#using this to speak rather than making a separate post

[yes-no-maybe-soo]

Forgot to add an important point to this post... while yes I am a Sylus focused account and therefore tend to mainly talk about him and my fellow kittens in terms of the boycott, I always emphasize that even if you don't care about Sylus you should care about this boycott and you should join if possible. Because sooner rather than later this issue will not just affect him or his mains. Paperfold's greed will bleed over into every aspect of it. In fact it's already begun to.

Don't believe me?

Let me direct you to two examples then

First, the CNY event outfits. In the past, event outfits used to be free. You'd buy them with the event currency. This time? Locked behind purple diamonds. Which you cannot obtain through any means but real money. What's more foul is that the game tried to market it as a "discount". Like be so for real with me. They should be free and yet you want us to think you're being generous? Not to mention, these outfits are brand new. They've never had a higher price tag. So the "discount" is in fact the original price. Don't try to gasligt your audience, Paperfold 😑

Second example: take a look at the outfits for this new banner

Notice how this differs from the kitty banner?

The "headpieces" and outfits are separated.

In the kitty banner, the ears and tail came with the outfit in a bundle. As they should. But now? You need 10 extra pulls to complete one set. So if you want all 5? That's almost 300 pulls required. Do you know how many dias that is? This is greed, pure and simple. And it'll only get worse from here if this is allowed to go on. Trust me on this.

And as I'm sure you're all aware, Dias in this game gets increasingly more difficult to farm. Once you're in end-game, good luck. Unless you whale or invest in all LIs, you won't be able to accumulate a near sufficient amount.

Meaning, if you're a F2Player or low spender, you'll be stuck sooner or later. That's just the reality of the matter. Heck even dolphins and whales are upset over how scarce and unbalanced resources are.

In the long run, this will turn players away from the game. It'll become unsustainable. And that is a heartbreaking thought. This game has been groundbreaking in so many ways. It's truly revolutionary in the world of female oriented entertainment. The LIs are beautifully crafted and written and they have so much potential. So many more stories to explore. So many more milestones to reach. The VAs are literal gifts from the Gods and masters in their craft. The writers and devs pour their heart and soul into this game, and have created a spectacular and beautiful fictional universe. I truly don't think I speak for just myself when I say that I want this game to thrive and flourish. But the direction it's slowly but surely heading is worrying.

This is why it's so important that we as consumers make our voices heard and why, while I don't want to pressure anyone, I urge you not to spend money in this banner if you can avoid it. The execs have made it more than plain that they only care about revenue. Only if that is effected will they stir. And so far, luckily, the boycott has been succesful in lowering said revenue [1] [2]. Hopefully, if we push forward, Paperfold will have to listen to us and reel in their greed.

A boycott has worked before — it happened during the Oracle of Scams fiasco and resulted in Heartfelt Gifts plus other rewards and the permanent shelving of the Oracle event — so we do have more power than we think.

No matter what I choose to do in the end — to pull or not to pull 😔 — I will, in solidarity with the CN kittens and the ongoing boycott, refrain from pulling within the first 3 days. I'll only log in on the first day and choose Sylus as my precise wish. That's it. And I will absolutely not spend real money. I have 0 plans to ever do so until Paperfold course corrects.

If you too wish to help with the boycott, then I urge you to do the same. You can still get the card you desire ofc but please wait until after 3 days or at least 24 hours have passed in that case.

For more info on the boycott, please check my pinned post or my hashtag justice for sylus. You can also take a look at this Reddit thread .

[anxeious]

u seem so excited about ur birthday and its really cute and heartwarming to see. i hope u had a good day!! >.<

thank u :) to be fair most of those posts were queued months ago and i had no idea how many there were LOL but i grew up my entire life thinking i was just gonna kms so every birthday is like oh hey! i’m still alive! but also if i don’t make a big deal about it who else will???

[elodieunderglass]

On the topic of the monarchist animals I'm just really curious. What makes the winnie pooh real animals bourgeois? It's not like they own much more than the others. Do they just have bourgeois energy?

(In reference to my addition on this post; https://www.tumblr.com/elodieunderglass/748488762087047168/hold-on-lets-do-this-properly-paddington)

In the post I state that none of the stuffed/toy animals in the Winnie the Pooh series are monarchists, but that the real animals are bourgeoisie. Obviously this is tongue in cheek, but it’s still politically interesting to me because nobody ever reads Winnie the Pooh as an actual book. They just draw depressed Disney Eeyore and think they’ve done something.

Owl and Rabbit are real wild animals that live in the Hundred Acre Wood. The other characters in the story are Christopher Robin’s stuffed animals.

The “real” animals (reasonably) consider themselves to be separate from the stuffed ones, but where it becomes unreasonable is how they assume superiority and how they use this to exert authority.

(A charming response about how the stuffed animals view this: Piglet points out that Rabbit is both clever and Has Brain, and Pooh replies that this is why Rabbit “doesn’t understand anything.”)

Owl is characterised by being a bit of a fraud. The stuffed animals respect him for his presumed education and literacy, but even a preschooler understands that Owl can’t actually read. he actively deceives the other characters in order to maintain a higher social status over them. (Actually, Rabbit’s the most literate character in the Wood.) Owl gains relatively little advantage from this status, apart from his belief that he is superior and the pleasure in everyone deferring to him. A notable theme throughout the written series involves characters approaching Owl for advice, based on his self-made reputation of being wise and thoughtful, and him giving explicitly bad advice, rather than admit that he has no idea how to help. Also, they forcibly give him someone else’s house, in such a way that the actual possessor of the house (Piglet) feels he can’t speak up. Pooh immediately offers to Piglet that he move in with him, which even as a kid felt like an incredibly unsatisfactory solution to having the shyest character’s actual house given away to the character who casually lies about everything just to feel superior.

Rabbit is a grown-ass adult real wild animal. He is the social leader of a massively large family and an extended group of hangers-on (he has fifteen or seventeen close relatives, and the extended Friends-and-Relations are a sort of army); he is the only actually literate person in the narrative, so it is understandable that he feels this (although he also believes Owl can read.) literacy and Brain are considered very important in the Wood.

Rabbit believes in his own superiority and believes himself to serve as a sort of cadet to Christopher Robin. In the series Christopher Robin is the ultimate judge, and a kindly ruler; Rabbit positions himself constantly at Christopher Robin’s right hand and wants to be his enforcer. Christopher Robin, who is five and a fairly distracted God, does not really enforce anything. This does not stop Rabbit from trying to organise the entire Wood. It’s frequently mentioned that Rabbit wants to feel important, he wants to be the Boss. A beautiful, beautiful commentary on his character is when he wakes up feeling “important, as if everything depending on him… it was a Captainish sort of day, when everybody said “Yes Rabbit” and “No Rabbit” and waited until he had told them.” Fantastic!

However, we can see where this leads him. In the first book Rabbit is shown being hostile and actively anti-foreign in his approach to other people. When kanga and roo arrive in the forest - sanctioned by Christopher Robin who has received new toys - Rabbit instantly says they have to get rid of them. Like there is NO friendship in Rabbit’s heart here. There is no “god has placed a new friend in the wood so we have to get on with it.”

Rabbit’s anti-immigration stances are funny, and in-character, and shown by the narrative to be wrong and unfair. But they’re pretty unleashed.

His plan is to kidnap the baby and hold it hostage until the mother agrees to “leave the forest forever and never return.”

This is not a normal response to a new character. It is in fact fucking unhinged. Coming from the most normal-adult real animal in the story, it comes out of nowhere. “We have to eliminate them instantly. Take the baby hostage, blackmail the parent and deport them” Rabbit these are war crimes.

Anyway it’s all very heartwarming as Rabbit learns that he likes Baby Roo. (Their relationship grows warmer as Baby Roo says “yes rabbit” and “no rabbit” better than anyone else.) We never really learn why Rabbit is so violently anti-immigration that he instantly jumps to doing crimes, but it’s possible that he doesn’t like the threat to the status quo. Baby Roo, by deferring politely, thus turns out to be a valuable social inferior for Rabbit’s power base.

But in the next book we also get another new character introduction: Tigger. rabbit does not like tigger. In fact, he stops visiting Roo because Tigger lives with them. Rabbit, frustrated by Tigger’s bounciness, also decides to deliberately trick and bully Tigger in order to make him “small and sorry.” The fact that this comically backfires on Rabbit is part of the Pooh-lore storytelling style, of course, but it’s still something obvious even to the preschool audience - that isn’t how you treat your friends.

In conclusion, due to their hoarding of (social) capital and behaviors that prop up an unjustly unequal social system, I think the real animals in Winnie the Pooh are a bit bougie.

[autogyne-redacted]

Let's Talk About Security Culture: Why Keeping Secrets is Cool and Sexy

It's a natural impulse -- if you love crime -- to want to talk about how great it is. And if you hate America, it's only natural to want to share your dreams for its future with the rest of tumblr dot com. It can feel brave and transgressive. And there is a drive to share your soul with the world at the heart of social media. Surely I should be posting the most concrete implications of my politics, right? This is the poster's curse.

Security Culture refers to a set of "best practices" developed over the past several decades, largely (in a US context) coming out of radical environmental groups as they faced intense state repression, infiltration and entrapment. If you're not familiar, there's some fascinating crimethinc write ups to give you a window into that world:

Much of it boils down to: don't talk about crimes, past or forthcoming with people who don't need to know about them, and be mindful of the possibility of surveillance and infiltration. And, we can support each other as a community in minimizing risks, with an eye towards enabling bold action rather than getting bogged down in fears and anxieties. The guidelines that make sense for AG-based trouble-makers are different from the guidelines that make sense for posters, but plenty of common principles apply. To speak briefly to our position here as posters:

First, it bears saying that long term anonymity is nearly impossible to maintain. Unless you've never accessed Tumblr without a vpn, and avoided connections with other ppl who can be associated with you/your location, and never shared pictures without scrubbing metadata, and a bunch of other 100% consistent steps, it's trivial for the state to know who you are.

Second, just because something isn't actively being prosecuted now doesn't mean it can't be prosecuted later. The priorities of the state change and a shift in power towards the right or a growth in radical action from the left can suddenly make it a priority to destroy anarchist networks or just find a few ppl to prosecute as examples (who probably weren't that plugged into larger networks before getting arrested). Advocating for specific anti-government crimes or declarations of intent to commit such crimes are likely prosecutable, and even if charges don't stick, they're an easy vector for legal harassment.

Third, it's worth thinking about heat as separate from prosecutability. There are modes of engagement that may not be directly criminalized but signal that you are someone worth watching. Some people choose to be public in ways that make heat unavoidable. But it's worth noting that heat isn't strictly individualized, that it persists over time but also is going to shrink over time.

It's easy on here, ime, to see yourself as a proud member of the crime fandom but not much of a content creator. And it's easy to feel like you've generated an amount of heat where you're locked into that role. But heat you generated 10 years ago is probably pretty well gone. Heat you generated 5 years ago has faded substantially. It's worth thinking about how the world might shift in the coming years and what doors you want to keep open.

The non-individualized nature of heat also means that leaning into the spiciest of anti-state positions will make it a bad idea for people who are acting out those positions end up tied to you. Loudly talking about how "more people should be doing [X/Y/Z]" unfortunately sets you up to remain distant from people who might be doing or thinking about doing such things.

Which brings me back to: keeping secrets is sexy. Not spelling everything out builds intrigue. You can lay out a theoretical position and leave working out the practical implications of that as an exercise for the reader. There's value in opacity. The poster's curse and the drive to confess are extremely convenient for the state, but we can resist them. We can hold dreams in our hearts that we refuse to offer up to the posting spectacle.

[tagidearte-spam-sb]

The Daycare Attendant and Their Dialogue

A little ramble on some of the things I've noticed about their ways of speaking. This post ended up being predominantly about how they refer to one another. Most of this is speculation mixed in with my own views on them and their relationship, without discarding some other possible alternatives (for instance, although I do view them as two AIs that heavily rely on each other to function properly, I do not cast aside the interpretation that they are the same person).

(note: although I have played SB and Ruin, I did not play HW2 myself. All I know about that game has been through let's plays).

Sun is, obviously, the chattier of the two. Not only are his sentences longer, he speaks more of them in a row than Moon does - in fact, we only see Moon going on and on in Ruin (which we will discuss later).

Both of them use a lot of repetitions when speaking. From their infamous "clean up, clean up" line, to Sun's panicked "you like glitter glue? I have glitter glue!" and "light's on! Light's on! Keep the generators on!", to Moon's "hidey hide, hide away" and "bad children must be punished. Bad children must be found", "knock knock", etc. One of the first things Eclipse says is also a repetition ("warning, warning"). They appear to occasionally rhyme their words too, or at the very least use similar sounds in their sentences. This is a robot that works with young children, so it's not surprising.

On that same vein, their main insult to misbehaving children (and employees... or at least Cassie's dad) is also a repetition: "naughty, naughty" (which turns into "naughty boy" for Gregory), "rulebreaker, rulebreaker", and "bad kid, bad kid". In fact, it appears they repeat words more often when they're mad/stressed (Sun's no no nos, Moon freaking out in Ruin). Taking into account they get mad pretty easily when things don't go their way, it's not surprising we hear it so often, but it's neat.

Although both of them speak in an almost song like manner, with Sun's run on sentences flowing well between one another, Moon is the one where this is more evident due to how much shorter his lines are.

Moon is also the one who speaks in a more childish manner. Not only are his phrases shorter, he doesn't articulate them as much as Sun does, and seems to prefer shorter words and sounds, especially giggles. This makes Sun appear more developed. Key word being appear.

Sun tends to speak as if he's entertaining a crowd, doing his best to keep the attention on himself while trying to keep it fun. This is most evident in his level explanation parts in HW2, but it's also clear in SB. In Ruin, this is absent for... obvious reasons.

Both of them are somehow direct in their way of giving orders/saying what they want to do. When they can't be direct, they find workaround truths in order to conceal what they truly want to say, while keeping the main order clear (such as Sun saying the player will hurt their eyes if they work in the dark and ordering them to keep the lights on, rather than saying Moon will kill them so keep that room bright. Direct, but nicer).

Not at all important to FNAF speech lore but I think it's funny: Sun says the infamous Vanny line during the daycare intro section. "Are you having fun yet? (Are ya, are ya?)". 0.5 seconds after Gregory just stands there, which coincidentally is what Vanny does 0.5 seconds after Gregory gets into a vent (numbers exaggerated). I don't know. I just think it's funny. Replaying the daycare section after hearing Vanny yapping that line non stop gave me flashbacks.

The way they refer to each other and the pronouns they use are an entire thing, so let me separate it in two parts.

So that this post doesn't become scrolling hell on the tags, I'll keep it below the read more line:

Sun

Sun is the one who refers to himself the most. He frequently uses "I" or "me" when talking about himself, and does it way more often than Moon. Examples of this are "I have glitter glue!", "I'm stuck in a nap", "it really speaks to me", "I feel dumber just looking at it" - you get the point by now. The reason I'm going hard on this point is to contrast his way of speaking to Moon's.

When it comes to him referring to Moon, we only ever hear it twice. In HW2 he says "He'll wake up if the lights go out!". In Ruin, he says "Not me, the other me!". Besides those two voice lines, he merely alludes to Moon without ever mentioning him by name or by pronouns (such as when he says he'll turn the lights off himself, implying he'll let Moon deal with you, or when he says you can't work in the dark and instead of saying the real reason as to why, he cuts himself and goes "You'll- hurt your eyes if you work in the dark").

This is interesting for two reasons: one, we only see him directly mention his counterpart when he's in a ruined state (the HW2 voice line comes from the mask off section, when they're broken down. At least I think so); two, he simultaneously views Moon as separate from himself ("he'll wake up") and as a part of himself/another side of himself ("the other me"). You can take that as them really being the same "person", or as a reflection of their complicated body sharing situation. Take it as you will.

As far as referring to himself and Moon at the same time, he only does it in Ruin when he states "We need to be whole".

Moon

The way Moon structures his sentences means that he seldomly actually refers to himself directly. For instance, he doesn't say "I will find you" or "I will punish you", putting himself as the subject of the sentence. Instead, he puts others as the subject, wording it as "Bad children must be found" and "Bad children must be punished". This is consistent across all of his voice lines except one... Well, technically two.

To get it out of the way: there's a deleted voice line where he says "I'm putting you in time out", a line he and Sun share and which worked the same way the clean up one does - them saying the same thing, a push towards them being the same person ordeal.

The only in-game time he refers to himself directly is in Ruin. This line is also the only time he refers to both himself and Sun as a duo. This line is also the longest line of dialogue Moon has.

"(groaning noises) Naughty! Naughty! Make it stop! The light makes us hurt! Grind Grind! Grinding gears inside my head! We can't move. Error! Error!"

This line, much like Sun's, is interesting for various reasons. Even though Sun is no longer with him (being stuck in the VR world and separate from Moon, shown by how Moon can't move because the lights are on but his body can't shift into Sun, so he's completely stuck), he first refers to himself as a "us" - adding Sun into the mix. Then he refers to himself alone, "my head" instead of "ours", before going right back to a plural.

We can assume one of three things here: one, Moon refers to himself as a we more often, adding Sun into the mix, a complete opposite of his counterpart who typically speaks in singulars; or two, Sun is not as absent as he appears and in that moment he is in fact with Moon, just stuck on the passenger sit, hurting alongside him; or three, this is merely an effect of this being in the Ruin DLC where the whole point of the daycare section is to fuse Sun and Moon into the Eclipse, so the writers decided to bring the point home further. If you have more options, feel free to add them.

Side note: This voiceline also shows Moon's speaking patterns pretty well. Putting "the light" as the subject instead of "we/I", the rhyming, the repetition, the clipped sentences compared to Sun's endless ones, the noises, the scratchiness, the vague childlike mannerism... All ending with "we can't move", way more straight to the point, said right before he freezes up, which deviates from the "other subject first then me" rule due to the pain tearing through him at the moment.

Moon does not call Sun "the other me" or anything similar in any of the games. He never refers to Sun as if he too was Sun. However, we can assume his view on their situation probably mirrors Sun's - being in the same body and all -, so take it as you will.

And as for Moon referring to Sun as a separate individual... He does not refer to him as a "he". Instead, he actually mentions his counterpart by name, saying "No more Sun". Meaning he's the only one of the the two that has canonically used his other side's name. I think it's interesting how the least chatty one is the one actually calling the other by name and not the other way around. And yes, you can say it's a way of speaking and he's referring to the concept of the sun rather than saying his name, but taking into consideration Sun never utters the word moon, I'd say it's still quite a big thing.

In my headcanon land, due to the happenings at the Pizzaplex, Sun is probably too embarrassed and mortified to even mention Moon. Moon, on the other hand, has no reason to have such troubles besides hating Sun for (in his perspective) keeping him locked in a prison of light. So for me, it makes sense we never see Sun saying Moon's name, and it makes it more impactful when he actually acknowledges Moon as the other me rather than a he.

Eclipse

I lied there's three parts.

Eclipse has very few voice lines. The only one that matters here is "We need to clean this place up before we can open in the morning." This is pretty straight to the point: Eclipse, unlike Sun and Moon, doesn't use an "I". They immediately speak in the plural. They do not view themselves as just Eclipse, but rather as both Sun and Moon combined, at the same time.

As for the DCA being two AIs or one... in Ruin, Sun thanks Cassie after Eclipse is activated. It's left ambiguous. You can say Sun speaking afterwards proves they're not one and the same, "with the Sun and Moon AIs still running separately somehow", or you can assume Eclipse existing doesn't mean Sun and Moon can't keep doing their thing under safe mode, albeit in a less chaotic manner, allowing Sun's voice to come through but not making him any less Moon - he is Moon, he is Sun, and they are complicated yet very simple.

I believe in whichever version is more convenient at any given time, with a preference for "two codependent AIs" given what the games show us. Although, going by everything I collected here, the only theory I believe to just not be supported by canon at all is the one with Eclipse as a separate thing all together. Eclipse refers to themselves as a "we', not an "I". Eclipse activates when you make Sun and Moon "whole". It canonically makes no sense for Eclipse to be a third thing. (Please remember this is a post about what's in the games, the canon of FNAF. AUs and fandom or whatever, you do you).

That's it. Hope you enjoyed my rambling. Uh artblog unpaid promotion @tagidearte thank you for making it this far.

[describe-things]

This post is made with speech to text because my hand hurts from typing so much today. Please forgive any typos or speech to text swapping similar sounding words.

If you would like to start writing your own image descriptions, feel free to ask any questions.

The main things to keep in mind is that they should begin with some variation of image description start or ID, and end with some variation of image description and, and ID or something like that. This distinguish the image description from the caption or anything else.

Image descriptions should not be written in italics, bold, all caps, or any colors. If text in the image is in all caps, write it in regular case, and simply note before or after it that it's in all caps.

Image descriptions should describe all images in the post, without skipping any. This includes images that are nothing but text.

Plain text image descriptions in the body of the post are more accessible than alt text alone, because many people who need image descriptions cannot use alt text, and Tumblr is known for its glitches, so the accessibility of the alt text all by itself varies widely over time.

It is more accessible to have the image descriptions indented than not, because this helps to visually separate the image description from the caption. Having brackets or parentheses at the end is also helpful for this. This allows people to easily distinguish between the caption and the image description if they need to.

If you are an artist, writing image descriptions for your art will give you full control over the image description, and will allow you to correctly identify details that others might miss. This gives you the opportunity to show which parts of your art hold meaning to you and are important to notice.

If you are describing real people who are unknown to you, unless it is specified within the post or you are already aware, please do not assign any gendered terms to them, or any " male presenting or female presenting" terms like that. This is completely unnecessary and leads to misgendering. It is best to simply describe visible facts about the people. Hair color, length, clothes and style, pose, expression, the light or darkness of their skin, things like that. Do not assume that someone is white simply because they have light skin.

Do not use image descriptions to lie to the audience in any way and do not use image descriptions to make jokes where the audience reading the image description is the butt of the joke.

As an example, if there is a very clearly fake screenshot, do not say that it is simply a screenshot, or if a photo is very blatantly photoshopped, do not say that it is simply a photo. Say an edited photo, a badly edited photo, a screenshot with editing, something like that to indicate the changes have been made and then what you are going to be describing is not the natural version.

As an example, you would say a crab photoshopped to be driving a car. Rather than a photo of a crab driving a car.

Unless you are transcribing a text within the image, do not use meme speak within image descriptions. Do not refer to dogs as doggos for example, unless it is to specify that the dog in the image is, within the image, labeled as a doggo. Do not describe someone walking downstairs as breasted bubbly downstairs, even if it is an actor humorously walking down the stairs to imitate that sentence. Describe the facts of the movements, and then you can make the comparison for clarity.

If someone adds an image description to your post whether this be an original post or a reblog that you have added an image to, it doesn't matter how many notes to post already has, please copy and paste that image description into the original post or your original reblog. If it is a new post that has only a few notes from friends, after you update the original, you can just ask your friends to delete the reblogs of the inaccessible version and reblog the new one. Most people who are good people and care about disabled people will happily do so.

Keep in mind that image descriptions are accessibility tools. Treat them as such.

Anyone can write image descriptions. You do not need any special qualifications or training. As long as you are willing to take constructive criticism if you make a mistake, an image description written by someone who's new to it and honestly doing their best with good intentions is better than no image description at all.

I'm sure I'm forgetting some things, so please feel free to add on more tips and advice.

[lilislegacy]

Hello everyone! I just want to say one thing real quick. If you are disappointed by Wrath of the Triple Goddess, you are allowed to feel that way and you are allowed to speak out about it. And if you want there to be a chance at change in the future, I advise trying to tell Rick in some way. As other people have said, the nice thing about Rick is that if we tell him about something we don’t like, he often fixes it. But first we actually have to tell him. It doesn’t mean you are entitled or think he works for you, but he writes the books for your enjoyment, right? So why wouldn’t he want to hear your honest feedback? Personally, if I was writing a book and 70% of my fans hated some things I was doing, I would want to know. We want him to be successful! And it doesn’t have to be all negative! You can go tell him what you like, too! But all I will say is that right now, WOTTG has nothing but shining reviews from super loyal fans. 4.4/5 stars on average. Which tells Rick one thing: keep doing exactly what you’re doing. But if we want him to understand that we don’t like certain things, like how Annabeth suddenly treats Percy like an idiot, or how Percy now constantly degrades himself and acts incompetent, a hell of a lot of people need to tell him.

Unfortunately (and completely understandably), Rick has made himself virtually unreachable by fans. He doesn’t run his own social media, he doesn’t accept fan mail or emails, and he doesn’t have a place for us to contact him.

So that only leaves 2 easy, accessible options that I can think of:

1. Leave a rating and review on Goodreads. If you would like to, go to goodreads (and any other review sites that you want), take 2 minutes to make an account, and give your thoughts. Be RESPECTFUL and civil. If you are rude and disrespectful, it helps no one. The only way to actually get his attention is to lower the rating, so, if you really want to reach him, give it 1-2 stars. Then leave a review giving your feedback, both the positive and the negative!

2. Make a tik tok. This fanbase is so loyal to Rick that I think everyone is scared to speak up. But if you make some kind of tik tok, even if it’s just showing quotes and captioning it “Separate the books and TV show” or “Stop writing Annabeth thinking Percy is dumb” or something like that, that still works. Or you can do a full sit-down review lol. Up to you. The thing about tik tok is that if one blows up, it will at least get back to someone close to Rick. And again, BE RESPECTFUL!!!!

I am sure there are more complicated ways, like emailing specific people who can reach Rick, but the ways I listed seem more realistic to me. If anyone has other ideas, please share! (AND DO NOT TRY AND REACH OUT TO THE ACTORS!! KEEP THOSE KIDS OUT OF IT!)

I am not forcing or guilting anyone into doing any of this. I’m not trying to rally troops against Rick. I’m just reminding everyone that if you don’t want to, you don’t have to suffer in silence. If you would like to give Rick your feedback in a respectful way, there are ways to do it. I’d rather he know now and be able to change things for the next book than us all stay silent and everyone despise the next one even more. Which could lead to the downfall of the whole series. And I really don’t want that.

Everyone can do what they want. If you want to go leave a big review for Rick to read, do it. If you want to make a tik tok, do it. If you just want to post about it on here, do it. If you don’t want to do any of that, don’t do any of it! No shame no matter what.

Have a wonderful day, everyone ❤️

[luv-lock]

Let me make something very clear.

I am not white, I am not straight. And I'm clearly not a man. I’m Middle Eastern. I’m saying this upfront so no one gets confused or assumes anything about me.

I created this blog for one purpose: to have a safe space for myself and for anyone else who wants to escape reality for a while. That’s it. This is my corner of the internet, and it’s built for fanfiction—nothing else. I love writing and sharing stories, I love connecting with people who also enjoy fandoms, and I love creating a space where everyone can just exist without having to carry the weight of the world all the time. If you’re here for that? You’re welcome. Stay as long as you want.

But lately, I’ve been seeing a lot of people saying, “You should speak up about this issue,” “You need to support this cause,” or “Why aren’t you posting about that?”

Let me stop you right there.

You don’t get to tell me what I should or shouldn’t do. You don’t get to dictate what I share, write, or care about. My blog is my space. If you want to yell about something, advocate for something, or spread awareness, do it on your own platform. But you will not come here and try to force me into your expectations.

For anyone who thinks they have the right to demand I use my blog for their causes, here’s what you need to understand: I am not obligated to center politics here—or anywhere else. My political views and this blog are two entirely separate things, and they will stay separate. I know what I believe, I know where I stand, and I will not explain or defend that to anyone because, frankly, it’s none of your business. If I don’t bring politics into my blog, it’s not because I don’t care—it’s because I refuse to turn this space into a battleground. This is my peaceful escape, and it’s going to stay peaceful.

And for those ready to twist my words: no, that doesn’t mean I’m ignorant or apathetic. I see the world. I live in it too. But not everything I do has to carry the weight of someone else’s expectations. If I want to write fanfiction about fictional characters in fictional settings and not bring up real-world issues, that’s my choice. If I want my blog to focus on escapism and community rather than division, that’s my right.

Let me put it like this: If you think the earth is flat? Cool. If you think it’s round? Cool. If you have opinions about race, sexuality, gender, politics, religion, or whatever else? Cool. Guess what? I don’t care. That doesn’t mean I don’t value you as a person—it means I don’t need or want your opinions taking over my space. This blog is not the place for debates, arguments, or finger-pointing.

I don’t run this space to host debates, arguments about who’s “right” or “wrong.” If you came here looking for a fight or an agenda to push, you’re in the wrong place.

I don’t care what race you are. I don’t care what gender you are. I don’t care about your sexuality, your opinions, or your political views. If you’re here to enjoy stories and fandom and a little slice of peace in an otherwise chaotic world, then you are welcome. If you’re here to demand, accuse, argue, or dictate what I should be doing, then you can leave. My blog is not a democracy—it’s my space, and my rules apply.

I’m not here to change anyone’s mind, and I’m certainly not here to have mine changed. I am here to write, to create, and to connect with people over the one thing that brings us all here: fanfiction.

To sum this up: I am not responsible for your expectations. I will not allow anyone to make me feel guilty for how I choose to exist online. This blog is about fanfiction, escapism, and community, and that’s how it’s going to stay. If you don’t like it, the unfollow button is right there.

We all need a little peace somewhere. This is mine.

[hysteria-things]

Can you make nsfw abcs with Matt and Chris separately please??

NSFW ALPHABET

read matt’s here

𝐚𝐮𝐭𝐡𝐨𝐫'𝐬 𝐧𝐨𝐭𝐞: i had a ball doing this LMAO

posting this and then a matt fic later today :)

hope you like it anon!

A = Aftercare (what they're like after sex)

a lot of people say chris wouldn’t be the best at aftercare but i honestly disagree. he’ll do anything to make you feel comfortable and safe before he tends to his own needs.

B = Body part (their favorite body part of theirs and also their partner's)

chris low-key likes his lips. wherever he kisses you he loves how perfect his lips feel on your body. (a bonus is his hair. he goes spiraling on the inside whenever you tug on it)

man loves your ass. the way it jiggles and shit at the slightest thing; muah chefs kiss. especially how it recoils when he’s taking you from behind.

C = Cum (anything to do with cum, basically)

hates using condoms and will always cum inside you. you’re obviously on birth control, but also have extra plan b’s just in case. will admire the way it oozes out of you, always thinking about how hot you look with his cum inside you.

D = Dirty secret (pretty self-explanatory, a dirty secret of theirs)

will never admit this but he enjoys it when you “tease” him in public; aka doing normal things and getting turned on by it. you can simply bend down to get something off a shelf or lean against him in crowded areas and bro is bricked up.

E = Experience (how experienced are they? do they know what they're doing?)

definetly has like two bodies before you. although, sex comes naturally to him, and knows what he’s doing.

F = Favorite position (this goes without saying)

LOVES LOVES LOVES BACKSHOTS. argue with the wall.

G = Goofy (are they more serious in the moment? are they humorous? etc.)

leans more toward serious but if you guys aren’t really going at it he’ll pop a joke here and there.

H = Hair (how well groomed are they? does the carpet match the drapes? etc.)

keeps it trimmed very nicely. the thought of being clean shaven will make him feel bald.

he really doesn’t give a fuck if you have hair or not. as long as the pussy is fire he’s not complaining!

I = Intimacy (how are they during the moment? the romantic aspect)

will make out with you until you can’t breathe. especially if his brothers are home, he’ll make sure to keep you quiet by having you moan in his mouth instead.

J = Jack off (masturbation headcanon)

if he’s away on tour or a vacation, he has no problem pulling up the videos you guys took in his my eyes only.

K = Kink (one or more of their kinks)

dumbification and breeding. it honestly turns him on even more when you can’t speak and all you can think about is his dick buried inside you. gives him motivation because he’s the only one that can do that to you and he wants to make sure you know it.

L = Location (favorite places to do the do)

either the bed or anywhere there’s a surface. a desk or counter, for example. he loves bending you over taking you right there.

M = Motivation (what turns them on, gets them going)

the sounds you make. your moans and squeals are like music to his ears and that alone can send him over the edge in minutes.

N = No (something they wouldn't do, turn-offs)

THREESOMES. would rather die than share you with anybody else; he’s too protective over you for that.

O = Oral (preference in giving or receiving, skill, etc.)

a mixture of both, but likes giving a little more. will always be up for a blowjob, but whenever he eats you out it’s still for his pleasure. he’ll thrust his pelvis into the mattress to get some friction. skill-wise, let’s just say he knows the spots that will make your eyes roll back and legs shake.

P = Pace (are they fast and rough? slow and sensual? etc.)

fast and rough for sure. his mission will be to wreck your body. however, if you guys are having sleepy sex then he’ll go slow and sensual.

Q = Quickie (their opinions on quickies, how often, etc.)

will do them anywhere anytime. at a party? he’ll take you to the bathroom. at a clothing store? to the dressing room, you’ll go.

R = Risk (are they game to experiment? do they take risks? etc.)

if you want to try something new, he’ll be down to do it. if there’s something you guys try and don’t like, then it’ll never happen again. he’s glad you guys tried it out either way.

S = Stamina (how many rounds can they go for? how long do they last?)

he wishes he could do like five but in reality, he can do two. although, he can last for a while until you’re completely satisfied.

T = Toys (do they own toys? do they use them? on a partner or themselves?)

he doesn’t own any but you do. so when you guys are at your house, he’ll use the vibrator on you. it’s pretty rare when you do it though because he likes to do the pleasuring. not some toy.

U = Unfair (how much they like to tease)

will tease you just to mess with you and make you mad. he finds it funny when you cross your arms and huff at him, but the teasing will be worth it in the end.

V = Volume (how loud they are, what sounds they make, etc.)

dirty talks A LOT, but when he’s not he’ll grunt every time he thrusts back into you. he will let a whimper slip if you clench out of nowhere and it throws him off guard.

W = Wild card (a random headcanon for the character)

will take in how perfect you wrap around his cock. his jaw will slack as he watches himself pump in and out of you, especially if you cum and it starts to drip down his shaft.

X = X-ray (let's see what's going on under those clothes)

he’s big 100%, but more girthy than lengthy. in every picture i’ve seen, he’s always had a bulge.

Y = Yearning (how high is their sex drive?)

chris is a horndog 25/8. you could be driving back to your house and he’ll call you to have you turn around.

“i’m horny again.”

“i JUST left???”

“sorry.”

Z = Zzz (how quickly they fall asleep afterward)

bro knocks the fuck out LMAO he’ll see if you need anything afterward, but he’s half asleep when he asks.

𝐭𝐚𝐠 𝐥𝐢𝐬𝐭!

@bunbunbl0gs @lexisecretaccx @thy-mission @angelic-sturniolos111 @sophssturn @mattsneezing @janiellasblog @blahbel668 @meg-sturniolo @hearts4chris @mattslolita @sturnbaby @imwetforyourmom @tillies33ssss @sturnifyed @mayhem-72 @ripmattitude @p1xieswrld @alorsxsturn @txssvx

[coefore]

I did it! This is an IDW AU born while watching The Green Knight (2021), specifically from one movie shot that I'd like to redraw. I was torn on whether or not to draw them all as robots or humans, so I started making designs for their human counterparts first - mostly because it is more fun to come up with clothes and accessories. I will eventually tackle a robot version. This is a long post, btw!

Indeed, this is a completely separate version from the Lion King AU I had come up with a couple of years ago, I just borrowed the crowns because I really liked those designs lol.

But let's set the stage under the cut. You can listen to the playlist on spotify dedicated to it: I've placed the songs in sequence so that they can create a certain vibe for the scenes I had in mind. You can read the plot part while listening.

Some character traits

This royalty au supposes a parliamentary monarchy (like the UK, Spain or Japan). This work is an in-between of later Roman/early Medieval aesthetics and some Futuristic Stuff. The Autobot brand is the royal family crest, while the Decepticon brand can be used to signal the Protector and their entourage, but only in formal settings outside the nation. Usually, the Protector can show elements of the Decepticon colours (red) in their attires.

Optimus Prime

Optimus is prideful and domineering: he knows he has the power to do real damage to people. After all, he was born into royalty and has known no other life. He has anger outbursts, but that's a side effect of his paranoia. At the start of the story, he is not the prime yet. He's around 23-24, already suffering from a mental affliction much like schizophrenia, but, just as in ye old days, the court and his father (Zeta) are not really concerned about his odd behaviours. "He is just volatile", you know. He is also dramatic, making big scenes when his emotions are too cooped up. Optimus, though, is not intentionally cruel - this isn't a Shattered Glass au where he wants some kind of bloodlust sated. He has a deep inner mind, feeling much more like a philosopher and a writer than a brute. This makes him a little naive, too, having people in court (like Prowl) taking advantage of him - and sometimes even Megatron uses his influence on Optimus to stir him where he wants to. He reads a lot, is curious, and is deeply in love with Megatron - sometimes becoming a little cringy about it. He can be a bit of a goofball, telling jokes and being rather affectionate with his family. Sadly, he's a Pisces.

Megatron

Megatron is a diligent engineer who just so happens to pick the Prime's son's interest at some point while assisting his father (Terminus, a strict, distant man) in a job at court. Optimus and Megatron are the same age. He is aloof, quiet and a very good listener. That means he often allows people to speak over him or for him - that doesn't mean, however, that he isn't going to correct them or speak his mind. He is just a careful man. Coming from a rather cold family environment, he has a hard time expressing his emotions, both verbally and physically: he kisses and hugs, sure, but that doesn't come naturally to him. After becoming protector, he has a hard time getting used to the court lifestyle since he is quite bothered by the intricacies of royal "rituals", may they be clothing, hairstyles or make-up choices. Or Starscream fussing over him about that all day. He also often stands up against abuse of power, especially from Optimus. They fight quite a lot. He enjoys drawing (buildings, like architecture) and reading novels, but he's not particularly cultured. He is also, sadly, an Aquarius. (And transgender, but this has no political or social bearing in the story besides being Rodimus' biological carrier).

Prowl

Prowl is about fifteen years older than Optimus, becoming his advisor once Zeta Prime passes in "a tragic accident". He is ambitious, cunning and... Deceptive. His ultimate goal is to push Optimus to insanity, convince the parliament he is unfit to rule and become reagent in his stead. This would allow him to create an oligarchy with other senators. His words always support Optimus' delusions, abusing the Prime's naivety for his scheming. Prowl thinks of Optimus as an idiot lucky enough to be born in a high position in the social pyramid. He has attempted various times to "warn" Megatron, one of the few people who is extremely suspicious of Prowl. And by warn, I mean having him pushed down the stairs, giving him a nice broken leg. He also acts suspiciously around Rodimus.

Zeta Prime

Zeta Prime was a balanced, careful ruler. He held concerns about his son's future, as he thought Optimus wasn't fit for a leading role. He was a stern man and often frustrated by Optimus' antics. However, their relationship was on good terms. He was "found" dead by Prowl during a political meeting abroad, as he was standing in for Alpha Trion (Zeta's advisor), prompting Optimus' coronation. Zeta wasn't sick, but all primes in this AU suffer from haemophilia (a hereditary illness that makes it harder for the body to stop bleeding).

Rodimus

Rodimus was born three years into Optimus' primacy. He was brought up in a restrictive environment, as Megatron grew more suspicious of Prowl, fearing for Rodimus' safety. That translated into Rodimus feeling anxious when Megatron's not around (for too long, at least) and becoming a little jealous of him, even if it's Optimus taking Megatron's attention. Rodimus uses "dad" for Megatron and "Father" for Optimus. He doesn't like Optimus too much, usually bearing his presence and ignoring him whenever he can, but deep down he worries about his father, too. He is a very knowledgeable child with a vast vocabulary, as he enjoys books of every kind and, just like his dad, he is a good listener, learning a lot from the "adult conversations" around him. Rodimus is often seen together with Starscream (his nanny, in a way lol), who he is fond of but has difficulties showing it. He becomes Prime-to-be at the age of 16, like all Primes.

Starscream

Starscream was the royal alchemist, an inspired researcher and a man of science. He is loyal and has strong opinions on many subjects, especially on morals and ethics. That is also why, during Zeta's late reign, he was demoted to servant with the accusation of insubordination. He is still a high-grade servant, usually dealing with bureaucracy... Until a new Protector shows up, that is. As soon as Megatron becomes a Protector-to-be, he is assigned the role of first maid in assisting him, a task he takes very seriously. Although Megatron's distance and lack of interactions with him drive him quite mad at first, he slowly realises they're quite compatible. Their relationship evolves into confidants and then friends, as Megatron often takes Starscream's side. Also, Starscream has been suspicious of Prowl since day one. He enjoys Rodimus until he starts being a little opinionated pest-- but he's fond of the child, even as he grows older and more anxious. His hobby is sneaking into the court laboratories and fixing whatever annotations made by other alchemists he deems wrong.

Skywarp & Thundercracker

They are part of the Protector's entourage (and Starscream's brothers). Skywarp is a little airheaded, a bit clumsy, and usually focuses on entertainment, mostly writing poems and songs. He is the only one who knows all the intricate inner passages of the court's buildings by heart, meaning he never gets lost. Thundercracker, on the other hand, is a bit more cocky. He is built like a brick, so he helps with manual tasks and is a decent leader, usually picking up the ranks when Starscream is busy. Both of them were not demoted like their brother, they just started working at the court as high-grade servants. They are very loyal to Megatron, although they treat him more like a royal than a friend.

The Plot (generally speaking)

Optimus is interested in this one engineer working at the court he has seen a couple of times in the last few months. He is gorgeous, and it sounds like a fun time to fill in his afternoons, maybe even getting some sex out of it. That's a thing he hasn't lacked in his life, like most royals he was used to having sex workers available at whim. However, Megatron doesn't seem too affected by the Prime-to-be's attention. He is very deadpan and interested in him as a person; he finds Optimus interesting and funny, so, in a matter of weeks, they kind of hit it off, Optimus falling madly in love with this man, spending most of the time daydreaming and absolutely useless at his duties, much to Zeta's dismay.

As this love story progresses over the next couple of years, Prowl's machination starts rolling out: being a young overachiever, he patiently waits for the chance to get rid of Zeta in a way that doesn't point directly to him. After all, Prowl is trusted and seen as loyal and caring for the Primes he serves; he is an incredibly talented actor, having the support of a few Autobot senators, too. On an out-of-country political trip, he lets Zeta bleed to death, coming back home in a hurry to announce the Prime's death and rushing Optimus' coronation. At this point, Optimus is not mentally ready to hold that position; he is quickly pushed to marry Megatron, making him his Protector. In a matter of a year and a half, Optimus' mental state quickly deteriorates, allowing Prowl to take hold of the neo-Prime's decisions.

Optimus' mental illness worsens, which stresses Megatron into stirring his husband away from Prowl. Rodimus is born in that worried, paranoid environment. Although mostly wanted by Optimus as one of his fixations (and also discouraged by Prowl himself), Rodimus brings more stability to the court. Megatron finally takes hold of Optimus' volatile behaviour as Rodimus grows older, making the Prime doubt his advisor's suggestions more than once. Prowl, thus, "warns" Megatron to lay low, having him pushed down the stairs. The goal wasn't to kill Megatron but to show him Prowl could. As Rodimus turns seven, Megatron becomes more anxious and paranoid, rubbing that over to his son. Optimus doesn't allow them to go around the court or outside without being accompanied.

Prowl's hold on Optimus slowly slips away. At the time of Rodimus' coronation as a Prime-to-be, during a medical examination for his haemophilia, the court physician (Ratchet) tells him he needs to be careful, as that illness was Zeta's cause of death. That was a known thing, of course, but it made Optimus think over the mechanics of his father's death in a way only an obsession-driven man can. He confides with Megatron over his suspicion of Prowl killing his father, and finally, they seem to be on the same page on this...

This is somehow the story up to now. I don't know if I'll update it further. I just enjoy the idea of whatever can happen in this setting. I hope you enjoyed reading this wall of text.

[writers-potion]

You have a post about writing introverts, can you do one for extroverts? Ambiverts? Thank you!

𝐈𝐧𝐭𝐫𝐨𝐯𝐞𝐫𝐭𝐬, 𝐄𝐱𝐭𝐫𝐨𝐯𝐞𝐫𝐭𝐬, 𝐀𝐦𝐛𝐢𝐯𝐞𝐫𝐭𝐬

The extrovert vs. introvert divide runs deep down – to neurology. 

Extroverted brains have more “mirror neurons” that are responsible for responding to other people’s actions. Introverts use more parts of their brain when they’re at rest – increasing the blood flow to their brains even when they’re told to do nothing. That’s what makes introverts more tired than usual when they’re required to use up even more energy to interact with the external world. 

For more tips about writing introverts, refer to my post here. Today, let’s walk over to the other side of the spectrum.

Traits of an Extroverted Character

They gain energy from talking to others

Highly extroverted characters will feel sluggish/disinterested when they cannot talk. Once they start getting hyped up about a subject, their energy levels will spring back up. 

They are more prone to peer pressure.

Scientific research has proved this. In an experiment where subjects were constantly told that a blue box was green, extroverted brains were more likely to give in and actually perceive the box to be green. Introverts, on the other hand, stood by their original belief. 

They’re more sensitive to social cues – and have a strong tendency to align themselves with the eternal world. 

They’re good at being the center of attention

Let your extroverted characters naturally be the first to speak in conversations, the most talkative in the war strategy room, and the first presenting member of the class. 

Extroverted does NOT mean popular.

Talking more doesn’t get you on the good side of everybody – it can even be a downside (think your high teen movie bullies?)

Extroverts tend to like trying something new

Similarly, extroverts like talking to new people – which can make them likable, especially by introverted characters who want to strike up a conversation but don’t have it in them.

They use open body language

In a conversation, extroverts would display their hands, face the other person straight, make eye contact, smile, and/or lean closer. Slip in one or two phrases about what the extroverted character is doing with their body during a conversation.

This use of body language would also make them appear more confident and outgoing.

They are generally positive..

I say this with caution – of course, extroverts would be hurt by negative feedback. Unlike introverts who spend time mulling over a comment someone made and attacking themselves in the thinking process, Extroverts are more likely to brush off rude comments and not get their emotions poisoned during a heated conversation.

“There’s no such thing as a pure extrovert and introvert. Such a man would be in the lunatic asylum.”

The psychologist Carl Gustav Jung was the first to define this difference between introverts and extroverts. However, it is more of a spectrum rather than two separate doors. Most of us would fall closer to one end than the other – but some of us stand smack in the middle: ambiverts.

Traits of am Ambiverted Character

They don’t care whether they’re working in a group or by themselves. Your ambivert protagonist would genuinely like working with others, but also not hesitate to go off on their own.

Being the center of attention is fun, but they don’t like to last for long.

They “switch” based on the people they’re around. Introverts would also tend to be more talkative around closed ones, but ambiverts would have a more balanced ratio of people with whom they act more extroverted or introverted. 

They don’t fear small talk, but it tends to get boring. 

When they’re alone, they feel bored/restless, but when they’re with other people, they wish to go home. Think about that one friend who calls you to a party full of their friends, then suddenly disappears early on.

[chilschuck]

omg… thinking abt chil reconnecting w his ex wife and becoming platonic besties. imagine they talk about it finding love again (chil’s ex has a new gf)… chil realises he’s caught feelings for reader… his ex teasing him about it…

`✦ ˑ ִֶ 𓂃⊹ OMG ANON THIS HAD ME GIGGLING AND KICKING MY FEET, WAHHHH. SUCH A CUTE IDEA!!!! it’s currently 2 am but i had to get this out for you since you’ve been waiting a while!!! it was so much fun!! <33

— ALL BECAUSE OF YOU.

꒰ info: ꒱ chilchuck x gn!reader

꒰ warnings: ꒱ none, sfw!! some cussing ofc lol

꒰ wc: ꒱ 586

✦ tumblr deleted this before i could post it twice so let’s pray it posts this time, LOL. short but sweet, i hope you enjoy!!! <333

“So… Who are they?”

That simple question was enough to make him choke on his drink. Was he that easy to read? Catching his breath, the half-foot immediately sputtered.

“What are you talking about?” Yet, the knowing look on her face said it all. Even if they had been separated for this long, she could still figure out just what he was hiding. So much for trying to keep some things personal…

“You have this expression, this content smile I haven’t seen in years, Chilchuck. Someone’s making you happy.” Her tone was not condescending in the slightest, rather content with this new revelation. Her words caused his cheeks to flush, more than the ale in his cup could.

And she was right. He was coming to terms with his feelings; and even the thought of you was enough to make him whole again. The fact it was so obvious was rather embarrassing, and he could feel the tips of his ears burn.

“Yeah, yeah… I guess you figured it out before I got a chance to tell you.”

They were nothing like they used to be, having settled on staying close through friendship. Although this maybe would’ve been hard to do in the past, Chilchuck felt more peaceful than he thinks he has in years. There was something about you that lit fire to his senses in ways he had long forgotten, and he found himself seeking you out more than he’d like to admit.

“I’ve told you plenty about my new girlfriend, now it’s your turn to spill. What are they like? It’s a sight to see you this happy.”

It was something only someone who really knew him could see; the change in his demeanor, the light in his eyes, the smile that threatened to spill from the corners of his lips. And it was all because of you.

“You’re going to laugh when I tell you how I met them,” he began, licking the ale from his lips in thought. “Laios’ party. I really ended up eating my own words about inner party romance, huh?” The last sentence came out in a grumble, one that caused her to laugh.

“Wow, they made you go against your own rules? Must be a keeper.”

And you were. Warm, but not enough to burn. Bright, but not blindingly so. Sweet, but not sickening. Chilchuck found himself feeling like a teenager again when it came to you. He bit his tongue.

“So you’re going to confess to them, right?” She teased, prodding his shoulder. “Look at you, blushing like a schoolboy. Must be serious.”

He opened his mouth to retort, before closing it again. The words died before he could speak, the full gravity of his feelings for you hitting him like a freight train. Burying his head in his arms, he groaned. “Shit…”

Chilchuck was doomed. Yet even as his head spiraled from a mixture of the alcohol and his new found love, it always went back to you. You, and your smiles, and your laugh, and your touch. There weren’t enough curse words he could possibly growl out in this moment to make himself feel better.

His ex wife laughed again, patting him on the back and stirring him from his thoughts. “Jeez, you really are a schoolboy. Maybe you should give them a love letter while you’re at it. Might be smart, actually.”

That’s how the rest of their time together went; two close friends musing about the ability to find love again. All because of you.

— dividers by @/cafekitsune! <3

[glitter-stained]

Jason Todd Meta: My opinion on the csa headcanon

Does Jason's behaviour suggest he was a victim of csa?

There is very little, in terms of clinical signs, that’s going to point to csa specifically, because most symptoms, for psychiatric disorders, aren’t specific to one disorder or cause. One thing that’s usually a good hint would be children making very sexual statements/references/jokes/behaviours that are very inappropriate in context (a good example of this would be Roman Roy from Succession); night terrors are bed wettings amongst children/teenagers over a certain age. But that is absolutely not necessary: many, if not most victims of csa don’t display these specific signs, and a twelve years old that suffers from night terrors is not necessarily a victim of csa. The one thing that tells you for sure, in a person with trauma, that they have been a victim of csa, is that they’re telling you they have been a victim of csa. I’m insisting on that part because there’s a whole bunch of therapists (cough cough psychanalysts) that will tell you confidently that your psychiatric symptoms stem from a childhood sexual trauma (cherry on top of the shit cake if it’s incestuous) that you didn’t know about because you’ve repressed it. I repeat, that’s bullshit. If you meet a clinician who tells you that, RUN. So, a warning: this is probably the least “psychological analysis” of my “Jason psychological analysis posts”, because Jason’s symptoms do not allow us to conclude formally for or against a history of sexual abuse. But that doesn’t mean we can’t do some meta, make sure we're on the same page with what's analyzed here, some textual analysis, discuss what the csa headcanon does and does not imply in terms of his behaviour. I think it’s a good idea to start with it so we know where we’re standing with our analysis, regardless of the fact it’s maybe not the most interesting in terms of psychopathology and neuropsychology.

A couple of disclaimers:

I only talk about the comics I want to talk about. This is for two reasons, which are that 1) I do what I want and if I don’t like/don’t find something interesting, I’m not gonna waste time on it; and 2) I’ve been reading comics for a couple of months only, and there are, like, a lot of them. If there are comics you wanna see analysed under that lense, feel free to suggest them! I might not want to, but it also could be that I haven’t read them yet. Additionally, I'm not interested in questioning the morality of Jason's actions here. Ethics are fun, and I like talking about them sometimes, and morality sometimes has a place in talks about demonization but largely speaking this isn't the space for that. I separate talk about morality and psychology stuff as much as I can for a reason, so if you are looking here for excuses for his behaviour or arguments as to why he is a bad person, you're in the wrong place. Moral judgement is irrelevant here for the most part.

On the events of Red Hood: Lost Days:

Jason has, at some point in the comics, been a victim of csa. When Talia kisses Jason before pushing him off a cliff right after he got out of the Lazarus Pit, and when she initiates sex with him in Lost Days, that’s not consent!! That’s a grown woman taking advantage of a traumatized teenager who is, on top of that, deeply indebted to her. That’s a predatory act, with a steep power imbalance, it’s sexual assault, and on top of that there’s an element of suggested pseudo-incest. That decision was retconned, and thank god, because it was a brutal assassination of Talia’s character based on a good bit of racism, and also because the way it was portrayed doesn’t make it clear that Jason is a victim in a situation rather than that super annoying trope of “teenage guy gets to bang a hot MILF and hahaha lucky him”, writing a male character in a situation of SA without acknowledging it as SA or taking it seriously is one of the tropes I hate most, it reinforces stigmatisation and isolates victims. For all of these reasons, I’m not gonna include that element in my analysis, but it’s important to note that if you do include those scenes in your conception of it, then Jason is undeniably a victim of csa and everything discussed about it applies to him.

What if it were a lie?

I’ve said it before (and I’ll say it again), I deeply, violently hate headcanons/tropes where a character lies about being a victim of csa (whether it’s for manipulation, personal gain, any reason really I don’t care). It’s rare as fuck in real life, however it’s a common trope that feeds into fear of being wrongfully accused that causes push-back and increases social stigmatization. CSA is a painful thing associated with intense feelings of shame and already a deep fear of not being believed. Imagine making a considerable effort to seek help after something terrible happened/is happening to you, and you have to brave your fear of not being believed on top of that, and once you’ve made all that effort you get rejected and villainized because it’s just easier for the person you’re reaching out to not to believe it. So I’m awfully weary of this type of headcanon, and I think a general rule of thumb is “if your interpretation of what the character is saying is that he’s talking about how he was abused, especially if he’s talking about sexual assault, then it happened.” If you don’t like that, if you don’t feel like that’s good representation, then you can question the story, think it should be retconned, or rethink your interpretation of what the character says if it’s ambiguous, but hcing that the character lied about his assault is not a hypothesis we’re going to accept here no matter what. So we can start by scratching that one out: Jason never lies about being a victim of csa, or wilfully hints at it even though that’s untrue, at any point.

Two other ideas I’ve seen floating around that I think are worth mentioning:

No, just because Jason lived in the streets as a kid doesn’t mean the only way he survived was through underage prostitution. I genuinely don’t understand that idea, yes being a street kid makes you extremely vulnerable, yes it makes the risk of resolving to underage prostitution to survive higher but it’s absolutely not a fatality. That idea is, quite frankly, weird. Do you automatically assume if a real life person tells you they were in the streets for some time at a kid that they are a victim of csa? Also, I've seen the idea go around that because some people have a strong reading/hc of Jason as bi (which I have no problem with I love bi Jason), that would be an argument in favour of the csa hc. Please don’t do that. There’s no link between queer sexual orientations and childhood sexual abuse, that’s a harmful myth that we should work to deconstruct or, at the very least, not continue to vehiculate.

Another important thing to keep in mind: childhood sexual abuse =/= childhood sexual trauma.

Now, a traumagenic situation is a situation that might induce trauma (so development of, acute stress disorder, ptsd, cptsd, derealization, any traumatic pathology really). These situations exist on a continuum of probability to be traumatized by this situation. For example, a flood, a car accident, witnessing a murder and being sexually assaulted are all traumagenic situations, but the probability of developing trauma from them are very different. It hinges on personal, situational, social, and environmental risk factors (that have nothing to do with being weak, anybody can develop trauma). A definition for traumagenic situations can be found in the diagnostic criteria for ptsd in the dsm-5:

A. “Exposure to actual or threatened death, serious injury, or sexual violence in one (or more) of the following ways:

1. Directly experiencing the traumatic event(s).

2. Witnessing, in person, the event(s) as it occurred to others.

3. Learning that the traumatic event(s) occurred to a close family member or close friend. In cases of actual or threatened death of a family member or friend, the event(s) must have been violent or accidental.

4. Experiencing repeated or extreme exposure to aversive details of the traumatic event(s) (e.g., first responders collecting human remains; police officers repeatedly exposed to details of child abuse). Note: Criterion A4 does not apply to exposure through electronic media, television, movies, or pictures, unless this exposure is work related.”

Note that the this last criteria has been added from the DSM-5 in order to explain cases of PTSD observed in at-risk jobs like cops exposed to repeated detailed child abuse, first responders collecting human remains, or, crucially, vigilantes repeatedly exposed to brutal crimes. This means that Jason, when he works on the Dumpster Slasher case, when he is horrified to find Gloria in the immediate aftermath of her rape (and later finds her dead body, because witnessing the consequences of these traumatic events is also an important component of that second-hand trauma), is being exposed to a very traumagenic situation. As I said before, that doesn’t necessarily mean you will experience trauma (thank fuck for that), but there are factors that influence that. SA related situations has an already pretty high probability of inducing trauma. On top of that, age is a big factor in that: the younger you are, the less resources, emotional regulation, development and coping mechanisms to face the traumagenic event you have (though there is such a thing as “too young to have PTSD" -when your memory is simply not developed enough for the memory to traumatize you because you will not remember the event.) At fifteen, with his memory fully developed but his brain going through so much changes because of teenagehood and his past history, Jason would be at risk. On top of that, you’re more at risk to get traumatized if you’re already stressed out when the event happens, so Jason’s mental state at this point in his robin run is also a risk factor. All to say, it’s very plausible for Jason to have sexual trauma without being a victim of sexual abuse in relation to canon events. Besides, in headcanon territory when it comes to Jason’s childhood before Robin, there are so many ways to be exposed to sexual violence : witnessing/finding his mother being a victim (considering the position of extreme vulnerability Catherine was in), witnessing assault in the streets, being the victim of attempted SA and escaping, watching street kids get picked up and later find their bodies/being told by other kids, as a cautionary tale, in excruciating detail, testimonies of their own assault… Or for example, if we’re thinking about Arkham Knight, being constantly threatened with SA, it being hinted and joked about and hanging over him like a sword of Damocles is something I could see Joker and other inmates do that could definitely induce sexual trauma even if it doesn’t happen ; what matters most, in trauma, is that the fear is real. Mechanically, when we’re looking at the way trauma works even on a biological level, the overwhelming fear is at the core of the pathology. (This is also why you can develop PTSD after a psychotic episode.) Like, my point isn’t that one of these things happened to Jason, or that he has to have sexual trauma from the events of the Diplomat’s Son or anything -mostly just that this is a possibility, something very serious that happens and an important nuance that I never see in discussions on the csa headcanon, and while it’s not exactly what the debate is about, I think it’s something important to ponder.

Do you consider the csa hc to be canon?

So, there are a lot of Jason stories, and I’m very pro “not take in account what is said in comics you dislike in your conception of canon” because if I did that absolutely no bat character would be readable, I have to believe that no character is defined by their worst writers. And boy, does Jason have a lot of bad writing… On top of the personal retcons, there are also the canon retcons: like Battle for The Cowl is retconned… Unless someone decides to reinject/revamp it into the narrative (please don’t please don’t it’s irrecuperable let it lay with the Flying Todds where it belongs). So, let’s see. There are three writers/arcs that imply/mention the csa hc: Starlin’s writing of Jason’s post-crisis Robin Run (canon though some stuff in it seems to have been retconned), Winick’s writing in Green Arrow: Seeing Red (canon as far as I know), and Battle for the Cowl (retconned). It’s worth noting that one of those are considered to be foundational works for Jason’s character (Jason’s post crisis Robin Run and Starlin’s part in it), and another was written by Winick, who wrote the other two foundational Jason stories: Under The Red Hood and Red Hood: Lost Days. On a personal level, I’m very mitigated about what I like and accept about it. I base my whole love and characterization of Jason about his post-crisis Robin Run, I love that little guy so much, Starlin’s take on Jason’s Robin Run is absolutely canon to me (which does not mean I like Starlin as a writer, thank you very much). On the other hand of the spectrum, the only reason Battle for the Cowl isn’t my least favourite comic ever is because The Killing Joke exists, absolutely not canon, get this thing away from me. And then in the middle, my feelings on Seeing Red (on the entirety of Winick’s Jason really) vary depending on the day, because I do like a revenge story that challenges the status quo with tropes of “bad victim” and it sets up Jason as a character based on love rather than morals which I adore, but there are also some elements of psychophobia in the writing that I (who approach stories through the filter of psychopathology first and foremost) can’t just look past, and also the way it intertwines with classist stereotypes. So do I consider Seeing Red to be canon? In good faith, yes, but whether I’ll accept it as such really depends on the day. In terms of the csa headcanon: it’s heavily hinted in BTFC but not outright said, it’s there as a undercurrent in Starlin’s run because of his intention (to make Jason die of AIDS). And then we have Seeing Red. Basically Jason lists elements about Mia’s life, including her past with underage prostitution (so, just to be very clear, csa), and says they’re very similar, having both lived on the streets, and understand having to do bad things when it’s necessary. This is not the same as saying “I was a victim of csa”, and what he’s saying could be interpreted differently (we know that he was stealing tires, and “only what he needs to survive”, so he could have been referencing small-time theft.) So, it could be a reference to something else, I totally understand why some people want to interpret differently. It just… Feels like such a weird and weak argument to be equating boosting tires to underage prostitution, to me it’s very ooc (in comparison to UTH Jason), and it would feel like weak writing from someone like Winick. Aka it’s not technically canon, and you don’t have to accept it as such(I understand the mentality of "I'm rejecting this interpretation because it feels like demonization of csa victims" perfectly), but personally I think it takes a lot from Jason’s character in Seeing Red and from this story in general.

[onesidedradiostatic]

aromantic alastor headcanons for aro-week (with some ace in there as well, because I think for alastor those things are so entwined, it's hard to separate them):

tried going out with girls a couple of times when he was alive, to make his mother happy, but always found a way to extricate himself from the attachment. this ties into his learning how to have complete control over any situation he's in

I wonder as well about whether or not he "passed" as white, or whether his community knew that he was creole, and how that affected his dating opportunities, and his paranoia, his need to be in control, basically his constant hyper-vigilance

got a lot of fanmail for his radio host work, women (and men, but more furtively) loooved his voice. this was acceptable, because (apart from some of the weirder ones) he could use this as a metric for how accepted he was in society, as well as how well he was passing -- both in terms of race and orientation, but also youknow, as someone who is definitely not clockable as a serial killer

although of course we know he also enjoyed company. he'd go out drinking and dancing a lot. was mimzy a bit in love with him? I just like the idea that people kept being incredibly taken with his charm and his politeness and his poise, because he does have all those traits. whether he notices...? (no). I mention this point not so much as headcanon, I just like that alastor as aroace and repulsed on both of those points, was never a shut-in about it. he's always been very lively (ha) and outgoing, and clearly likes being in the company of others... but maybe that last point has gotten to be a little difficult during his time in hell, due to having to be so careful about showing any kind of emotional "weakness." speaking of...

post-death became a more extreme version of himself -- that is, a man on a mission to be in control and create emotional distance between himself and others through the power of voice, rather than having to faff about pretending emotional connections where there were none. very suited for hell because of his precarious political lived reality whilst alive, and because hell is built on who has power and who doesn't. these are rituals he understands better than the strange romantic ones during life

the smile as mask and unhealthy coping mechanism -- wonder if when he was alive people swooned over his having a lovely smile (as well as its being useful to placate and to disorient people who had more violent intentions, and in both cases potentially to lure in victims). so the smile likewise became the most extreme version of itself. the smile in essence as the signifier of someone who doesn't fit into any boxes and needs to hide that fact, both by being mixed race and aroace, but then the smile itself becomes something that effectively owns him, because he literally cannot let it drop, ever (honestly if alastor ever stops smiling, it'll be the biggest gasp moment on this show)

all that being said, surprising connections do occur: rosie, I think, sees through him from the beginning, and she's so disarming (ha, disarming... cannibal joke) that she never feels like a threat + they're both cannibals, so there's a relaxed kinship there and maybe she reminds him of the parts of home he (secretly) misses a bit

I wonder how rosie figured out that alastor wasn't into dating. I think at first she might have thought he was gay, but then quite quickly seen that that's not it, he doesn't even like men much, and she feels like she's been around the block enough to piece together peoples' natures from one of a million other people she's known, so way before she knows the terminology, she knows, and crucially, she never judges or tries to force the point

I wonder how vox and alastor met -- whether vox was able to gain power on his own and this attracted alastor's attention, or if alastor saw something of himself (that turned out to be surface level) in vox, that is, they both wear smiles as masks, they're both presenters, their mediums may be different, but their aims feel similar. perhaps alastor was comfortable enough in hell at this point -- probably in a way he never was whilst alive -- that he was feeling magnanimous towards what must have felt a bit like an upstart. and most importantly, the constraints of alloromantic ideas are a comfortable 20 years in the past by now, alastor can barely remember that this was ever anything that was expected of him, or that others' could possibly feel about him

cue vox falling head over heels, the way people so often did while he was alive, and he... does not notice at all (barely a headcanon). I kind of feel like I don't have much to say on these two, because this blog is already a treasure trove of vox and alastor hcs!

I think rosie is the only one who knows alastor is aroace, although... maybe husk? not in so many words, but he knows alastor isn't interested in those things. nifty Does Not Notice Nor Care (in a good way). charlie i will forever think will at some point do a deep-dive on modern queer lingo and get everyone flags (this is practically word of god canon considering that older piece of art you shared). vox definitely doesn't know. val....... sort of kinda knows but in an evil way. vaggie does not care, but she'd be chill about it. mimzy... I don't think knows, mainly because she never cared to think about his behaviours, as someone who's quite self-centered on what alastor is to her. jeez, who am i missing... angel, does not know, head empty

speaking of angel, I think if he ever found out, especially with where he's at in his journey rn, would be very unhappy in some way about having stepped over his boundaries so often so casually at the beginning. dunno how he'd act about it, but i like the idea of vigilantly (and crudely, and bluntly) supportive angel if they ever manage to get alastor out on the town. more on the ace side of things but i can see him going: "do not try to fuck this guy! this guy is unfuckable!"

(i like hypersexual and deeply romantic angel + sex and romance repulsed alastor as unlikely friendship in my head. opposites finding common ground type stuff is always good)

at the end of the day, alastor living and dying in an amatonormative world and having to orient himself within that by building walls that persist/worsen after his death because of the culture of hell being predicated on who controls whom, veeeeery slowly discovering that he can be vulnerable on his own terms without people demanding things from him that he cannot give (smthinsmthin the hotel gang as the opposite of vox in that sense -- not only that sense, but also that)

also something about imagining his mother hoping he'd find a nice girl and settle down (in the way parents often do, because that's the metric of happiness right.....) and how he never could give her what she wanted, and maybe feels some very locked away guilt about that, which he thinks he'll never be able to deal with because his mother is in heaven, but perhaps in this story she'll get to see what he's built with the people at the hotel and that's really all she wanted for him in the end

OH MY GOD ANON THIS IS ALL SO GOOD?? THANK YOU SO MUCH HAHAHA. happy aro week everyone!! (x2)

[parvulous-writings]

Could I request headcanons for Wyll, Rolan, and Zevlor react to being stuck in close proximity with gn crush?

Warnings: None!

Notes: These may be a little short/uneven, but these were so cute to write!! Anon, you've become such a prominent asker, that I'd love to give you a nickname of some sort, if you're comfortable with that! <3  My requests are currently open! My pinned post (found here) contains both a list of characters I write for, and a masterlist!  Original character list - please request for these too!

Wyll

Wyll is a gentleman about the whole situation - or at least he tries to be. He gives you as much space as he is able to, even though he's squishing himself into a corner, he's more than happy to do that so that you're comfortable.

He tries to keep up conversation with you, to try and distract from the somewhat uncomfortable situation; mostly mundane questions, like 'What's your favourite...' or 'Have you ever...' It's also partly to distract you from the fact that his cheeks are burning hotter than the hells. Who'd have thought it'd be easy to fluster the Blade of Frontiers, even if it were only slightly, by being so near to him?

He cannot take his eyes off of you. Not even for a moment. He tries, at first, but finds it astronomically difficult, and eventually just gives in. He loves gazing at you - your presence brings him such peace, even in such a compromising position such as this.

Once the two of you are found/make your way out of the confined space, Wyll apologises - even though it was not his fault - and offers to make it up to you at some point, by however you see fit.

Rolan

Rolan is entirely speechless. He cannot find the words to say anything to you, not even a half-handed snappy quip. His eyes rarely meet yours, and are rather more often aimed off to the side, or somewhere above your heads. It's... Quite awkward.

You try anything to break the silence between the two of you; "Can you move your leg, please, Rolan?" Followed by a quiet shuffle as Rolan tries to move a little bit further from you but still remain comfortable. It is of little use on either front, but he tries. Any question of "how are you feeling?" Or "You okay?" is met with either complete silence, or a quiet grunt of acknowledgement.

Rolan doesn't know what to do, he's never been in a situation like this before - much less a situation where he can't find the words to express himself. His heart is pounding against his ribcage, harder than he can recall it ever being in his life. He's entirely tense, and he has no idea what to do; his normal confident facade has completely crumbled away, leaving little besides anxiety, and a slightly fuzzy feeling in the pit of his stomach whenever you speak.

The first chance he gets after the pair of you can separate, he all but disappears from view - for several hours. You had wanted to talk to him about it, but couldn't find him anywhere. Eventually you do find him, but as soon as you bring up the situation, he turns his gaze from you; "I... Would rather not dwell on the situation... If it's all the same to you." He's just too flustered still to be able to process any of it.

Zevlor

Zevlor is constantly asking how you're feeling. "Are you sure you're well?" followed a few minutes later with, "Is there anything you need? ... Yes, I am aware I can't go and get anything, but I'm sure you understand the sentiment..."

He constantly asks you if you're alright, comfortable, etc. Neither of you know how long you're going to be stuck in this situation, so is completely understanding of the constant need to shuffle to keep your limbs from going dead. This being said, he'll always tell you if he's going to try and move himself, just so that he can try not to kick you, and you can brace yourself just in case of this outcome.

He tells you of his time in Elturel before it's descent into Avernus, his time as a Hellrider, all sorts. He finds it very easy to share things with you, since he's so sweet on you - it would usually take some probing for anyone to get that kind of information out of him. But, since he would like to establish more of a relationship with you, he's willing to part with some of it.

Once the two of you are out in the open again, Zevlor double checks that you're okay. "I would have hoped to have had some of those conversations in a more... Traditional way. But, I suppose, one cannot deny the deft hands of fate, hm?"

[gayofthefae]

Extrapolating the full Mike and Nancy scene from that one screenshot: cinematography analysis

Just posted this then realized I have not lived up to it so let's go. We have one and only one to my memory actual camera shot of a potential Byler scene as opposed to a leak (though I could try to decipher from camera position itself for pics from afar).

And I haven't done my job to its fullest. So here we go.

This shot is MIKE'S POV. It is a dirty OTS. I have established that when he turns he looks a bit sad. He is aware of her eyes on him. She looks sad for him, obviously, so we can gather that he is feeling sad about something but trying to hide it from her. In this shot, he is hyper-aware of her being able to see him, which explains him turning away and supports that it is to hide his face and not just for whatever task he is performing off screen.

It is also an OTS shot, but a lingering and silent one. We know that something provoked this is her so it is clearly not the beginning of the scene. New information is gained at the end and withheld or coded to start and she has clearly just learned or realized something. The OTS is pertinent, though, because a shot for non-casual dialogue. Less intimate dialogue is often shot wider - think Steve and Robin in 4x08 talking about Nancy before it shifts to Robin's fears of dying, think Mike and Will between talking about Mike and El's fight and talking about the party's heroism.

There is also something called a "reverse shot" which refers to doing the same shot you just did on person A on their scene partner when you cut to them. Because of how it lingers on her here, I would assume the scene itself is in her POV and it being a dirty OTS shot may speak to Mike's awareness but not his perspective in the overall scene and is more likely just a reverse shot of her previous dirty OTS. I would also assume that based on this visibly being a point of gained knowledge - the value having changed in the scene (this means if you start feeling/knowing one way it's gotta end up something different or you should cut the scene) - this is the end of the scene, this scene for being for the purpose of gained knowledge setting UP a future scene with the purpose of a conversation on it, but those are two separate scenes. If she immediate said what she noticed, there would be no need to focus on her while he's looking away here any more than Will needs to silently pine for Mike in the van scene like he did in the junkyard - a shot you'll notice IS absent in that scene as I just noted because the same information is provided in other ways. THIS seems to be the sole source of the information here. So it is likely the end of the scene.

From that, we can gather that they were already in OTS's and not wide shots, which are the shots most used for one on one dialogue that is meaningful to the characters. They are having a dialogue that is already intimate or important to them, unlikely a simple strategy brainstorm. I didn't feel the need to mention but will anyway as this reminded me: this seems to be only a dialogue with no other participants or witnesses present. Back to the dialogue, though, this actually is different than what I previously thought because looking down makes it look like he's working on something, which would bring a more casual tone to their conversation. But he could have also just now resumed that activity, having stopped to talk seriously. I also might be simply wrong and he's just looking down, not at anything specific.

We also know, though, from my earlier point of Nancy not yet acting on this information that, though Mike is aware of being witnessed, there is no confirmation that he knows she knows etc. The information she gained is unspoken. For example, he didn't slip up and confess his feelings for Will. That would be undeniable. Here, he is able to at least pretend she doesn't know and turn away, continuing with something else, rather than trying to correct the situation in any way. Most importantly in defining this: whatever Nancy just learned - to Mike's awareness (whether he noticed her realization or not), he is still safe. Notable by the fact that his reaction is avoidance, not desperation. At best he is oblivious, at worst he is anxious, but he is not desperate. This is not as high stakes to him as we have seen before when it comes to personal information.

All this information helps us start to put together a scene:

In a scene in Nancy's POV, Mike and Nancy are alone together. They have a serious conversation. In it, Nancy learns something about Mike, but the information is unspoken. She looks at Mike thoughtfully. He seems to be aware she is looking at him. The scene ends without further action on the topic.