that had they hurt you."

"Well, they didn't," you replied, your voice still curt. Mihawk lifted an eyebrow. "And it's perhaps best not to go splitting any boats in half a stone's throw away from a naval base," you added, nodding back toward the bow of the vessel.

Mihawk gave a quick glance as well. He had been too focused on the fiasco he had just awoken to to notice that Shells Town was visible on the horizon now. It wasn't as if the Marines could do much about it if he did sink the sloop, but you were right—it would still be more of a hassle than it was worth. He sighed, shaking his head a little, and curled a hand under your chin to lift your gaze to his. You still kept your eyes averted, your jaw set. He hadn't seen you lose a fight before—apart from sparring with him while training, but that hardly counted.

You had proven to be quite the fighter when he had decided to test you. You were nowhere near his equal, but you knew precisely how to play to your strengths with your pair of daggers and your throwing knives. Your stature made you difficult to target even in single combat, your movements a graceful dance that toed the line between evasion and power.

Yet one loss—and a rather inconsequential loss, at that—and you were beating yourself up over it quite a great deal more than what constituted normalcy. Mihawk wasn't sure whether to scold you for being dramatic or attempt to comfort you.

"You were caught off guard, little one," he said after a long moment, brushing a thumb across your cheek. "There's no need to be so upset over that."

"I'm not upset, I'm annoyed," you retorted, pursing your lips a little. "Blades or no, I should have been able to take care of those idiots."

"Annoyed, then," he allowed with a small sigh. "And I've no doubt you would have had I not woke. I was simply able to handle it a bit more...subtly."

"Oh, yes, because sauntering out onto the deck with a giant sword and threatening to cut off their hands was so subtle," you said, your voice dripping with sarcasm as you finally rolled your eyes over to his, lifting your eyebrows.

"Don't be a brat," he chided lightly. "We still have at least half an hour before we make port." Mihawk abruptly wrapped his hand around your chin and pressed his lips to yours in a brief, deep kiss that made you draw in a sharp breath. He parted just as you started to lean into it, resting his forehead against yours. He lowered his voice to an intimate murmur. "I would truly hate to have to spend it punishing you, my little bird."

You quirked an eyebrow, your lips curving in a small, coy smirk. "No you wouldn't."

He gave you a thoughtful frown and a small shrug of his shoulder. "Perhaps not." You let out a small cry of alarm when he stooped down and quickly scooped you up from the deck floor, one arm beneath your knees and his other curled around your back. "I suppose we'll just have to find out."

You chuckled lightly as he carried you to the door of the main cabin, plucking his hat off of his head and placing it on your own as you brushed your lips to his in a soft, teasing manner. Mihawk lifted his eyebrows when you nipped lightly at his bottom lip.

"You're really pushing your luck, my dear," he cautioned.

He lowered you down to the double bed in the cabin, his thumb rubbing small circles at the back of your neck. You lifted yourself onto your elbows, your lips nearly brushing his before he pulled back just far enough to stop you, lightly gripping your hair at the nape of your neck to keep you from sitting up any higher. You gave a small whine of protest, but didn't try to struggle against his grip—you and he both knew there was no point.

"Lie down." His voice remained low and intimate, but there was a subtle command in his tone, in the way his gaze burned into your own. You bit your bottom lip lightly, lowering yourself back down onto the bed fully. A soft, quivering sigh left your lips as he slowly began slipping the buttons down the front of your shirt loose. "Hands over your head. And you don't move them an inch until I tell you you can."

"Mmm..." You hummed thoughtfully, and Mihawk paused in unbuttoning your shirt as you lifted your arms from the bed, holding your hands high above you, straight up in the air. "I think my arms might end up getting tired."

Your lips pursed a little, clearly struggling to keep a straight face, and he lifted an eyebrow at you. "You're certainly in rare form today."

Mihawk wrapped his hand around both of your wrists, shoving your hands down into the plush white comforter over your head, and a couple giggles escaped you before you bit your lip again. It was honestly a bit endearing, how cheeky you were being—and all the moreso, as it appeared you were being so brazen just so he could have his fun with your punishment.

You were enticing him more and more every passing day, beyond the physical desire that had led him to claim you as his a couple months ago. It wasn't a feeling he was particularly accustomed to, nor was he quite sure what to make of it yet. He knew only that when he had seen you held captive against the bow of the boat, an emotion had flashed through him for a moment that he hadn't experienced in years.

For the briefest moment, Dracule Mihawk had felt fear.

He was not ready to contend with the connotations of that.

And he was a bit too busy at the moment, anyway. He let his forehead touch yours, his lips hovering a breath away from your own.

"You don't move your hands," he repeated, tilting his head to just barely graze his lips against your neck, drawing a small moan from your lips, "until I give you permission. Understood?"

"Yes, sir..." you sighed softly, your eyes slipping shut as he kissed down your collarbone, pushing your shirt open. His hand released your wrists and trailed down your arms, down to knead at the soft tissue of your breast through the sheer lace of your bra, feeling your nipple harden against his palm. He tugged the cups down, just a bit too hard given he felt one of them tear in his grasp, but that was a problem for later, not now.

You gasped out when he briefly pulled one of your stiff nipples into his mouth, his grip tightening slightly around your ribcage as you arched your chest toward his swirling tongue. His gaze flicked up to watch you writhe and shudder under his touch, your fingers digging into the bedsheets behind you, your hands searching for anything to keep occupied with.

"Very good," he praised, lifting a hand to brush a few strands of hair out of your eyes and brushing his lips to your jaw. "You see?" He wrapped his hand around your jaw and lightly pressed his lips to yours. "It's much better when you're a good little bird, isn't it?"

"This—doesn't feel much like a punishment," you commented, gasping softly as he circled the pad of his thumb around your nipple, lightly skimming across it once or twice.

"Yet," he corrected.

And gave you a small, devilish smirk, before lowering his head and biting down on the tender skin at the crook of your neck. Just hard enough to leave behind a small bruise, to draw a sharp cry from your lips and send a shiver through your body.

He straightened out as you heaved a sigh, standing over you. Your eyes remained glued to him while he shrugged away his long coat and tossed it back into a chair behind him, noting how your hands tightened down on the bedsheets again.

"Remember we still have a half an hour before we reach Shells Town." His fingertips curled around the waist of your shorts, the lace of your panties beneath them, and slowly inched them down your hips. "I could spend the entirety of it teasing you." Mihawk noted the movement in your throat as you swallowed in nervous anticipation, your eyes glued to his as he pulled them up the length of your legs and off, flinging them aside. "Making you beg for release but never allowing you the satisfaction."

How beautiful it was that it only took a few words to pull a blush to your cheeks and make your breath hitch. He brushed a light kiss to your calf and pushed your legs apart, rubbing his palms up your inner thighs.

"You're going to have to be on your best behavior if you want more, my sweet little bird." Trailing a single finger up your soft folds, dragging through your slick arousal and across your clit, pulling a small whimper from your lips. "Or would you rather I just torment you?"

You bit your lip, shaking your head quickly, your eyes flickering between his eyes and his fingertips trailing up. It was a struggle for him not to chuckle at you—always just cheeky enough to be amusing, but you knew the pleasure he could give you, were so desperate for it that you folded like a cheap deck of cards under his slightest touch.

Absolutely perfect.

Mihawk moved his hands up from your thighs, curling an arm under your back to lift you up and shift you further back on the bed. Your breathing was ragged with anticipation as he brushed his lips to your stomach, trailing his hands back down to your hips, his lips lower and lower, grazing slowly across the soft skin between your hip bones.

Shifting lower and dragging his tongue slowly up your slit, circling the sensitive bud at the apex, giving a quiet growl of approval as your breathy, shuddering moans filled the small cabin and your hips arched in his hands.

His gaze turned up toward your face, watching you draw closer to falling apart with every passing moment. This was only the beginning, and he still hadn't decided if he was going to give you what you wanted...but the sight of your divine, nearly naked and writhing under his touch with his hat still resting on your head made him just a little weak.

He moved from between your legs before he could get lost in the sight of you and the sweet sounds of your moans, reveling in the agonized whimper that left you as he trailed his mouth back up your stomach.

Across to your ribs, pausing at your breasts to brush his lips and his skilled tongue across your sensitive nipples.

Dragging his tongue up the column of your throat, seizing a fistful of your hair and crushing his lips to yours in a deep, possessive kiss, shoving your hip down onto the mattress to keep you from grinding against him, shifting his hand between your thighs to circle a finger around your tight entrance without pushing in. Your low moans and whines of protest were like music to his ears, your knuckles gone white from the force with which you gripped at the sheets over your head to keep your hands from wandering.

Every slow pass up and down your body brought you closer to the peak of pleasure but never quite there—and brought him closer and closer to caving in and giving it to you. He had to wonder whether you had any idea just how much of a temptation you were to him. It had been years since the pirate lord had allowed any woman to affect him quite as strongly as you had.

How much time had passed couldn't be ascertained for sure when he reached his breaking point—his mouth pressed into the crook of your neck while you moaned and begged desperately in his ear, one of his hands squeezing your breast hard enough to bruise the soft flesh while his other worked his belt buckle open and shoved his pants down his hips in a desperation that rivaled yours.

He shoved your open shirt up your shoulders and arms and flung it away; gripped one of your thighs, pushing your leg up as high as it would go, and the low growl that left his throat as he thrust into you was drowned out by your own cries of abandon. Your hips arched up from the bed to meet his, one of your arms flinging around his neck and your hooking beneath his arm to grip hard at his shoulder.

"I don't recall giving you permission to move," he breathed into your neck. He gritted his teeth as he pushed his hips forward hard, shoving yours back down into the bed as you cried out again, your slick walls tightening around his cock.

"I—I'm sorry, I can't—I can't—please—" You gasped, your head falling back as he moved in you in deep, hard thrusts, your fingernails dragging down his back. "Oh God, please—"

He lifted a hand to grasp at your hair as he crushed his lips to yours, delving his tongue into your mouth and drawing in a deep breath as you moaned desperately into the fierce kiss. The prospect of punishing you, of what the hell he had even been punishing you for was forgotten in this rush of unquenchable lust and desire, of pure carnal need for your body.

He normally hated losing control, but this was on another level entirely. There was no room to hate this, no room for anything but pure pleasure, for getting lost inside you as your walls tightened around his cock, as every muscle in his groin tensed and tightened in anticipation of impending release—

Your lips breaking away from his, your cry of abandon as your climax swept over you pulled him right over the edge with you. He pulled your hip up from the bed to slam into you as he came, gritting his teeth against a low groan, the rhythmic contractions of your tight channel milking him dry. His hips jerked toward yours with each intense wave of pleasure, fingers tangling in your hair as he pressed his lips to your neck, the two of you shuddering and tangled together over the bedsheets.

Mihawk heaved a shuddering sigh into the crook of your neck, his fingers tangled in your hair as he brushed his thumb across your temple. Maybe it was the lingering euphoria, but he didn't even think about the next words that left his mouth before he heard them himself.

"God dammit, (Y/N), I love you."

But it was impossible to deny any longer. You really were everything he had never realized he craved. No, it wasn't just the euphoria in the moment—it was that brief flash of fear earlier at the thought of you being hurt, at the thought of losing you. The utter fury at the morons who had briefly held you captive. How perfectly you balanced and complemented his desires.

He felt as much as heard you draw in a small gasp beneath him. "Y—you—wh—?"

"You heard me," Mihawk interrupted your quiet, almost cautious stammering, murmuring against your neck. He brushed his lips against one of the small, round bruises he had left on the soft skin, and said it again, quietly, "I love you."

You were quiet for a long moment, but he wasn't concerned, still trailing kisses up the side of your neck. He had seen it in your eyes before now, heard it in the softness of your voice when you lay against him, your fingers in his hair and your lips brushing his.

Several seconds passed, before you turned your head slowly and pressed your lips to his, tentatively at first, and then deepening the slow kiss with a soft sigh. He shifted onto his side, tugging you to him by your hip. Your forehead came to rest against his as your lips drifted apart, still barely a breath away, your eyes closed, your voice a quiet whisper.

"I...love you."

(Ch. 2)

[queer-reader-07]

a love letter to trans romance

because i can't be normal about media and i'm making it y'all's problems

hi hello and welcome to my mildly unhinged ramblings about love and gender. this post comes to you in three sections, enjoy <3

--

t4t romance novels made me believe in love again

the first romance book i ever read was The Feeling of Falling in Love by Mason Deaver. TFOFIL is a t4t (trans for trans) romance that follows a teenage trans boy, Neil Kearney, and a figuring-out-their-gender teen, Wyatt Fowler, as they get themselves wrapped up in peak YA romcom shenaniganary and eventually fall in love. cute, right? just a fun little romcom, not much more to it?

yeah well that's what i thought going in, but coming out of that book i was in tears. tears because i'd never read a story about trans love before. tears because at that point in my life i'd never allowed myself to fully claim the word "trans." tears because Wyatt made me feel so seen and so real.

there's this one scene where Wyatt is talking to Neil and they describe themself as being the kind of person who sometimes wants to wear makeup and dresses, but other times they like their body hair and scruffy beard. and i just remember nodding along and then absolutely melting because Neil takes it in stride, he comforts Wyatt and let's them know that they don't need to have it figured out just yet. Neil makes it clear that he's there, and that Wyatt doesn't need to come out to anyone unless they're ready.

Mason Deaver has another t4t romance, Okay, Cupid. and that similarly had me in my feels because there is something so special about finding people who embrace you for all that you are.

every t4t romance I've read has one thing in common, the fact that the love interests do not love each despite the other's transness. their transness is not an obstacle to love or to attraction or to adoration, it is an object of it. their transness is something to be admired and to be loved and to be cared for. it is not something the other has to "get over."

reading The Feeling of Falling in Love was the first time i ever thought to myself "maybe, just maybe, i can call myself trans and still be loved." because up until that point i hadn't let myself accept that i was some flavor of trans. up until that point i'd said "not cis" without ever saying trans because i was so scared my being trans would make me unlovable. t4t romance books showed me how wrong i was. they showed me that my ability to be loved was not dependent on my girlhood.

ha you thought i could write something this long on tumblr and NOT mention good omens? think again bestie

i have held a trans reading of crowley since i read the book and the show only solidified it for me. crowley canonically plays with gender.

he's dressed femme during the crucifixion scene, his modern look is a mix of men's and women's pieces, his hair is a Whole Thing in and of itself. i could go on but i digress.

but it's not just the way he plays with gender that informs my trans reading of him. it's also how his character arc can very easily be read as an allegory for transness.

an angel who falls (a girl who isn't a girl anymore)

a fallen angel turned demon (a girl who is a boy now)

a demon who isn't really a demon anymore (a used to be girl, a thought to be boy, is now nonbinary)

girl = angel and boy = demon is entirely arbitrary in this please don't read into it

now, you may be thinking "A how in god's name does this apply to trans romance?" to which i say, aziraphale falls in love with every version of crowley. aziraphale beams heart eyes at angel!crowley before the beginning and loves crowley as a demon for millennia and is so deeply and unabashedly in love with crowley in his not-quite-demon form of s2.

aziraphale loves all the versions of crowley because crowley's angel or demon-ness (gender) is not the reason aziraphale loves crowley. aziraphale doesn't love crowley because he's a demon or because he used to be an angel, aziraphale loves crowley because it's crowley. crowley in whatever clothes he chooses to where, crowley with whatever hairstyle he's fancying at the moment, crowley as he inhabits the shades of grey just a little more.

to me, that is so easy to read as a trans love story. you could argue it's t4t depending on how you read aziraphale, but to me, it's at the very least a love story between a mostly-demon who gets down to some gender fuckery and an angel who loves him very much.

fuck it let's talk about fanfiction

i don't think i could make this post without mentioning @ineffabildaddy's fic I'm Beginning to See the Light.

i have a complicated relationship with my body. i don't plan to ever medically transition because i don't want to make any permanent changes to my body. but there are days where all i want is to have a flat chest and hips that are flush with the rest of my body but instead i'm stuck with tits and an hourglass figure cis people always seem to focus on.

i don't hate my body, but the idea that anyone could look at it and not just see A Woman is beyond me. i walk through life being perceived as a very feminine woman even on the days that i feel the most androgynous. the idea that a lover could look at my body and still see me for who i am feels like a dream that could never happen.

and IBTSTL slapped me (lovingly) across the face with the message that, actually, i can be loved as my whole self and that there are people out there who don't look at me and see A Woman and those people don't love me any less. IBTSTL made me feel safe in my trans body because it said "you are worthy of love and adoration because your transness is not something to get past it is something to admire. it is something to love."

--

i think the point i'm trying to make here is this: trans love stories are so special to me. they've been so vital in my own journey to love and accept myself. they're the reason i can imagine myself maybe having romantic love in the future.

representation matters, it can quite literally change your life.

[leezlelatch]

There seems to be some discourse lately about content, the kind of content, and the community as a whole. Now, the last thing I want to do is stir up anything, but I had some thoughts that I'd like to type out, and I appreciate whomever decides to read it.

The purpose of this band is to make us happy. You've heard it time and time again, as long as we go home at the end of that show feeling just a little better, then TF is satisfied. And it seems like lately that happiness is hard to achieve here, on twitter, or wherever else one is active.

On Headcanon

Were you sitting at work today? Home? And suddenly that thought popped into your head, a little scene playing out about Copia, or Terzo, or Secondo, or Primo. A thought that filled you with excitement, butterflies dancing in your belly, which had you smiling because yes, in the world that makes you happy, that is what they are like. That is what they do. That is what they say. It's an amazing thing and it's good and okay, and you should be excited about it. Because you just added another chapter to the amazing story in your head. And you decide to post about it, but...someone left you an anon. Someone left you a comment. Someone vague posted. And it hurt.

This is happening far too often across tumblr, and it needs to come to a close. I understand that we all have vastly different ideas of who the Papas are and how the Ministry works, but that does not give a single one of you an excuse to say anything untoward or foul to anyone else on this platform. And this isn't talking about any particular group because more often than not, posts like this are used to justify the actions of others. You do not have permission to use this to further your agenda. Be kind. Choose to ignore that fic. Choose to stay off that person's blog. Stop making posts at the expense of others just because you don't like a particular aspect of their world.

I promise you'll still be able to sleep at night.

On F! Reader and x Reader Fic

I have seen many posts since I joined tumblr to write for the Ghost fandom that express a dislike toward reader fics, and in particular f! reader fics. I can't speak for anyone else, but I'd like to just reflect on my own thoughts on the matter, and once again, I appreciate the time taken to read and perhaps understand where I'm coming from, and know that it is a place of care.

I am a woman. When I write fic, I am writing it to satisfy my own little world in my head. So naturally, I am going to make the reader female, because the universal you is not only the friends I share it with or those kind enough to read, but the you is me. Every sweet word whispered, or gentle touch from a Papa is something I wish would happen to me.

I do not have the right to invade someone else's perspective. I do not understand what it is to be a gay man. I do not understand what a trans person experiences every day, and therefore, I do not feel like it is my place to write these perspectives in an x reader fic, or more so than that, in smut. And otherwise, I'm just not comfortable in doing so. I know my experience, and isn't the first step of writing, writing what you know?

I want there to be inclusivity in writing, but that doesn't start with attacking other authors for writing from their own perspective. It doesn't start with making hostile posts about reader fics, because what's the outcome? You just end up with some people very hurt and unwilling to post their stories because they think it's unwanted.

If you feel comfortable exploring these topics, talk to your mutuals. Say hey, what can I do to gain a better understanding of the content that I'm writing? What can I do to ensure that I'm not fetishizing due to my lack of knowledge? Be a community, and help each other out.

On Notes and Reblogs

A note is not the value of your writing. Whether you receive just a few or hundreds, you have impacted someone. Someone loved your story. Someone is thinking about your story all day. Someone was able to make it through because that one thing line you wrote spoke volumes to them.

We put so much of our energy into worrying about notes that the reason we started writing in the first place is lost. It becomes a chore. There are a hundred WIPs sitting in our folders because it becomes so goddamn painful just to work on one.

No one owes you a reblog. No one owes you a like. And even though it's nice, and it's gratifying to see nice comments on something you worked hard on, notes cannot be used as a currency between followers or mutuals. It just becomes a poison. Your entire tumblr experience is going to be marred by the constant worry that you aren't good enough just based on a number.

Learn to appreciate the ones who do read. Allow your story to make you feel good because there it is! That thing you've been thinking about. It's written down. You brought it to life. That is far more valuable than a tumblr note.

If you've reached this point, thank you. Everything you're feeling is good, and okay, and we're gonna get through. Because even now? When it feels like things are more hostile than happy? You still have Ghost. And you still have everything.

[dropthedemiurge]

Love for Love's Sake | Things You Didn't Notice #9

(okay it's not an episode number this time i just still have many details to point out oops pls let me go)

I swear. I thought I'd stop mentioning small details because I already wrote like 10 posts on Tumblr translating and explaining all the cultural stuff regarding this show and the obsession is already becoming embarrassing, but I rewatched the last episodes again and I've got tiny. Little. Details. That I can't help but point people to once again. Because damn, the amount of thought put into this show!

(trigger warning: first part talks about suicide and depression, next ones are linguistic and cultural)

The Black Suit & The Sea

I would've asked Koreans I know about the significance of such symbolism but they are celebrating Seollal (New Year) today and I don't wanna ruin the festive mood asking about "how would people dress for suicide" x)

But after watching this scene, I recognized some strong parallels in Korean media depicting depression, suicide and one's decision to end their life. One of it is bridges and jumping (if you don't know what Bridge of Life is, ask me and I'll share, so this post wouldn't become too long) but another one is sea.

My interpretation - Koreans wear black suits to funerals, so if someone is headed to the sea in a black suit, it might mean this is the character's attempt to "have" their own funeral before finally ending their life. Why do I think this combination is somehow significant?

Because I remembered a music video one of K-pop artists I like (Kim Hanbin) made, after he experienced the downfall of career, extreme hate and rejection from the public, and severe depression. His whole album Waterfall tells Hanbin's personal story, dark thoughts and his battle to survive during the time when he was gone for 2 years, but in the music video for this album (illa illa) he is seen emerging from the sea in a black suit – metaphorically regaining his music and, most importantly, desire to live. Watch with lyrics!

If we think, this is how you depict suicidal thoughts/attempt in Korean media (of course, Love for Love's Sake was even more blunt in telling us the meaning), then Myungha wearing black suit wasn't just for the pretty or dramatic picture. More than that, we see him wearing the black suit for the whole last evening – especially when he goes to finally meet his mother.

Which tells us Myungha has already decided to disappear from this world, and was determined to do it on that day, and his mother rejecting him and pretending she doesn't know her son might not have been just the last straw... but it definitely could've been Myungha's last attempt to find anything in his life worth staying for, worth not going through with his plan.

Anyway, what a scary but beautiful symbolism.

Let's talk about something happier! More heartwarming!

Do you remember when we talked about the carefully placed movie posters in previous episodes? I payed more attention to the background this time when in Episode 8 Yeowoon ran to the cinema searching for Myungha in his world. And what an amazing discovery! When Myungha starts existing again and calls Yeowoon, the movie poster behind Yeowoon says "Guardian" (보호자).

And I already said in another post that Myungha in previous episodes admitted himself being Yeowoon's "guardian, protector" in the exact same word. But now this word is shown next to Yeowoon! As Yeowoon is the one who changed the main mission and has now declared himself Myungha's guardian and protector and will do his best to make him (his favourite pereson/bias/blorbo) happy. They have now both become guardians for each other. This. Goddamn. Show.

And I also want to shout out the VFX & Production team for this show – all the visual effects are very down to earth, gentle and not over the top but enhancing the series to the max. Like, maybe you wondered where on the screen does it say "Monday, August 14" and "Saturday, August 12"? Well, as expected, you see it on four monitor screens above the box office – the date, the ongoing movies (yep, still our favourite two fake movies) and available dates etc.

But when Yeowoon and Myungha agree to meet each other in the exact system time, they are facing each other without a barrier, and the screens are now counting down the time until the Game End. Instead of normally showing movies, like in the previous shot, it says "Time remaining: 3 hours, 23 minutes, 15 seconds". It was either done with VFX or practically, but still, the thought of incorporating system messages into the actual background is insane and I'm always happy to discover such details.

I don't know how many of you have motivational stairs at your schools, we definitely didn't have this but it's quite a popular thing in Korea. They put popular and uplifting sayings for students on each stair, sometimes they even quote motivational phrases from idols, like this:

And it's interesting that when system gets broken and Myungha is about to disappear, we see the deep cracks coming through the stairs, we see ruined school BUT at the same time the quotes in the show are so obviously in our focus. And they are already written (see screenshots above) in Korean and English, but I'll still write down: one is saying "Stay hungry, stay foolish" and "If you dream it, you can do it, you will succeed". So, perhaps... motivational quotes from sunbae?

And the last moment isn't heavy on translation but I still want to talk about it because cool Korean culture!xD You see the gang grilling meat on the roof (it's called samgyeopsal and it's very popular to have for gatherings), and then Myungha makes a "ssam" and feeds it to Yeowoon – but Sangwon steals it.

Ssam is a wrap, you grill meat then put it on the salad leaf, add other ingredients (like mushrooms, sauces, garlic, green onions etc, there are many side dishes) and then you wrap it in this sort of salad sack and eat it. It's very tasty and unusual combination. But the thing is! There is no way to make it for someone else and leave it on their plate so if you make a ssam wrap for someone and want to give it to a person, you literally have to feed them (like Myungha does with a very fond smile). This is why it's often seen as a romantic gesture (aka feeding someone from your fork etc) and why it's hilarious that Sangwon steals this ssam from Yeowoon (because he wants and he gets Myungha's affection and he's not above being a brat about it!)

I'm sure you can already sense it anyway without me telling you about romantic/close-friend implications, but I thought you guys might wonder why are the guys fighting over the salad leaf.

Another funny thing – Sangwon mentions "There's a saying, 'Don't scold dogs while they eat'". This is a Korean proverb "밥 먹을 때는 개도 안 때린다" ("You don't hit even a dog when it eats") which means that, no matter how annoying you find someone, no matter how angry you are, you can't scold this person while they are eating. Eating is a very important cultural thing in Asia, of course, so do not have arguments at the dinner :D But it's funny how Sangwon uses old proverbs to be mischievous and steal Myungha's love without consequences xD I adore him

I swear, this gotta be my last post about all the details in Love for Love's Sake. There is one more scene with the mirror and a caption, and I'm very curious if it means something because it was seen twice, during system breaking down scene as well, but it's either in Chinese or Japanese and I can't read it.

Anyway! Hope you enjoyed your everyday magazine, I love reading all your tags and thoughts and comments, and if you want to read all my previous translations and pointed out cultural details in Love for Love's Sake, go read this tag!=)

[pinksmonkey]

Bylers Are Quite Literate

A Reddit post I made discussing Bylers and media literacy.

Unfortunately my post was removed for being reported too much, even though it wasn't against the rules in any way. I messaged the mods, but I don't know if it'll be put back up, so here's what it said:

I just want to make clear that I mean no hate to Milevens or people who don't ship Byler, I completely respect that people can ship whatever they want and I hope I would receive that same respect in return. There are lots of very smart people who don't ship Byler, and there are lots of smart Milevens. I just want to bring attention to the fact that believing in Byler is not delusional, ridiculous, stupid, or the many other things we're called. Many Bylers are very literate, probably not all of them, but lots.

A lot of Bylers actually have great media literacy, many are film students, writers themselves, or do media analyses often.

This post will specifically be about Mike's monologue to El in S4.

One of my all time favourite analyses (and the best) of the monologue is "'Prove it' I Beg You Read This." by oceanfruit444 on Tumblr.

Unfortunately the post is no longer available because the account which made it was deactivated, but I took screenshots before and will copy and paste the text here:

So, the Duffer Brothers write very complex and, usually, well done characters. They give us a trait or statement and then they prove it. As a writer, you can never just have a character say "I'm lying right now' to the screen, that would be...ridiculous Imao.

"I wrote a post not to long ago about my writing process, or the writing process in general. One of the things I spoke on was the concept of 'proving it'. I want to talk a little more about that and how that applies to one Michael Wheeler.

Of course, we see the scene in season 4 where Will Is giving Mike his painting and using it to help mend Mike and El's relationship. We see it continuously, even though we know he's in love with Mike, Will coaches him through his problems, gives him advice, etc. We see it in season 2 as well just with Joyce mentioning Will giving away his toy to another little girl who looked sad. That was kind of the time they stated this trait Will had, and then continued to prove it for the next two seasons. So when we say Will is selfless, we have evidence to back up that claim.

With proving it, that is your job as a writer. It works with situations, but mostly comes into play with characters. For example: you give your audience a trait, Will is selfless. How does he prove that and how do other characters give us clues of this trait?

Now discussing scenes with 'proving it', season 4 is very interesting because it's not as subtle as we may think it is. In the van, we see Mike recalling the first time he saw El and explaining that moment.

"It was dumb luck, not fate."

Then we go to his confession, "I knew since the moment I saw you that I loved you."

That moment felt cringy, but also, there has been no proof for this. There's actually proof combating his claim. That whole monologue was Mike looking into the camera and saying "I'm lying right now." The writers of this show are aware of that, because they continuously make sure to prove things, because that's how you create deep moments and detailed characters. If you have a character just spew things out without depth behind their words, it's not going to create a furthering and complex relationship. I mean, it's not even in writing, if your partner said, "I love you" and then proceeded to, metaphorically, spit in your face, you wouldn't believe that because you know it's not true.

Throughout season 4, Mike can't say I love you to El, he gaslights her, he calls her superman and that meeting her was an accident. He doesn't prove anything that is said in the monologue, and the writers know that, they want people to pick up on it.

'I'm not scared of you'

Mike proves the opposite of that in rink-o-mania. He was scared of her, and El proves that to us by saying you think I'm a monster too.

'My life started the day I met you.'

That just doesn't make sense because he literally tries to jump off a cliff. Apparently his life didn't need to last more than a day.

The love confession, from a writer's stance, cannot be evidence for a solidified relationship. Mike and El had not been together since their big fight. So, as we know. the feelings Mike was responding to weren't El's, they were Will's.

So then you get into another conversation of, was the love confession for El in the first place? Because in both Will's and Mike's confessions, El is the center of it, the middle piece. The writers could be trying to tell us many different things with that. They both give confessions, so are they attempting to allude to the fact that Mike and Will are both doing the same thing?

People are desperate for answers, it's a worldwide trait, so we ask many questions and we are supposed to when it comes to consuming media or any kind of storytelling. Why does he love her? Wait that doesn't make sense, why didn't he just say it in the first place? Why didn't he say it when El was begging him to? Why does he feel like it's a fight they can't come back from if all he has to say is 'I love you'? If he loved her, it should have been easy right? Why did I just waste hours of my life for a plot point that doesn't make sense? Mike said he loved El already, we've already been through this same exact plot, so why is it happening again?

So, what I'm saying is Mike is disproving his points by previous actions. The monologue feels off because as watchers we are subconsciously or, some of us, consciously aware that we were not given evidence for what the character is saying. And we don't like that.

And then, when we get verbal answers, they don't line up or make any sense.

Why? Why? Why?

So, what bylers have right is that Mike is a fake thing (character), he doesn't just get to vibe in his own head and hang out. He has to prove things to us, if he wants to say I love you? Prove it with details we can back up. You want to tell us you love El on her bad days? You're lying to us now because we saw that point disproven.

These characters have very specific jobs and arcs, they're doing things for a bigger reason, not just...cause. I don't think that's easy for many people to grasp onto. So questions writers ask themselves when there's a scene is, what does this scene mean to each character involved, and how can we make that sub textually known?" "Who is this scene for? and how will it farther their arcs'

So, what does the love monologue mean for El? And how will it farther her arc or finish part of her arc? As we know, she wanted Mike to say I love you, Mike needed to say it for that plot point to finally close. But what is the after math.

Now, what *can* Mike's monologue hold truth to? A lot of what he's saying can be backed up if he's speaking to a different person.

Will.

I loved you since the moment I saw you. We can back that up from evidence, Mike made the choice to walk up to Will on the swing sets and ask to be his friend. Little Mike knew that he wanted Will in his life and that he was something special. So we have a check mark there. It was a choice, loving someone will always, somewhat, be a choice.

I'm not scared of you, I never have been. We can back that up as well. Will was possessed by the Mind Flayer and Mike stayed right by Will's side, walking into that shed with a boy that had sent many people to their death. He stayed next to Will's side, alone, when he knew he could be dangerous or even had no idea what he was capable of.

I love you on your good and bad days. Once again, we see that proven. In season 3 Will yells at Mike, is upset and they fight. What Mike does is very important, he goes after Will because no matter what Will said that might have hurt or how distressed Will seemed to be, he still went after him, because he cared about him. In season 2 when they leave Halloween we see it again, Will was having a bad day and Mike sat right there with him, making him feel better.

I love you. I mean, Mike has proven that over and over again. Now, that could be used for both of them, but the interesting point in season 4 is the big discussion on his issue with saying 'I love you' to El. So, something isn't lining up. Again, from a writers POV, Mike doesn't get to say that to El because you are not allowed to expect your watchers to come up with proven points to that on their own. We have to look at the context of that line and find it IN THE SAME SEASON AND PLOT LINE.

I love you. How does Mike prove that to us in season 4? And if you do not have textual evidence as well as actions to back it up, then you're not supposed to have those things. Your job as a reader or watcher is not to do the work for yourself, the writers will tell you all you need to know, if you can't find it, then they're telling you everything you need to know.

Who does that apply to? Will.

I thought that saying it might make it hurt more. This is disproven by Mike's actions with El, he begins to lose her because he isn't saying I love you. So why would him telling her 'I love you' make her leaving hurt more if she didn't plan on leaving until you didn't day it? Lie lie lie. That is thrown in our faces time and time again. He wasn't losing El until he was unable to tell her or write he loves her.

I don't know, I feel like I lost you or something. Mike says the word 'lost twice in season 4 to two different people, or was it two different people?

Mike isn't afraid of losing El, he's afraid of losing Will, and we have evidence of that because he said those exact words. As I said moments ago, the writers will directly tell you things to allow you to prove spoken points made. If you CANNOT back up a claim, they don't want you to.

If something is mentioned or talked about, it's not on accident or to fill up time, it's because it's important. Mike telling Will he felt like he lost him and giving us evidence as to why he may feel that way and then turning around to say it to El doesn't make sense. It's not supposed to make sense because the writers are trying to get us to use our little brains to piece things together.

For a moment I'll talk about the fanfic I'm working on. We see Jane and Mike kiss for a dare in chapter sixteen (I think) and I discuss the placement of his hands, how they both, and what they do. Then in chapter eighteen I discuss Mike's hands again and their placement with detail when he's holding onto Will. Why do I do that? Because I am trying to tell readers there is a contrast to those actions Mike is making. I'm telling people the person he wants and is picking without giving his POV through tiny actions. So what I'm saying is that I can promise the writers of this show are doing just as tiny things.

So my point here is, characters don't get to just say things, they have to be proven and have logical standing or they should be taken as lies. Writing is a system and characters words and lines are thought out. Nothing humans or characters say is meant to be surface level. Not really.

The way dialogue works, is there has to be underlining meaning or message to each thing a character says. So, if you give two different characters the same exact line, they're going to be performed differently because the intention behind the words will be different. Does that make sense?

I love you. Okay prove it to me or you're lying.

I'm not scared of you. Okay prove it to me or you're lying.

As I said before, a writer's job is to give an audience something and then make the character prove it. If they don't do that, then watchers are able, or should be able, to piece together that something is wrong or a character is not being truthful.

Once again, no character will EVER look at the camera and say 'I'm about to lie' we have to piece that together. You know why? Because these stories are perfectly crafted and very much fake. We're not watching reality TV, we're watching a multi million dollar show.

So, I urge everyone to watch this show and think about this 'prove it' mentality and how well the duffers usually do it. If writers want us to believe their characters, then they must prove the points we are seeing or hearing. We never have to give them the benefit of the doubt because they don't want us to.

Mike, Will, El, every character is a puppet on a string being danced around the stage by the writers."

queerest-friend added, "This also relates to the fact that we got virtually no flashbacks during Mike's confession except for one image of El in the Benny's Burgers shirt. Even the camera couldn't help "prove" anything Mike was saying."

This is just one example of the many in-depth analyses Bylers have made about the show. We take into consideration every detail, the set design, costumes, lighting, blocking, dialogue, facial expressions, body language, and more which the creators of the show have pointed out are important and have meaning. Mike is an undeniably queercoded character, because of all of his actions in the show and the clues surrounding him. He's more queercoded than Will was in a lot of ways, and he's more queercoded than Robin. If we were right about all the evidence for Will being gay, and the same types of evidence are being used for Mike, why would one be true and not the other?

That's all, let me know your thoughts in the comments. :)

[rea-can-yeet]

Not me casually dropping part two after a long time of me being MIA. Sorry about that! Y'knowzzz life and all hahahaha! I edited my tumblr pinned post where I put my current status there so yeah if you wanna know what's going on with me you can check it out haha anyway here's chapter two of 'mutineer'! Does anyone still remember this?? Or even this blog??? Oh god what if y'all thought this blog was dead??? Or worse- sagau ain't a thing much now? Wait lemme double check after I post this-

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REMINDER: This is gender neutral for all readers. Sagau stands for Self Aware Genshin Alternative Universe, but this is leaning much towards the God/Creator AU where the characters are aware that they’re being controlled but not aware enough to know that they’re in a game. This story is set in God/Creator AU, imposter AU, and lastly villain AU. This contains religious and cult themes, graphic violence, and probably some suggestive scenes (not this chapter yet, but the series will show some) so viewer’s discretion is advised.

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🔻

🔻

♦️

𝕄𝕌𝕋𝕀ℕ𝔼𝔼ℝ

"Damn, Y/n. There you are."

A friend, who she met when they were little and still vibe with even when they first became aerospace engineer students, commented while leaning against the old chipped doorframe. Her eyes landed on s/c skin, the arms to be specific, sweating. Her friend was huffing while holding a wooden bat, hair covering e/c eyes from her view.

She looks around at the damage the h/c haired had caused. Broken glass bottles, wrecked armchairs, holes in the blackboard, mirror shards around the floor, some damaged computer screens, and keys from shattered keyboards near the left cracked wall.

If this classroom wasn't abandoned or owner-less, she would have to use her wealth to bail her angry friend from being punished.

She had to witness Y/n being reprimanded for something they didn't do.

Stealing.

Ridiculous, she thought. Just because you hate a student doesn't mean you get to blame them for stealing your stuff just cuz they happen to be the last one to get out of your classroom, stupid petty karen teacher. If her friend wanted something, she knew that her friend wouldn't try stealing. And besides, she was willing to buy whatever Y/n asked, but she knows that idiot wouldn't like to ask for a lot of money from her. Y/n is greedy, but she knows Y/n is not that greedy. And of course, not greedy enough to steal.

And if the Y/n did resort to stealing, Y/n would have never been caught. She would bet her whole wealth on that.

Not only that, her prototype project for Aerospace Design class was dropped on the floor, breaking it. The culprit? One of the rowdy jocks. The man didn't even apologize and proceeded to run to who knows where while being chased by his friends.

And as if two bad things were not enough, Y/n somehow left a very important item back home; lunch.

That must have been their breaking point. So she had to follow Y/n. It took some time to find them, but she somehow found a Primogem keychain and thought 'Ah yes Y/n must have been here', and was led by crashing and banging noises. That was how she found this abandoned school a few streets away from the main road leading to their university and into the woods.

She knew Y/n's side that they rarely show to some extent, knowing her friend's tendency to be a daredevil, but she didn't think that Y/n would actually go destructive if being angered without a proper cause. There's an inkling feeling, of course, just being proven correct was a whole different feeling.

Her friend got a bad record and is being under surveillance and suspicion, hard work was unjustifiably destroyed, and lunch was left at home.

One bad thing after the other.

"Sorry." Uttered her friend, not much making a move of some sort, not even a turn of a head, still catching their breath.

She only sighs and lets out a little chuckle. Y/n is a nice person, loyal, and dependable. She understands that people have their own bursts of anger sometimes. Though, her friend has a little destructive flavor to it.

"You okay?"

"...Yeah." Y/n takes a few more breaths, taking in a deep one, then exhale. "I calmed down a bit." They say as they stood properly and turned to the person leaning on the busted doorframe that Y/n may or may not have also hit a bit. Dropping the bat carelessly, glass clinking from the impact, Y/n dragged up an armchair that miraculously survived their wrath. They sat down and wiped the sweat from their brow, their friend pushing herself from the doorframe and proceeded to sit on the armchair's table.

"Here." She pulls out Y/n's favorite drink. "Got you your bag and some sandwiches too." She hands them and Y/n accepts them with gratitude. Y/n puts the bag beside the chair and opens their drink.

"So question, how'd you find this place?"

"I have an attraction towards signs that have 'do not enter' or 'danger, not safe' on them if you didn't noticed. Or places with rusty barbed wires in the middle of nowhere." They take a swig of their drink. A breath of relief and satisfaction escapes them after. "This place was abandoned because of a strong earthquake years ago. This place will be bulldozed into a new establishment soon. Until then, this has become one of my 'Escape Places'."

She had to ask about this list of places her friend tends to escape to when she gets the chance later today when they play genshin at her mansion.

"How'd you get in the barbed wire fences anyway?" Asked Y/n as they eat their sandwich, e/c eyes turning to her.

She just takes out her assortment of skeleton keys. "I'm not athletic like you who can jump or scale over wired fences. I went through the gate. The padlock was rusty so it took some time."

Y/n hums, impressed. Then the face of amazement turns to surprise when she just drops the key on Y/n's lap. "You can have it."

"Why???"

"I found a shop that sells these in any color you want. I want them pink so you can have these since I'll be buying new ones anyway."

"You gotta stop giving me free stuff, I'm being spoiled rotten." The friend just laughs, picks up the keys, and shoves them into Y/n's bag. "You also gotta stop shoving people stuff when they try to refuse."

"Hush my child, eat and replenish. You have to help me farm soon. Those Regisvines are a pain." She zips Y/n's bag shut and sat back. "So... What are you gonna do now?"

Silence came between the two, though it wasn't uncomfortable. Her eyes scanned the destruction caused by her friend. She knew Y/n was a kind person at heart, and they tried their best to be good. To mind their manners, to be respectful. But she knows Y/n gets these impulsive thoughts sometimes. But she knows Y/n is goodhearted. Y/n knows their limitations and where the line is drawn. A very good friend.

But she knew that if being pushed to a corner, left with no choice, being wronged unfairly... Y/n wouldn't just stand by. And if given an unholy amount of freedom or autonomy, in short, freeing Y/n from any restriction or any 'leash', who knows what Y/n might do.

Y/n's chewing could be heard after some seconds before gulping followed.

"Not to worry," there, she saw it, that smile, that fucking smile that only meant one thing.

Throughout the time they've been friends, practically became soulmates, she knew Y/n had a variety of smiles that indicate different things.

A smile that meant Y/n was not okay.

A smile that meant Y/n's up to something.

A smile that meant Y/n's on their last bit of sanity.

A smile that meant Y/n found something interesting.

A smile that meant Y/n is in trouble.

There were many smiles belonging to Y/n where she knew what they suggest.

And this one... This smile meant only one thing...

"I happen to catch a glimpse of that asshole's ID and locker number, I'll be putting that skeleton key to good use. And I got a receipt at the same time the crime happened. But I won't stop at just proving my innocence. I happen to know how to retrieve deleted CCTV footages."

A smile that meant Y/n had won.

.

.

.

.

.

Bennett walks around the edge of Dragonspine in hopes to find any treasure in his ‘adventure’. It may be uneventful, but his optimistic self continued on his path determined that today may be different.

Of course, he wishes to go on adventures with his creator guiding him again. Adventures with the divine one spreading their warmth upon him has always been the best feeling he has experienced, thrilling adventures brightly shining on his path. But he understands that someone as mighty as his god can also have weeks where they’re busy. In fact, he is already grateful to be one of the lucky people graced with their god’s blessings and guidance. Bennett never once thought that he’d be one of the blessed vessels in his lifetime. As if all his bad luck was meant for this very good one.

So while he waits for their holiness to come back, he embarks on another adventure on his own.

It was getting dark, but the moon was kind enough to illuminate his path to the camp he had set up. As he walks along the trees, he notices something swirling in his chest. The same warmth he feels when his creator was visiting Teyvat. His lips formed a huge happy grin as he jumps excitedly around. He awaits for the dreamlike subconsciousness to seep through.

He waits…

And waits…

He stopped to raise his palms, he was still in control.

That is strange. By now, he should have started running around or scaling high mountains, visiting foreign lands, or even doing simple commissions for others. He puts one hand to his chest, and he takes note that the divine aura felt strange, different even. As if the aura itself was thin and feeble, yet, it was not unnoticeable that’s for sure. As if the aura was swaying along the cold eternal winter wind from the near mountain, unlike the warmth that usually resides within him.

As if the aura feels less like an ‘aura’.

He can’t quite put a finger on it yet, but the change in the usual sensation of being guided by his god was concerning. He was just about to leave when he notices something from afar, much deeper into Dragonspine. He squints his eyes at what seems to look like a leg. Was there a person behind that bush? Worried for someone’s well-being to be threatened by the harsh weather of Dragonspine, he immediately runs to it.

But upon arriving to assist the person, his eyes widened at the sight before him. Laid behind the bush was a figure he frequently see around Mondstadt’s church, little statues of them on altars in households around the city. A face that he sees in paintings and on some Bibles. He couldn’t believe what he was seeing, not trusting his eyes as they could be playing tricks on him.

There stood before your unconscious body was Benny, eyes wide with only one thought running in his mind.

Is he actually looking at the Creator right now?

He snaps from his frozen demeanor when he realizes that he was supposed to help you. He can’t leave you laying here in the freezing cold. But Bennett was hesitant, not sure how to approach you. He shakes his head from the nervousness, ready to help regardless of what identity you may have.

He kneels beside you, taking note of the rising and falling of the backpack on top of your chest. You were breathing, which was always a good thing to him while he places his hand on your shoulder to gently shake you awake.

He hears you groan, making him sigh a bit in relief that you were not completely out of it. He backs away on reflex as the person he is currently helping gently pushes the foreign and weird-looking backpack to the side. You inhaled deeply, making Bennett realize that the bag must have been making it hard for you to breathe due to its weight.

“H-Hey! Are you alright!?”

He can see your eyes still hazy and unfocused, but the air in his lungs was stuck to his throat by the sensation he was feeling from your waking presence.

It was undeniable to him now.

No wonder the aura felt less like an ‘aura’. Because it no longer felt like an aura, it felt more like …a presence.

He is kneeling beside his god. They’re there, with him, in the flesh.

His god blinks a few times, e/c eyes that he reads about shine under the moonlight. Glimmering eyes that seem to be glaring angrily towards the sky. Bennett stops his staring to avoid being rude and checked your body for any injuries.

“…That’s some rad Benny cosplay.”

You spoke, and Bennett never felt so stunned to hear the same voice that whispers around him to be murmuring coherently in front of him. And their first words were about… cosplay?

You sat up, with his help of course, and you looked closely at him. He sweats while casting his eyes away from you, unnerved to be narrowly stared at by his god. You looked around and Benny can tell that you were confused.

“Okay, what the… This is not my friend’s garden. And I swear it was summer. Why am I seeing snow?” You said as you looked at him, seemingly looking for an explanation. Of course, he is also as lost as you. But he did manage to find his voice and answered.

“Oh, um, we’re in Dragonspine…?”

And your immediate response was to laugh. “And you sound like him too!! Hahahaha! Oh man, and I’m in Dragonspine? Pff! Funny man.”

Benny only smiled while trying to make sense of your words.

“Man, not only does your voice sound similar to Bennett, your costume is so on point! Like- look at the detail! The shop you buy from is literally doing justice for Mihoyo’s drip marketing.” You looked around again, becoming more concerned. “No seriously, where are we? I don’t see my friend or her mansion or the tree house I fell from.”

You turned to the boy who held a nervous and unsure look on his face. “And what’s your name, exactly?”

“You just said it, your grace…”

“… You’re Bennett?” E/c eyes wide as saucers stared back at his green ones.

“Yes. I am. Your grace.”

You stayed seated, ignoring the cold as you stared into his eyes, looking for any traces of a lie. You trust your instincts in evaluating a person, your survival skills were honed by your parents after all. But it was still so surreal. You? in Genshin? No fucking way.

No fucking way.

You're in Genshin.

You see a flaming flower stamen nearby, and a sweet flower. The familiar sky. Dragonspine from afar, HD and all.

No fucking hell.

"... I'm actually in Teyvat."

You were well aware this isn't a dream. Despite your ability to discern reality and dreams, you tried pinching just in case. Yup, you were in your game alright. And surprisingly... you're not actually losing your shit.

Surprised? Sure.

But you can blame it on your survival reflex behavior to be whelmed in an unbelievable situation. You could release your burst of excitement later, right now there was an important matter at hand.

It'd be nice to chill in Teyvat if only you knew how to get out. Yeah, you weren't just gonna decide to stay forever. Teyvat may be cool, filled with characters you simped for and adventure and magic you could only dream of!

But you have a life.

It may not be perfect, it had downs and failures, but you couldn't just abandon that.

You wanted to become an aerospace engineer! Be close to the stars! Further the studies of astronomy! Help humanity reach the furthest parts of the universe, however small your contribution is!

Animes! Shows! Fics! Games! There were so many on your lists that you haven't checked yet and some are still unfinished and waiting for updates!

And also there were some people you want to get back at too. There's no way you're going to hell without settling some scores. You promised that when you're successful enough, there wouldn't be any reasons for you to stay as a goody-two-shoes anymore. And you would have to show those who wronged you who's boss, directly or indirectly, depending on that person and how they slighted you.

So you can't stay. You want to go home.

"Um..." Let out Benny as you turned to him. He was unsure. Not the unsure of someone so strange suddenly showing up, no, you were not that dumb or oblivious. It was much more. As if he wasn't sure what to tell you, movements showing that he knows what to say but is unsure when is appropriate.

He knows something you don't.

He called you something earlier. Your Grace. Were you some kind of high-status person? Is this a reincarnation scenario? Where you wake up one day as royalty who turns out to be the villainess in a novel for someone's amusement while stuck in class?

Nope, you checked yourself, and still in the same state as you were before you and your friend were falling to the ground. Dang, you hope your friend was okay, it looks like you were the only one who got sent here, which was good in a way. You like your friend's company, but dragging her to a place where she could get plummetted by a wild boar? Yeah, your friend would not survive long enough.

So what's with the title? You seem to have some sort of identity already in Teyvat despite being here for the first time, at least with the memories that have served you so far.

Maybe you could ask right now. But you want to butter him up first, get him comfortable. Of course, you know what kind of person Benny is. But with the off chance that Benny would be different than what Hoyoverse has displayed, you want to play it safe. At least, complete the evaluation to be sure that Bennett is the same Bennett that you knew in the game.

"Hey... I'm also at a loss here. I don't know how I got here. But I do want to find a way back somehow. Do you think you know where I could get help?" You asked, smiling nicely.

"I-I-I-!" You notice that he looks so surprised, there was a linger of disappointment too. Interesting, he wants you to stay a bit longer?

"I w..." There was a pause, you noted, "I could show you to Acting Grandmaster Jean. She should know how to help you!" You smiled happily, showing him you were grateful for the help. He slightly gets flustered and says that he has something to warm you up in his bag as an excuse to hide his face.

As soon as he distracts himself finding the item that might have probably been dropped somewhere with his luck, seeing as he's frantically still looking for it, your smile dropped, and stared at him.

He seems to know you to some degree, but he did not explain further, only saying that you should meet Jean for help. He should have explained something, seeing that he held no suspicion on you when you knew his name, and with the title he used for you, there was something. You heard his hesitation before he suggested Jean. He looked like he wanted to say something else. Of course, you could tell that he doesn't have any ulterior motives, but more so that he chose a different action instead.

Is it out of caution? Was he trying to be careful?

You have no choice but to gauge that out of him later when you get him comfortable enough.

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End of chapter 2: Rhododendron

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[mysterialistic]

Over-analyzing the Yingdu Chapter [PART 1]

This is just an analysis and theories based on all the stuff we've seen so far for this chapter. It's a long one so bare with me please!

[also, english isn't my first language. Excuse my bad grammar.]

Ok, first things first: the synopsis. I'll leave the image with the official plot for the Yingdu Chapter because it'll help make things a bit easier to understand.

To me this synopsis makes two things very clear.

Number one is that we're going to see how Cheng Xiaoshi died, aka, probably starting the season with the whole context of this scene from season 2 (one of my theories is that CXS died during a dive, but that's for another post lol):

And, of course, this scene right here too:

We're finally going to discover what's the photo LG uses. Given the fact that the synopsis mentions "back to the begging", it's probably a picture of LG and CXS when they met in high school or when they're in college, which, I must point out, they're still attending during the time they go to Yingdu. For the photo to be from their college years makes more sense if we take this into consideration.

Now, the second thing that the synopsis makes clear, is that this is Lu Guang's first attempt at saving Cheng Xiaoshi. Why? Well, for that we need to get into the recently released teaser.

The teaser shows us that Lu Guang is having some sort of nightmare. Some believe that this is a real thing, but to me it seems way too abstract (also it makes sense considering all the drowning symbolism they've shown us). The nightmare could possibly start with the flashback of Cheng Xiaoshi's death, leading to Lu Guang falling into the water, sinking as he's surrounded by photos (btw, the pictures have pieces of the postcard with a building that CXS places on the table during the teaser, but we'll discuss that in a minute), then he appears in this weird place with a clock and the word "Bridon" written with red strings (threads of fate?)

Lu Guang once again falls into the water and then he sees a white light, tries to reach it and Vein appears saying: "you want more punishment?", which aligns with this text on the teaser:

Lu Guang wakes up scared, extremely nervous, very different from the composed LG that we know. To me this reaction is due to this being his first attempt at saving Cheng Xiaoshi. He doesn't know what to expect, he just broke his rules and someone knows it. Even worse, someone wants to punish him for doing so.

Now, let's go to another interesting point of the synopsis: "However, a photo with clues about CXS's parents appeared at the photo studio". This right here is tricky.

The "however" to me implies that this is something that has never happened before. A mysterious deviation of the "path of fate" that Lu Guang "retraces" (like the synopsis says). Now, what is this picture that contains clues? Apparently, it's this one:

It's a building)? And this probably also contains some sort of letter or note with information about Cheng Xiaoshi's parents, specifically his dad who's name is mentioned by Liu Xiao as he interrogates the grown man.

Another interesting thing to point out is that one of the texts on the teaser says "HE may be in Yingdu!" I'm pretty sure it's CXS talking about his dad.

Something that caught my attention is that in this section of the teaser, where they show CXS placing the postcard in the table, he and QL are fighting)? Is she maybe suspicious about this sudden clue? Does she have a bad feeling?

Ok, Tumblr doesn't let me put more images, so I'll continue in PART 2

[anulithots]

Ooh...So excited when I know that you are now a fan of Link Click, too.... Can I ask something from Link Click? What do you think are Cheng Xiaoshi and Lu Guang’s greatest personality strengths and weaknesses? Why? What do you love about their dynamic? Sorry if you've answered these questions before.....

P.s

Also, can I ask your top fav characters and fav moments from the series (Link Click), if you don't mind me asking (again)....? Thanks so much....

KLDKJfdskj THANK YOU FOR THE ASK! I had answered it, wanted to save it for further thoughts... then tumblr wiped the post.

THENNN THIS SAT IN MY DRAFTS FOR WAY TOO LONG

I cry. Sorry this took so long!

BUT I Did handwrite some stuff down, so here we go!

(Just a note that while I proabably will analyze link click - how could I not - I won't try to do as much analysis as I did with Jujutsu Kaisen... because... well I did too much. Maybe burnt myself out? I hyper analyzed that to the point where it became another school subject... and LInk Click actually SHOWS backstory, so I don't' have to connect as many dots. )

CHeng Xiaoshi and Lu Guang's strengths and weaknesses.

Cheng Xiaoshi: he's empathetic, but so much so that it turns into impulsive decisions. Other than that, when he does have space and time to process his emotions, he's INCREDIBLY good at strategizing based on the factors of the environment + the emotions of those involved (Lu Guang will follow rules without being as adaptive)

Overall, I'd describe the Cheng Xiaoshi emotion pipeline to be this:

gets overwhelmed with strong emotions, especially when possessing someone or in a high stakes situation. In this state, he'll do reckless, impulsive decisions, oftentimes for the good of others... but he usually regrets it later

CXS has more time to sit with and process his emotions. He usually withdraws from the world at this time. (Post episode five, or after diving into the photo on his own, when he thought Lu Guang was dead)

He does his whole 'I have a plan thing' and it's ridiculously smart. He just needs time (and lots of it) to process his emotions.

Cheng Xiaoshi is also almost.. too trusting. He trusts others, empathizes with them, so easily feels and assimilates himself with others that he'll... probably get taken advantage of. (See season two)

He also clings to the people he has. This is neither a strength nor a weakness... it's both, it's a trait, and it will become either beneficial or a detriment depending on the situation, as is the case with a lot of character traits. The plot tests the flaws and benefits of a character. (Sorry small tangent)

CXS tries to prevent the same pain of loss from befalling anyone else/ people he possesses. He fears being alone (probably also feeds into his 'too trusting' + relies on Lu Guang thing. Neither are inherently flaws) and perhaps part of the reason he is so impulsive is because his parents left him so suddenly. He gets so stressed because he has to help them/save them, and he must do so immediately, before they leave him forever.

(See I'm analyzing but I'm having trouble with fitting CXS into the overall themes... hmmm.. I'll figure it out.)

EDIT: I HAVE THOUGHTS, I THINK I FIGURED IT OUT... MAYBE I SHALL LET THE THOUGHTS MARINATE MORE!!

Lu Guang:

I'm not sure if he restrains his emotions, has subdued ones, or if whenever he's around CXS he can act more 'low energy' because CXS is... a lot. /aff

(See Lu Guang sitting on the couch differences from when CXS is there versus when CXS is in a dive

Versus when he's alone:

*feet on the table*

*bouncing his foot*)

He acts like he's the level headed one, but he's far from it. Even in season one, especially in episode five (when he took a risk and it ended up backfiring on CXS) he can and will freak out the moment something doesn't go according to plan. And who often doesn't go according to plan?

Cheng Xiaoshi.

Lu Guang does his very best to... prevent against this. He means well. Pretty much every moment he's on screen is him trying to protect CXS.

He does keep secrets, but overall, I think he isss pretty open about what he thinks and feels (except for when it comes to CXS to his face... he'll gladly talk about it to Qiao Ling). In... I think it was episode six, he openly told Cheng Xiaoshi his reasoning for going back in time to deliver the messages in episode four... to alleviate the client (and prove to himself that it is possible) of regret.

As far as the 'strengths and weaknesses' go, for all the issues and benefits that happen because of him, it's really caused by his personality, his traits, that will be either useful or detrimental depending on the situation. LInk Click is wonderous at using the plot to fully explore the nuances of the characters, so none of their traits are 'black and white'. Very 'trolley problem esque' and up to the viewer to decide. *buzzes and explodes* /pos

In essence: Both CXS and Lu Guang are emotional idiots in their own ways (CXS's just louder about it /pos /aff) and QIao LIng is actually the only levelheaded one here.

... I need some more time and rewatches before I can fully analyze them well so that's that for now!

What I love about their dynamic

They both trust each other, and will break all of time and space (or not break all of time and space) for the sake of the other.

MOST OF ALL HOW'LL THEY'LL BREAK THEIR USUAL CHARACTER IF IT MEANS PROTECTING THE OTHER.

Like Lu Guang, for all the times he says that CXS cannot change the past, that he shouldn't interfere, caves if it means giving Cheng Xiaoshi solace. (Episode five when tried to help Cheng Xiaoshi save his mom, and in season two when he let Cheng Xiaoshi dive to allow police assistant guy - I forget his name - to give a flower ring to his wife)

For Cheng Xiaoshi, he'll resist his impulses and emotions, even if it causes him immense pain, to comply with what Lu Guang would've wanted. Epppiisooddee fivvee is a good example of this. (And of course... I think it was episode two of season two where Cheng Xiaoshi decided not to go back in time for the sake of Lu Guang's wishes). Cheng Xiaoshi 'gave up' on trying to save everyone in the town because of Lu Guang's urging, and even throughout all the dives he does, as early as episode one, he trusts Lu Guang.

Also, in a less dramatic sense, ... alll the little things they constantly do for eachhh other aklsjfkaslfklasjd fSCREAMSSS

Lu Guang checking on Cheng Xiaoshi during his nightmares, comforting CHeng Xiaoshi after the trauma that was episode five, the both of them constantly teasing each other, how comfortable they are in each other's presence. IT'S SO QUEER PLATONIC CODED I LOVE THEM SO MUCH.

Fav characters and moments.

(in the prev version of this ask I started listing out EVERY SINGE scene in season one and started going to season two... I love them all. I love them all so much I'm going to rewatch it again.)

But as of now I'll list them out and include some of my screenshot collection (it is growing heheheh)

In episode one where Lu Guang slurps his noodles to tease CXS after he couldn't eat his spring rolls

The moment in episode two where Lu Guang proclaims that the mission is hopeless and CHeng Xiaoshi says 'Just because you don't see hope doesn't mean there is none'

AND LU GUANG SMILESSSSS:

Also Lu Guang smiling when CHeng Xiaoshi says how he wishes Lu Guang could've tasted the noodles too. There's Lu Guang smiling at things Cheng Xiaoshi says, what more does one need in the world?

ANY MOMENT QIAO LING IS ON SCREEN IS IMMEDIATELY PEAK FICTION AND I SHALL PERISH ON THIS HILL

Like in season two where Cheng Xiaoshi is restrained and QIao LIng slaps the lawyer guy in the face (I'm slow with names and need to rewatch season two)

Honestly episode five is a masterclass in good writing. The moment where Cheng Xiaoshi's mom is singing to him, then it cuts to Cheng Xiao's mother dying is just... *sobs*

WHEN QIAO LING CANNONICALLY CALLS CXS HER BROTHER AND IT FLASHBACKS TO HER AND YOUNGER CXS AND lakjfalksfjasklfjaslkfjaslkdfj

Cheng Xiaoshi's backstory in general... it was either in episode ten or eleven... or nine??? I still have to rewatch up to there. Epsically because CXS's backstory was explored in really nuanced and explorative ways before the whole thing was revealed, which makes any rewatches 1000x sadder. It's such good writing holy herbs.

In episode... seven I think it was.... when CXS as Doudou punched the human trafficker and Lu Guang had a surprised pikachu face... peak fiction. How this donghua manages to make me smile and laugh then ugly cry and stare at a wall for the next few hours is beyond me /pos /sooo impreeessive the wriittttnggg.

Lesbian Noodle ladies were amazing. 100/10. Bring them back the trio needs happiness

Lu Guang wanting to go the funeral in season two with an IV and half formal clothes, half hospital gown. He's smart but in the 'I've memorized an entire Library but can't navigate a practical/social thing to save my life' sort of way. Love him for that.

Wang Juan. She has an Ivan (alien stage) haircut and she was great and yes I have another aesthetic crush shhhh

When the trio dressed up as the cartoon characters to reunite Doudou with his dad.

Cheng Xiaoshi arguing and bickering with Xu Shanshan. Then when he dives as her, he immediately makes her look bad and it's hilarious

In the 5.5 extra where Cheng Xiaoshi and Lu Guang play video games against Qiao Ling and both of them lose.

Qiao Ling and CXS both beating up a bunch of people. Peak siblings

CXS and Lu Guang beating up Qian Jin (I looked up the wiki and it has character namess yessssss). Peak queer platonic partners.

Moments like these? IDK I just like the idea of them spending time together without necessarily needing to talk to each other, comfortable in the silence.

SCREENSHOT COLLECTION:

.... I reached my image limit *cries*

THANK YOU FOR THE ASK!

(and sorry it took me so long to answer it)

... now I want dumplings

[twyisontheline]

Okay, so i see everyone is posting their own opinion and analysis about Apology Tour, so wth, i'll give my two cents too about their arc, talking about Full Moon and what happened before then too. I am not able to summarise it and i just want to write about it freely, and probably no one will read this text wall and i actually have to split it into two post because it's too long for tumblr, lol. But here we go.

I think the premise should be: overall, Blitzø and Stolas both have their whole bunch of issues they need to work on and figure out, and a relationship or 'love' won't fix them. I think both of them did something wrong in the Full Moon exchange, but they also said things that needed to be said. It makes sense that Stolas is really hurt. The premise from where Stolas starts is that he is a monster who forced Blitzø to have sex with him through blackmail. When Blitzø acts like it's another sex thing, it means two things to Stolas: one, that Blitzø never cared about him, and two, it's a reminder of Stolas forcing him into their relationship. Than when Blitzø says his piece about royals not caring about imps, I think Stolas is hurt because he feels like while he sees Blitzø how the person he is, and likes him for him, Blitzø doesn't really see him. (Look my way, etc etc.) Is Stolas lacking self-awarenes about the mixed signals he sent in their relationship? Yes, very much. He feels guilty for the deal, and yeah, he should. But there's more to it. In most of s1, until the Ozzie episode, every time we see Stolas and Blitzø interact, Stolas talks down to him, with condescension, and every exchange is kinda framed by a suggestive/sexual roleplay thing of 'the prince and the imp.' When he invites him to the harvest festival, I think it is an excuse to spend time with him and to give Blitzø something other than sex, but he does it after the most cringe condescending talk ever. And I think it makes sense. Yes, Stolas has treasured that day when they were kids, and when he meets Blitzø again for the first time, he genuinely wants to catch up. But Blitzø was there just to steal the grimoire. And at this point, their one and only real interaction has been one day when they were kids. Stolas doesn't have feelings for Blitzø, he barely knows him. What Blitzø is for him at this point is the first man he slept with, his gay awakening and an experience that is really a turning point for him. The moment where he sees that maybe he doesn't have to keep trying to make his abusive and loveless marriage work, but he can go chase what he wants. Yeah, the deal is a shitty way to do it. He also has never asked for or got anything he wanted in his life, always had to just bear with what he was forced to deal with. And he has no reason to think Blitzø would want him. So, does Blitzø have a right to tell Stolas he's a pompous asshole? Yeah, he does. No, shouting it is not the best way to go about it, especially if you think Stolas is a domestic abuse survivor. And also, Stolas did act like a pompous asshole for the first months of their arrangement. I think Stolas didn't catch feelings first: Blitzø did. It shows in how flustered he gets when Millie suggests he and Stolas are together. Stolas did start to really like Blitzø, not only sexually, at a certain point: when he starts 'asking him how his day was, and commenting his photos, and laughing at his jokes' etc etc. He didn't do it from the very start: and this is realistic, he started to really know Blitzø after a while: they see each other once a month, of course it takes a minute. But when he starts showing he cares, he doesn't see that he behaved in a complete different way until then. Makes sense Blitzø is confused.

[the-s1lly-corner]

JONATHAN AND GN!READER AND THEIR ANTICS !!!!!!!

Antics w/ Jonathan and Reader!

I did a similar post yesterday!! (Linked at the end, hopefully, I'm mobile and sometimes tumblr can be weird)

I'm so so sorry it took my so long to get this request <\\3 I was trying to come up with new ideas so it could be different than the other ask <\3, which I highly recommend checking out! Imma be real I'm not totally confident in how this one turned out so that second post can be like an extra/make up <\3

I wasnt sure if you wanted this to be platonic or have them dating so!! It's mostly written as vague in that department!!

Jonathan doesn't strike me as the person who goes out and does things a lot

Just. Wake up, work, home, sleep, repeat.. he'll sometimes send texts to friends and family to schedule a lunch here and there but

That's about it, hes not very social

So a lot of these antics are really going to be made through you making the plans; with the shenanigans really being unplanned byproducts

Honestly I can totally see Jonathan starting shit with someone, be it accident or on purpose, prompting both of yall having to hightail it out of the area

Reminds me of that part from one of the diary of a wimpy kid movies, where greg n rodrick do that fake puke prank on the guy and have to make a run for it

Actually I can totally see yall subtly being menaces and fucking with people

Maybe not a fake puke prank persay but

Yk?

No crime stuff; I only really see that becoming a thing after he becomes Spot! Both from how he worded his whole "turning to a life of crime" thing and the fact he just

Lacks the experience and confidence

Moving on

Maybe it's just my "let's get silly with the writing" part of me, or it's my need for chaos (arguably the same thing), but

I feel like

Somehow, you guys would accidentally probably maybe kinda sorta

Wreak havoc in ways spot could only dream of (before doing the whole. Bouncing across the multiverse thing)

Yall could probably start the day wanting to go to some food truck and

End it by spending a night in jail

Neither of you are allowed anywhere near food trucks after that /j

No but serious note, Jonathan is basically a hermit, he doesnt like leaving his apartment unless he has to; people are just, so

Eeuuughchk!

So when you two hang out it's either his place or yours

But that's not to say it isnt fun!

Hes got normal stuff people have in their homes, like board games and consoles

And also science doohickies

Yeah people have that in their houses, that's a normal thing

Ngl if you give him any ideas for machines or whatnot hes totally going to give it a try

See previous post with a trans s/o, he would make the transgenderinator if you asked him to

Well now hes just turning into doof

Ykw

I feel like he'd take you to alchemax to show off stuff but like

If you asked nicely

How can he say no to that face?

And also he has no backbone

That's not to say you would pressure him, though! Because that's not cool, dont pressure people. But like, he would cave in the way of "I know it's not that serious and I know they'll probably understand if I say no, but I don't want to ever risk disappointing them ever in my life, so I'm gonna say yes!" Kind of way

He just like me frfr

And this is assuming you even know about alchemax

Which personally, unless you're in some way associated with it, I'm p sure be would have a strong boundary to keep you out of it

This is really just turning into a general ramble <\3

Anyways

I dont have many ideas since I struggle with general hcs like this but!! Yeah!! Definitely recommend the linked post for a better more cohesive (?) List of ideas and hcs!! This post kinda

Made me realize I dont have many hcs for Jonathan outside of making his personality a smart pathetic science man

Gotta fix that , give him some hobbies n stuff in the future

Link to a similar post!

[blatterpussbunnyfromhell]

Did Silver kill Flint?

I keep seeing cold ass takes in the Black Sails side of tumblr that make my blood boil.

Look, I got into Black Sails in 2017, three weeks after the finale aired. Back then, there seemed to be an understanding that the "Silver killed Flint" interpretation was just a fringe theory from straight people made uncomfortable by the queer lead getting a happy ending. Personally, it was my first encounter with the phrase "unbury your gays" (having learnt "bury your gays" a year earlier with The 100). It seemed to be generally accepted that Flint lived, and that this was the whole point.

Now, it would appear that a shift has happened in the fandom, where the idea of Silver killing Flint is no longer treated as a theory by straight weirdos but as a canon, onscreen event, and these posts come from queer fans. It seems to come from younger fans who were about 12 or 13 in 2017. It's so mindboggling to me.

The arguments for this Silver-Killed-Flint thing is usually the same two: birds flying away and Silver's men turning around in the forest, as in reaction to a noise, which is interpreted as a gunshot.

Like, I'm just elaborating on a rant I sent to my friends earlier today here but, if Silver killed Flint, then :

Why would we be shown an entire sequence with one of Silver's henchmen looking for Thomas where he is?

If Thomas and Flint are dead, why aren't we shown their deaths? It's an actual rule in cinema that a character whose death isn't shown on screen isn't dead, a rule that the show does follow (we see Billy's funeral but not his corpse). Besides, Black Sails doesn't shy away from showing death on screen, even for main characters. Then, why not show how Thomas died instead of telling us? Why not show us Silver shooting Flint? The writers trust their viewers to understand the pattern, and understand that the reason we do not see their deaths is because they aren't dead.

Why would Silver bring up Thomas to Flint if he'd planned on killing him? Or if, as I've also seen it said, it was just a lie he made on the spot for Madi ?

And talking about Madi, I've seen A LOT of people saying she would never forgive Silver. And to that I genuinely have to ask, have you seen their last appearence in the show? I dont mean their argument in the cabin, I mean the scene where Silver sits on top of a hill and turns around to find Madi waiting for him on the path. I mean the scene where he walks towards her and she waits for him. So, my question here, if she wasn't gonna forgive Silver, why is she waiting for him on that hill? Nevermind the fact that Treasure Island's Long John Silver is in a relationship with a Black woman (I've seen posts saying that could be Max, and really wtf??), what is the point of showing us this scene if she's not gonna forgive him? Why not stop their arc at the cabin where she sends him away?

At the time when Black Sails' finale aired, Supernatural was still queerbaiting its audience, and Sherlock ended in a fucking shitshow. People were throwing fits over Bill Potts, Doctor Who's first ever onscreen lesbian companion because she was a lesbian with a masculine name. A year before that, The 100, a very popular tv show at the time, had just killed it's only lesbian character and faced so much uproar and backlash for it. (That was my entry into the LGBT+ community, by the way : the first character to make me think I might actually like women getting killed on screen two scenes after having had sex with the female lead). Sense8's two-hour long finale and Love, Simon wouldn't air for another year.

So yeah, if you weren't into queer media back in 2017 (and omg I sound like such an old twat), I don't think you can understand just how important that ending, with Flint being reunited with the love of his life after so much pain and loss, was.

If your interpretation of Black Sails is that the events of Treasure Island happened the way the book tells you, then I'm sorry to tell you this but you completely missed the point of the show.