#we need to talk about them in general more

[just-thoughts-no-vibes]

I knew we would eventually reach a point where masses of people would misinterpret Arcane, but I never imagined it would be this bad.

Yes, I absolutely agree that season 2 was rushed, especially Act 3, and it is undeniable that the series would have benefited from at least one more episode if not an entire act. However, the current discourse about the show is so superficial that it's impossible to have a conversation about anything deeper but a mere synopsis of the characters and story.

So many of you expected this series to hold your hand and dumb everything down so you can understand it. But when it wasn't the case, you all started rioting and calling the characters vague, the plot bad, and the ships underdeveloped.

The amount of people who value spoken text more than the actions of the characters is worrying. And more worrying than that is the amount of those who interpret the said actions so superficially. I can't believe it needs to be explained that it wasn't Vi's death that led to the "good" timeline, but the lack of hextech. The result would have been the same if either of them had died. It wasn't about Vi, but about the child that died because of dangerous technology and that therefore that technology must not be used. The mischaracterization of Vi in general is insane. Call me biased and unfair, but the moment I hear you don't like her I will assume you didn't understand the show.

Also, the whole discourse around Caitvi scene in episode 8 is giving brainsmooth. No, Vi didn't choose Cait over Jinx, quite the opposite. No, Cait didn't plan all of it to fuck Vi. No, Vi didn't do it because she felt forced or because she is a horny animal who doesn't care about her sister. No, them fucking in a cell is not about the class difference, but about the fact that Vi felt an insane rush of emotions after realizing that Cait would let go of her revenge and help Jinx escape, all for her. Yes, I do agree that it would be nice if we got a longer conversation between Vi and Caitlyn and it would feel great to hear Cait apologize, but I'll always value actions over words. Her talking to Jinx, recognizing that she is just as bad as her, and choosing to trust Vi that her sister can change, thus letting Jinx escape will always mean more than any verbal apology and I'll die on that hill.

Also, it was Jinx's decision to let go and walk away. It was not about Vi trying to get to Vander, but about Jinx being tired of everything. Even if that fight didn't happen, the result would be the same: Jinx would leave because she knows that Vi couldn't do that. She knew that the two of them couldn't have a normal life together and that Vi would never give up on her. Jinx didn't "die" because Vi pushed her or failed her, but because she loved her too much. Whether you believe that she is dead or that she escaped, it's her decision either way.

Again, I agree that too much happened too quickly, but stop confusing your stupidity and inability to read between the lines with the quality of the series.

Arcane is flawed but still brilliant.

[pizzaiolx-pazzx]

I have two wolves inside me:

One feels the need to say that writing was, until around 100 years ago a privilege of the elite and, for even longer, a tool for governments and various people/authorities to keep track of things and spread/maintain knowledge and as such it was developed with efficiency in mind more than "art" or beauty (also cursive is actually faster than print for anyone with a little practice in it: it was developed mostly because it was faster and more efficient because you didn't need to lift the pen for every letter and that makes a huge difference, especially when you're not using a ballpoint but are using a dip pen) so let's try not to romanticize too much writing in cursive or at least let's keep in mind what writing was for most of our history (with "our" I'm talking about the western world, I don't know much about it but I know even less about the history of writing in other cultural contexts. We are talking about cursive so I don't feel too bad for this generalization)

The other wolf is HOWLING and SCREAMING in pain because I actually love writing in cursive I love talking about how and why I do my letters in a certain way and not in another I love being able to read what my great grandfather wrote to his family 100 years ago, I love writing love notes for my gf and friends and I love receinvg them. I love fountain pens and how they don't tire my wrist I love all the inks I can use I love paper and writing things down, forgetting them and finding them years later instead of losing them when I inevitably change my phone. I love how personal handwriting is and how it feels to recognize someone's handwriting at sight and immediately know if that person was sad or in haste or angry or calm when they wrote and I cannot go gentle into the dying art and practice of handwriting things.

On one hand I understand not teaching cursive in school anymore, because it actually is slower than regular handwriting and almost everything is typed on a keyboard now anyways.

On the other hand, so much of our (even recent!) history was written in cursive, and having a whole generation of kids who can't read letters written by their grandparents, momentos saved by their great-grandparents, or even photo albums from theur immediate family seems like a dangerously quick way to detach us from previous generations.

And on the third, related but slightly malformed hand, I feel bad that yet another form of small, everyday art that brings joy in the middle of mundane tasks, which celebrates personality and individual style and self-expression, is about to fade into obscurity because it wasn't efficient enough for today's world to put up with.

Like... if we continue to whittle away the small arts out of every day life, what's going to be left except stark, ruthless pragmatism?

Maybe writing a grocery list is less mundane when you get to feel elegant for a moment. Maybe you're a little more proud of what you write when you see it flow together like a painting

[letteredlettered]

feedback and fic in fandom (3 f's of our own)

This conversation about feedback on fic says everything I’ve been wanting to say better than I could say it. But I’ll go ahead and try anyway.

Over the last five years or so there have been some great discussions around the rise of commodification of fanworks and decline of fandom community. This commodification looks a bit like enshittification of the internet: a cool site exists; its popularity makes someone realize they can get money from it; it has more and more ads; the site adds features to drive engagement, including The Algorithm; the things that made the site cool start to fall away. The site exists now as a vehicle purely to get clicks, and the people on it are on it solely to get clicks—to make money, to be successful, for some kind of social cachet.

AO3 doesn’t have advertisements. It’s not making money. But what is happening to fandom is proof of concept that enshittification changes the way we as humans engage. A cool website in 2004 was often a community space where you could meet people, have conversations, find cool things, and make cool things. A cool website in 2024 is either a content farm that will continually feed you enough content to hold your attention, or a social media site where your participation will come with stats to show you whether you are holding the attention of others.

AO3 wasn’t built to be a community space. It doesn’t have great functions for meeting people and having conversations. The idea was that, because fandom community spaces already existed, AO3 would serve the part of that community where you can find the cool things and store the cool things you made. It was meant to be a library in a city, not the whole city itself.

But it was also never meant to be a website in 2024, a content farm constantly generating content solely for your clicks and eyeballs and ad revenue, or a social media site where the content creators themselves vie for your clicks and eyeballs.

The most common talking point when people discuss the enshittification of fandom is the folks out there who are treating AO3 as that first kind of enshittified website: the content farm. This discussion is about how people treat fanfic as a product for consumption.

The post that kicked off the discussion on @sitp-recs’s blog was about someone who wasn’t getting very many kudos or comments on their fic, and was feeling pretty demoralized about it, then joined a discord server and found an entire channel dedicated to people loving their fic. But those on that server had never come to share that love with the author, which the author found really discouraging.

There are more and more stories like this. Someone on tiktok pulls a quote from a fic on AO3 and makes a 10-second video with them staring at a wall, the quote pasted at the bottom, music playing over it. It has 100,000 hearts, and 100 comments with people gushing over the fic, which has 80 kudos on AO3. Overall, people notice more and more hits on their fics, but fewer and fewer comments or even kudos. Fewer and fewer people seem to feel the need to interact with the author, instead treating the fic like a product to be used and discarded—which the enshittified internet (a stunning feature of late-stage capitalism!) encourages. The fandom community is dying, these stories conclude.

I agree. 100%. Both of the stories above have happened to me—viral tiktoks about my fic, secret discord channels to follow and discuss my fic—and let me tell you, it fucking sucks.

But from these observations about fandom enshittification, the discussion continues in a very odd direction. The solution to the death of fandom community is our favorite enshittification buzzword: engagement. We should engage the authors. They’re producing these products for free. We consume them at no cost. We must demonstrate our gratitude by paying them back.

It’s as though the capitalist consumption that the enshittified web encourages is so ingrained within us that we must think in terms of payment, in terms of exchange, transaction. Or as though, by forgoing payment, authors are some kind of martyrs defying capitalism, and the only way to honor their great sacrifice is comments and kudos.

Indeed, the discourse around this sometimes does veer away from capitalist rhetoric into something that smells almost religious in desperation. Authors are gods who bestow us mere mortals with the fruits of their labor benevolently, through love; the least we can do is worship them. Meanwhile the authors adopt the groveling sentiment of starving artists: I produce great art; I only humbly ask that you feed me in return.

These kinds of entreaties make my skin crawl for a number of reasons. I’m not a god. I’m not writing because I love you. I don’t expect your worship or even your praise.

I think the thing that disturbs me the most about it is that it suggests that authors (or, if the OP is feeling generous fan work creators) are the most important people in fandom. I’ve even seen posts stating that without creators, fandom wouldn’t exist—as though readers aren’t just as important. As though conversations where people discuss characterizations and plot points and randomly spin out interpretations and ideas and thoughts related to canon are meaningless. I’ve even seen people scramble to include folks having these discussions as “creators,” as though realizing that these people are necessary and integral to fandom communities but unable to drop the idea that the producers are the ones who are important. As though that person who just lurks can never count.

Is this what community is? When you join the queer community, are you expected to produce a product of your queerness? If not, must you actively participate and give back to the queer community in order to be considered a part of it? Or is it enough that you are queer, that you exist as a queer person and want to be around others who are queer, you want to be a part of something? What is community, anyway?

The problem with people raising the authors above everyone else in the community and demanding that tribute be paid is that they are decrying the “content farm” style of 2024 website out of one side of their mouth, but out of the other side are instead demanding that AO3 become a 2024-style social media website. Authors are influencers. “Engagement” and clicks are the things that really matter. They are in fact suggesting that the way to solve the commodification of fanfic is by ���paying authors back” with stats.

Before anyone comes at me with the idea that comments aren’t just “stats,” I will clarify what I mean. There are literally hundreds of posts on tumblr alone claiming that any comment “helps” the author. Someone replies that they are shy to comment. Someone else replies that incoherent keyboard smashes, a single emoji, or the comment “kudos” are all that is required to satisfy the author, all that is required as tribute—all that is required as payment to keep this economy healthy.

I’m not condemning the comments that are keyboard smashes or emojis or a single kind word. I receive them. They make me happy. If anyone wants to leave such a comment on my fics, I’m really grateful for it. But this is not community-building. This is a transaction. In @yiiiiiiiikes25’s excellent response in the post linked at the beginning, they point out that “you have a cool hat” is something that is “perfectly nice” to hear from someone—and it is! We all want to be told we have a cool hat! But as they go on to say, what builds community is interactions that are deep and specific, interactions that are rich in quality, not in quantity. A kudos or a comment that says only ❤️are lovely things to receive, but they don’t build community.

My reaction, when I see people begging for kudos and comments as the only means by which to keep fandom community alive, is very close to @eleadore's. I want to say, “No. Readers do not need to comment or kudos. Believe not these hucksters who claim to know the appropriate method of fandom participation. Participate as you feel able, or not at all; nothing is required of you.”

I’ve been told before (several times) that I’m not qualified to participate in such discussions because I am an established author who has some fics with very high stats. It doesn’t matter that I have also been a new writer with almost no one reading my fics. It doesn’t matter that I still write in new fandoms where no one in that fandom knows me. It doesn’t matter that I, like any human being, still care about receiving recognition and attention and praise.

And maybe that’s correct. I personally don’t think that billionaires have a place in deciding the direction of the economy, and--if we're really going to consider fandom an economy--in fandom terms, if I’m not a billionaire, or even a millionaire, I’m definitely in the infamous “one percent.” So, just as no one wants to hear Elon Musk say “money isn’t everything,” maybe it’s not my place to say “kudos isn’t required, actually.”

That said, I’m not the only one who has a problem with the stats-based discourse around fandom community. However, the main counter-response to this discussion I see goes something like this: you shouldn’t be writing fic for validation. If you’re writing for attention, you’re doing it for the wrong reason. Authors should write fic because they love it without any expectation of return.

This is, in my opinion, missing the point of what is meant by fandom community.

I wrote fanfic before I knew that fanfic, as a concept, existed. I read books; I wanted them to be different; I wrote little stories for myself with new endings, with self-inserts, with cross-overs, with alternate universes. I did it for myself in the 90s. It never occurred to me that anyone else would do this, much less that people would share.

As @faiell points out—creating and sharing are two different things. I created fics for myself, but I decided to share them in the early 2000s because other people might like them, too. And of course, I wanted to hear whether other people liked them. How could I not? I might decorate my home just for me and not for anyone else’s preferences, but when people come over and say my house is nice, how can I not enjoy that? And if a lot of people think my house is nice, which encourages me to post pictures of it online, isn’t it understandable I might do so with the hope that more people will say my house is nice? And, honestly, if no one is appreciating my pictures, I probably won’t continue to go through the trouble of taking them and posting them. I’ll just enjoy my house that I decorated without sharing, the end.

When I found out there were whole fannish communities where people discussed canon and tossed ideas around about it, made theories and prompts and insights into the characters, fics they had written and recs for other fics and analyses of fics and art based on fics and fics based on art—I wanted to be a part of that, too. Now, sometimes, I write fic not out of an internal need to do so but out of a desire to participate in that community.

The idea that we write fic only for the love of it, then post it only because we possess it, is a process entirely centered on the self. It’s fandom in a vacuum. The idea that we share this thing, that we feel pleasure if someone likes it but feel nothing at all if no one says anything about it, that it’s completely okay to be ignored and unseen—that’s not what a community is either. That’s some weird sort of self-aggrandizement through self-effacement—because yes, there is often a weird kind of virtue-signaling in this kind of discourse.

I say this as someone who has virtue-signaled in that way: “some people write for stats, but I write for myself.” It’s bullshit. Sure, I write for myself, but why post it on the internet? Honestly, said virtue has a whiff of the capitalist machine, which would like you to produce for the sake of production, work for the sake of work. The noblest among us expect no recompense for that which they give!

The reason that I’m bringing this back around to capitalism is that capitalism actively works to dismantle community. The reason that folks are out here pleading for “engagement” in order to “pay back” authors for the products they give us “for free” is because people no longer even have the language to discuss how to participate in meaningful community. And frankly, how to build back fandom community, in the face of enshittification, is getting harder and harder to see.

But I do think that if we value fanfic and the fanfic community, it’s really, really not constructive to judge whether someone’s reasons for writing fanfic are valid. It’s also weird to me that it would be considered wrong that someone’s reason for sharing fanfic is because they would like to receive some recognition for it, when in fact that seems to be the most natural reason in the world for sharing something so private and vulnerable with the world.

Let’s go back to that idea of how hurtful it is to find out your fanfic is trending on tiktok without anyone from tiktok saying anything to you about your fic, or how it can be painful to find out there’s a secret discord channel dedicated to your fic. The people who respond to that with, “Ah, but you shouldn’t be writing to get attention!” are missing the point. The fic did get attention. It got lots. Attention obviously wasn't why the writer was writing--they were writing to participate, and they didn't get to. At all.

However, if your conclusion is that the author was upset because these particular stats were not accruing under this author’s profile, thereby preventing them from achieving the vaunted status of BNF and influencer—I don’t know, maybe you’re right. But I don’t think that’s why I, personally, have been hurt by these things, and I doubt it’s what hurt the people in these posts either. They’re hurt because they want to participate, and they have been systematically excluded by the very people they thought were part of the community they thought they could participate in.

Sure, if those folks from tiktok and the discord server all came and showered the author with kudos and comments that said “kudos,” the author might have felt satisfied enough with the quantity of this recognition that they would continue writing. But in the end, this still does nothing to address the problem of fandom community, in which the deep, meaningful recognition, interactions, and relationships in fandom are getting harder and harder to have and to build, as a result of how people now expect to engage in online spaces.

So, how to address the problem of fandom community? You probably read this long, long post hoping that I had an answer, and for that I must apologize. I don’t have solutions. My intent was to be descriptive, rather than prescriptive. I wished to outline the problems that I’m seeing in what was hopefully a slightly new or at least thought-provoking way, rather than offer solutions.

But, now that I’m talking about being prescriptive, maybe I can offer one suggestion, which is—maybe the solution to this isn’t about prescribing behavior. I do understand the irony in writing a prescription saying we shouldn’t prescribe people, but I’m going to write it anyway:

Maybe we shouldn’t be telling anyone the appropriate reasons for writing fanfic or for sharing it. Maybe we shouldn’t be telling readers they need to kudos or need to comment. If we’re going to go pointing fingers, we should be pointing at the institutions of capitalism that have made the internet what it is today—but I don’t think that’s going to solve the problem either.

But I do think that describing this problem, understanding what it actually is, not blaming readers for it and not blaming authors for it—I do think that helps. The discussion I linked at the beginning of this post is what I think of as the fandom I miss, the fandom that's now harder and harder to access, the fandom that is dying. That fandom was a social space where people had opinions and disagreed and went back and forth and gazed at their navels and then talked about Buffy the Vampire Slayer.

In the words of @yiiiiiiiikes25, it was a fuckin’ discussion about hats. And we’re hungry for it.

[biancadoes1]

FAVE ANON HERE 😏

It’s been a minute since I’ve submitted but after the vitriol I have seen on Twitter this weekend, I felt the need to speak…

First things first, all of us are brought here with one definitive common thread - we are all fans of Bridgerton. If we were not, we would probably not find ourselves in this fandom at all.

With that being said, if you’re on this blog you are probably a fan of both Nicola AND Luke. More than likely, you want them to be together romantically or believe they already are. And if you don’t want any of that, I don’t know why you’re here reading this posts. This is how you become a troll.

You are allowed to be a fan of one and not the other. This is not a dictatorship and no one is holding a gun to your heads. But this is the point where it is VITAL for me to remind you how many times Nic and Luke have a real love for each other and at the core are best friends. WHAT THIS MEANS IS you cannot call yourself a fan of one of them while simultaneously spreading hate and contempt and overall nastiness about the other one all over social media.

Now I have approached the topic of the RUMORED insignificant others. Did you know that there is no general rule of fandom that states if you are a fan of a character performer that you must also become a fan of any performers they may date now or in the future? WHAT THIS MEANS IS THAT no one is required to become Jake’s #1 fan just because the rumor mill wants to say Nic is dating him. Hell no one has to become his #1 fan if Nic herself came out and said she was dating him. Again, there is no need to speak with malice about his looks or his talent all over the internet but you do not have to be a fan. Same goes for the dancer who shall not be named (I know it’s a trigger for many around here). And if they act in deplorable ways - such as the dancer has displayed in the past - you are allowed to speak out on it while using decorum.

This is ultimately bringing me back to why I wrote this today. Tell me why I’m seeing tweets talking about how Jake is a more successful and more talented actor than Luke. Tweets saying Luke can’t act and how amazing Jake is. These tweets are from Bridgerton “fans”. These tweets are from Nicola “fans”. Based on everything I’ve written up until now, the math ain’t mathing on the word “fan”.

I’m not spreading hate to Jake. Fact of the matter, he’s a 24 year old kid almost fresh out of drama school. He has had one season of a failed show on a streaming network riddled with failed shows. He now has a small part in a movie that probably is not even recognized yet out of this fandom and extreme movie fans - if we’re being honest. Luke is 31 and is on his 4th season of one of Netflix’s top shows. He was the male lead last season and the season broke records. He was on a Disney channel show when he was younger. He was on multiple stage shows on the West End. He’s had many other roles in smaller projects and just picked up a lead role in a new film. While it is considered an independent film, it is a LEAD role.

With that evidence laid out, how can anyone actually say with their full chest that Jake is the better and more successful actor? Oh right they can’t. What it comes down to is the fact that the “Jakola shipping” movement is not based on anything more than being an Anti-Luke Newton movement and it is GROSS. No matter what they tell you, there was no “relationship” being universally talked about prior to late summer. On August 25 those festival pictures were released and some very twisted narcissistic people in this fandom took them and ran with them. They created a narrative to help dictate what and who people in this fandom are allowed to discuss online. They’ve bullied creators off of TikTok and Twitter and gaslight the hell out of everyone when called on it. A 24 year old gay man (OMG I SAID IT) is being bullied on the internet and the blame is fully being put on “Lukolas” when the truth is that no one would be paying any attention to him if this narrative wasn’t perpetuated in the first place. (Side note: if you’re sending hate to Jake on behalf of being a Lukola, please stop. Please treat him like you treat every other one of Nic’s male friends. No one should be getting hate.)

The majority of the hate and toxicity in this fandom stems with the Jakolas Jackholes and those who blindly follow and defend a certain creator. I’m not going to say her name because I know how much she gets off on people talking about her (even when it’s bad) AHAH. This is the shit that everyone else is afraid to say out loud but it’s true. And for those of you in that discord reading this to report back, hiiii!

Oh and if anyone has a problem with this and wants to call me out for being on Anon, let me know and I’ll DM you because I’m not afraid. I’m grownup.

Xx

Finally seeing people with common sense!

My fave anon pulls through yet again.

Everyone say thank you fave anon.

[nuemanfilms]

DOE-EYED BOY S.W

Summary Dean drops Sam off at the Harvelle Roadhouse after a vamp nest. The older Winchester isnt oblivious about Sam’s feelings towards you, he just thinks his brother needs a little push.

Content warnings SMUT!! piv, dirty talk, pet names (Angel, Sweetheart, baby, Sweet girl.), Fem!Harvelle!Reader, based on Jo & Dean from s2, Reader is Ellen’s daughter, semi-public sex, ?rough? sex, Fear of getting caught, teasing, creampie, Dean being an ass, slight plot + more.

notes wow, I have so many ideas and this is one that I actually completed!! 1200+ words.

xoxo, roro!

——

After a vampire nest, Sam and Dean stopped at the Harvelle Bar. Yeah, the motel was in the complete and opposite direction of where your bar was, but Dean knew, despite Sam not admitting it, that he wanted to see you.

Dean tried to hit on you first with cheesy pickup lines, but you didn’t have eyes for Dean. The younger Winchester was more in your view. He was doe-eyed, his brown locks were shaggy, along with his shyness around you in general. He was educated though, he was intelligent. He was skilled as well, you could see why he was the one who made the plans most of the time on hunts.

You became close with the other brother, the doe eyed boy captivating in almost every way.

The Impala came to a halt outside the bar. Sam’s head perked up, his eyes immediately narrowing at his brother.

“Dean-“ The older Winchester cut him off, “C’mon, Sammy! Go talk to her.” Dean had that smug, classic smirk on his face. Sam knew Dean wouldn’t leave it, or back off about it. So, he got out of the car and walked through the door. Dean muttered something inaudible under his breath that Sam couldn’t quite make out. He wasn’t sure he wanted to, though.

When the door pushed open, signaling the bell to ring, your head perked up. The smile that curled up on your lips was contagious, one forming on his as well.

The bar was empty, Sam had a feeling your mother was upstairs since she wasn’t located in the area. Even with a dirty apron wrapped around your hips, you looked beautiful. Sam already had the urge to brush that stray hair out of your eyesight.

“Sorry, we just got out of a Vamp nest and Dean decided to come here so-“ His eyebrows raised when he was cut off with your lips pressing against his. He froze for a moment, before melting into it. He could feel your smile against his lips.

Sam pulled back just a mere inch away from your lips so he could speak, “What about Ellen?-“

“If you’re scared of my mother, she’s upstairs.” You teased, your hand reached down to interlock with his. Pulling him to the backroom behind the bar area.

Once the door shut (louder than it should’ve been), Sam met your lips again. Leading you over to the desk in the middle of the room. He lowered you down onto it, without disconnecting your lips.

Your hand slid the Carhartt jacket off his shoulders while Sam clumsily fiddled with the buttons of your jeans. He spoke again, “Lift your hips f’ me, Angel.” You obliged quicker than you would to do a chore.

Sam slid your jeans off your body, leaving them discarded on the floor. His fingers slid down to your clothed core, instantly feeling the arousal that soaked through your panties. He let out a groan, “Fuck, baby… you’ve been waiting for me?” Sam only got more desperate when he heard your whine. When your hands went to fumble at his belt, he assisted you. Sliding the leather out of its loops and unzipping his jeans quickly.

Your eyes looked up at his, your lips were parted slightly. You trailed your hand into his boxers, Sam let out a hiss at the contact. He was so hard already, and he didn’t think he would last for any foreplay.

“As much- as much as I’d love it, can’t wait, Sweetheart…” Before you could even mutter out a reply, a moan ripped from your throat when Sam flipped you onto your stomach. His fingers teasingly tracing the hemline of your panties before he finally pulled them down. You clenched around nothing just at the cold air hitting your cunt.

Sam wrapped a hand around his length as he guided himself closer to you. His tip brushed up and down your slick entrance.

“God- you’re soaked, baby… ‘s because of me? Or ‘cause you know your mom could come down and see us?” You mewled at his teasing, “Please… Please I can’t wait anymor-“ The moan that came from you was so loud, so pornographic. Sam was stretching you in half… and he was only slightly past the tip. Sam groaned as he sheathed himself inside of you, watching each inch of his cock fitting snugly inside of your pussy.

Sam’s hand slapped against your mouth, trying his best to muffle your noises.

“You’re so loud, Sweet girl… you want us to get caught? You want someone to see my dick inside of this pretty little hole? Stretching it wide?” Sam let out a moan when you squeezed him, despite his dirty talk on being quiet, he wasn’t doing any better. He gave you a few more moments to adjust before he pulled out and slammed back in.

The vulgar whines and cries of his name falling from your parted lips had Sam feeling as if he could combust at any moment. The cool metal of the desk against your stomach made you shiver.

Sam’s thrusts were rapid, rough. He was chasing his own orgasm, using your body like a sexdoll. And you didn’t mind it, fuck, you loved it. You loved it more than you should’ve.

“Mm- Sammy… ‘s so good, need it- auh! Need it harder…” You pleaded with him, Sam let out a dark chuckle at that. You were getting off on this, getting off on his dick slamming in and out of your cunt, on how he used you like you were nothing but a whore.

“Fuck- you want it harder, baby? Shit, i’m gonna give you it.” He said between heavy breaths. Both of your breathing combined was harsh and heavy. And the way you were squeezing around Sam, gave him a clear idea of how much you wanted this.

Your whimpers and whines became more pitched, more frequent. Not that far away from each noise you made. You were close, and that drove Sam to move faster. His hips were set to a bruising pace, and the grip he had on your own was hard. Designed to leave a mark of this encounter.

“Fill me up, Sammy.. I wan’- wan’ to feel it. Need to feel your cum inside me... ple-ase!” The plea was so broken sounded. You sounded like you were on the verge of tears as he destroyed you. Sam grunted hearing your plead for him, just the words you spoke had him pulsing.

He groaned again, “Yeah- Yeah… that’s it. Gonna let me fuck it into this pussy, huh? Need my fucking kids, don’t you?” You nodded, saliva smeared on your lips and the corner of your mouth. Your brain turning to mush.

Your orgasm hit you hard, your vision blinking white as you let out a broken scream of pleasure. Sam followed behind you, moaning at the sensation.

He was careful when he pulled out, your mixed juices threatening to spill. Sam didn’t hesitate in lifting his middle finger and shoving it back inside of your abused cunt. You let out a whimper at the sudden intrusion.

Sam helped you put your clothes back on before he did his own, he constantly kept asking if you were okay or if it was too much.

“Did I do too much- hurt you or anything? You’re okay right-“ You cut him off with a smile, “It was perfect, Sam. You didn’t do anything, I promise.” Sam sighed in relief, before a thought came to his mind.

“You’re sure your mom didn’t hear…?”

[arguably-so]

old dull skin is unhealthy actually.

Yeah I'm gonna need a scientific source on that one, chief. Aging is normal and will happen to everyone whether people like it or not. What do you mean by "dull?" Where are you getting this information from?

If you have toxic ingredients in your skincare AND anti-aging products, you aren't using the good ones.

The point is that the practice of using these toxic ingredients is normalized in English speaking countries and is a huge part of the problem the original post was discussing.

Asian skincare on the other hand are god blessed and if you haven't tried them, you should.

Have you considered that a post written in English about a large corporative industry in culture might be about the cultural practices common to the language it was written in, and thus specifically not Asia in this particular case?

Nowhere in the original post was it discussed how getting old is a bad thing so it looks like a demonization of anti-aging AND skincare.

"Anti-aging" means avoiding looking old. You... know that, right? The original post said "anti-aging," as in the idea that aging is bad, is a bad thing. That's more likely what they were saying.

Also, again, the word "skincare" is not present in the original post.

the aging process is literally your cells dying

No. The aging process is the slowing down of the replication of cells. Your cells die either way, and no cell in your body is the same any longer after 7-10 years. Anti-aging creams will not stop cell death. If they did, you would have cancer from using them oh wait look at that,

Why is staying healthy any different for the skin?

It's not. I told you that we weren't talking about healthcare and dermatology and you ignored me. I even told you that you were at least mostly right with the statement about acne but I guess you care more about insulting the West than having a learning experience about a culture that isn't yours.

Westerners always look so dry and aged while trying to make everything a morality issue but we're not all like you.

So not only are you admitting that you are also demonizing people for a normal biological process, but you've decided to insult an entire half of the globe unprompted. Cool.

Also, nobody made this a morality issue until you did. The original post was requesting more media in a particular genre to utilize a specific trope.

Generally I don't tend to get aggressive with people if I can avoid it, and I did originally try to explain things to you in a kind way so that you could understand, but I realize now that you are one of these:

By the way, the post was actually about mostly plastic surgery in the context it was utilized alongside the image from Doctor Who. Not skincare. So congratulations, you successfully derailed a post that wasn't even about the topic you brought up at all. You did the equivalent of running up to a store selling baguettes and screaming that there aren't enough tortillas because they're both technically bread.

honestly more media should portray the anti aging industry as horrific and decidedly unhuman. it IS body horror it IS grotesque it DOES go against nature. it WILL kill you. yes.

[uhbambii]

A Quiet Morning in the Dellamorte Villa

The dawn light crept through the gauzy curtains of the Dellamorte villa, painting the bedroom in soft golds and shadows. Rook stirred beneath the weight of the silk sheets, her hair spilling across the pillow. Her eyes opened slowly, the remnants of a rare, peaceful sleep fading as her gaze landed on the man beside her.

Lucanis Dellamorte, famed heir to one of the most dangerous families and a Crow through and through, lay sprawled on his back, his sharp features softened by sleep. His dark hair framed his face in messy strands, and his angular jaw was shadowed with faint stubble. Despite the peaceful scene, there was something distinctly Lucanis about the way he lay there—an awareness in his stillness, a subtle control even in his rest. He was never really unguarded.

Rook allowed herself a moment to admire him, a rare indulgence. The two of them were not exactly the sort of people who could enjoy idle comforts. But here, in the quiet of his villa, with no one watching and no knives in the dark, she felt safe enough to linger.

Sliding out of bed carefully, she cast a glance over her shoulder. Lucanis didn’t stir. Her lips curled into a faint smirk as her eyes caught sight of his discarded shirt from the night before. Why not?

She slipped the oversized button-up over her shoulders. The fabric hung loosely on her frame, brushing her thighs. It smelled like him—spiced wine and gourmand, danger wrapped in charm. She rolled the sleeves up her arms and padded silently toward the kitchen, a thought forming in her mind.

Muffins.

::::::::::::::::::::::::::::::::::::::::::::::

The Dellamorte villa’s kitchen was absurdly lavish and well-stocked, for someone who rarely ventured home. Rook found the ingredients she needed with minimal fuss. She worked quickly, her Crow training making her as silent in a kitchen as she was in the shadows.

Rook stirred the flour in a bowl, humming softly under her breath, when a familiar voice cut through the quiet.

“Well, this is unexpected.”

She jumped slightly, spinning to see Lucanis leaning casually against the doorway, his arms crossed over his broad chest. He was shirtless, his dark eyes glittering with lazy amusement, his hair still mussed from sleep.

“You’re lucky I didn’t have a knife in my hand,” she said, her tone dry but her lips curving into a smile.

“And here I thought nothing could catch a Crow by surprise,” he replied, pushing off the doorway to saunter toward her. “But this… cara mia, this is a sight I wasn’t expecting to wake up to.”

His gaze slid pointedly down to the shirt she wore, his shirt, the top buttons undone to reveal just enough to make his smirk deepen. “Is this your way of staking a claim? I didn’t realize you were so territorial.”

“Don’t flatter yourself,” she shot back, turning back to the bowl. “I was cold. And you’re lucky I’m feeling generous. I was going to make muffins.”

“Muffins,” he repeated, the word dripping with exaggerated disbelief. “I must still be dreaming. Rook, the infamous Crow, is baking muffins in my kitchen? What’s next—embroidering handkerchiefs?”

“Keep talking, and I won’t save you any.”

Lucanis laughed softly, his voice low and rich as he stepped closer. His hands settled on her waist from behind, his presence warm and undeniably distracting. “You know,” he murmured near her ear, his breath brushing her neck, “you’re whisking that flour like it’s a target, you’ve received contract on. If you want these muffins to be edible, you’ll need to be gentler.”

Rook tried to focus on her task, but the way his hands slid along her hips wasn’t helping. “And what would you know about baking?”

“More than you’d think,” he said, his tone smug. “The Dellamorte name didn’t always keep me well-fed, you know. I had to learn a few things back when I was going through training.”

She snorted. “You? Starving? Hard to imagine.”

“Hard to imagine you in a kitchen, cara mia. Yet here we are.”

She rolled her eyes but couldn’t fight the smile tugging at her lips. Lucanis always had this way of disarming her, slipping past her defenses with that wicked grin and sharp wit.

He leaned closer, his hands tightening slightly on her waist as he teased, “Though I must say, this shirt looks far better on you than it ever did on me.”

“Are you going to help, or just stand there and flirt?”

“Why not both?” His voice was low, and before she could respond, he turned her to face him, lifting her effortlessly onto the cool marble countertop.

“Lucanis—”

He silenced her with a kiss, slow and deliberate, his lips brushing hers with maddening precision. One of his hands trailed up to tangle in her hair, the other remaining firm on her waist. The kiss deepened, his usual charm giving way to something more intent, more real.

When he finally pulled back, Lucanis lingered, his dark eyes locked on hers, warm and brimming with a familiar, maddening confidence. His fingers traced a slow, deliberate path down her arm, and a crooked smile played on his lips. "You know," he murmured, his voice low and rich, "you don't have to sneak off in the morning to make muffins. You could just wake me up. Though I can't promise we'd get out of bed anytime soon."

Rook raised an eyebrow, fighting the flush that crept into her cheeks. "And what exactly would you do, Lucanis mio, if I did?"

His grin widened, the kind of grin that usually preceded trouble. He leaned in closer, watching her carefully. "Oh, I can think of plenty of ways to make it worth your while. None of them involve flour."

Her lips twitched into a smirk, but she turned her face before he could see the warmth blooming across her face. "You're trouble, you know that?"

"I've heard rumors," he replied, stepping back just enough to grab the whisk from her hands. "But if you're sneaking around in my shirt to bake muffins, I must be doing something right." His eyes roved over her, slow and deliberate, lingering just a little too long. "It's a good look, by the way.”

Before she could reply, he stepped between her legs, settling his hands on her bare thighs. His lips hovered just above hers, close enough that her breath caught. "You could have stayed in bed," he murmured, his voice a velvet promise. "And I could've kept you... busy."

"Some of us like to start our mornings productively," she managed, though her voice was softer than she intended.

"Productive?" he teased, his eyes scanning hers as he spoke. "You're in my shirt, with no pants, making muffins in my kitchen. And here I was thinking you just wanted to drive me insane."

She smirked, leaning in just enough to brush her lips against his in a quick, teasing kiss. “Maybe I did,” she murmured, her tone as sweetly provocative as the look in her eyes.

Lucanis let out a low groan, his hands tightening briefly on her thighs before sliding up to rest on her hips. His forehead came to rest against hers, his voice a husky whisper laced with amusement. “Strega mia, one day you’re going to be the death of me.”

Her smirk widened, her hands slipping to his shoulders as she tilted her head playfully. “Is that a complaint?”

“Far from it,” he replied, his lips brushing against the corner of her mouth in a maddeningly light touch. “If I go, at least I’ll die happy—and very, very distracted.”

Rook laughed softly, pushing against his chest just enough to make him step back. “Well, I wouldn’t want to deprive Treviso of its most charming Crow just yet.”

“Il più affascinante, per favore,” he laughed with a wink, retreating only far enough to grab the whisk again. His gaze swept over her once more, lingering on her bare legs and the way his shirt clung to her. “Though if you keep parading around my kitchen like this, amore mio, I might be tempted to retire early.”

“Tempted?” she shot back, sliding off the counter and standing toe-to-toe with him. “I’d think you’d have better self-control than that, Amorino.”

He leaned in, close enough that their noses nearly touched, his voice dropping to a seductive purr. “With you? Self-control doesn’t stand a chance.”

She arched an eyebrow, fighting the grin threatening to break free. “You’re full of it, you know.”

“And yet, you tolerate it,” he quipped with a grin, echoing her earlier words as he turned back to the mixing bowl.

Rook leaned against the counter, watching him work, her smirk softening. Despite all his bravado and charm, there was something grounding about the way Lucanis moved in his own space, so at ease yet so attuned to her presence. She could feel it—the way he made her a part of his world without ever saying a word.

“So,” he said, breaking the silence as he gave her a sly glance. “Breakfast today, cara mia. Tomorrow… dinner?”

“Tomorrow?” she asked, feigning surprise. “You’re awfully confident I’ll still be here.”

Lucanis grinned, setting the whisk down and stepping closer to her again. His hands slid around her waist, pulling her flush against him as he murmured against her ear, “Oh, I’m very confident. After all, tesoro, I always get what I want.”

Her heart gave an unsteady flip, but she kept her smirk in place as she leaned back to meet his gaze. “And what is it you want, Lucanis?”

“You,” he said simply, his voice low and unguarded as his dark eyes held hers. Then, just as quickly, his lips curved into a devilish smile. “But I’ll settle for muffins… for now.”

Rook let out a soft laugh, shaking her head as she pushed him toward the stove. “You really are trouble.”

“And you love it,” he tossed over his shoulder as he turned back to the batter.

She didn’t respond, her gaze lingering on him for a moment longer than she intended. Because, damn him, she did.

———————————————————————————

Is it possible to fall in love with my own writing???

IM EATING IT UPPPP!!!

———————————————————————————

[milkbean69]

My thoughts on the Yandere Arcane Au

Tw: sorry y'all not good at writing yandere, yandere content

Okay before we get started we need to talk about what this universe of the undersity looks like pre- time skip. Honestly I think that this univers had a lot more progression in term of revolution and a lot less shimmer. Also considering the fact that Vander and Silco were able make up after Vi's death makes me think there was a lot less bloodshed between the two over the years. I mean of course silco when and found the note vander left but the fact that the crew is all laughing and partying together means there has to be new layers of loyalty amongst the crew caused by Vi's death.

Yandere's Vander and Silco:

OH GOD!!!! These two I swear, I honestly feel like in terms of protectiveness Vander would actually be worse. I mean he watched Vi die in the attack so you have that. He would not want to lose another.

If Vander was a platonic yandere, yeah no, your never leaving the Last Drop without him ever again. The trama he has from Vi is crazy. But if it was a romantic situation, he would be a little more lenient.

Now for platonic yandere Silco. I feel like a lot of protectiveness would come from a place of guilt and attonment. I mean his actions killed Vi during the pre-timeskip in this universe and he is probably still feel's guilty for that despite the fact that he has been forgiven.

So I feel like bring a young obsession or kid into the mix, would make him feel like he needs to make amends for what he did. Not only to prove to himself but for the others aswell that no other will die under his care.

Now them as a pair, would go crazy platonic or not. We need to remember something the two are brothers and the the pillars of the undercity. So the levels of communication and partnership are already there. There abilities to unite people would probably be where a lot of the Yanderness of the crew starts to fester. Always having someone with you, eyes and ears all over Zaun, and generally not being fucked with or else you'll have two of the powerhouse's of Zaun on you doorstep.

If this was romantic, they would share, God damn it. I don't know what it is but they would share, I just know it. You would be the king/queen of the Zaun in Silco's eyes, Vander hates it because he feels like if bring to much attention to you. Your always with on or the other. Silco defininatly spoils you, I mean you know he would.

Here me out, I feel like they both also have some fears from what happened to Felicia, so that definitly are supper on edge all the time because of that. One of both of them had to have liked her romantically, I was felling the vibes during the flashback.

Okay but I feel like they would be worse than the adults, in terms of platonic yandere's. Like we saw Vi's death really fucked them up. You would 100% be the Vi replacement. Expecally if you were older than them.

With Powder , it would be the worst. She wouldn't be violent, but more manipulative in certain ways., 100% a guilt tripper. Then would rope the other into it as well. Saying things to you about how you remind them so much of Vi, and there protection is just so you don't end up like her, so you should never leave them.

You probably wouldn't go on jobs, mostly saying in the last drop with Vander and Benzo. Maybe they let you go into Piltover, but you are always with someone. But never in the more dangerous parts of Zaun that have yet to be changed, and you still got to worry about the grey. the wouldn't want ther baby breathing in all that polluted air.

With a younger obsession, your never leaving there sights again. Even if you were a year younger than them, your getting little siblinged so hard. They have so much more experience now and realize all of the thing they did as kids was dumb and dangerous. They probably teach you how to fight just in case they are not there. But that is unlikely considering how mother hen they all are. If you ever when parkouring like they used to in piltover you would get an earful.

Powder and Ekko would make you little trinkets and gadgets. They'd make things to lure you in and bribe you. Or to love bomb you when you complain they are being to overprotective.

They would be so affectionate. Powder and Claggor the most, we all saw that scene with Claggor and Milo during the dance. Honestly I feel like Milo would be affectionate in the annoying older brother way, like ruffeling you hair and picking you. Ekko would be affectionate when you inationating it.

In tems of duos we would have Claggor with Milo and Powder with Ekko. Milo is the one to tease you alot, but he means well. He probably thinks he's the funnies guy on the planet, when in reality it's probably Claggor. Milo seems like the more aggressive on in terms of yandere's. He is the jokester character but see seems more scared that something might happen to you. That make him more aggressive and paranoid. While Claggor is more level headed and perceptive, but don't be mistaken, he has build and is the stronger of the two

Between Powder and Ekko, Powder is the one you need to worry about. She lost her older sister, Powder was the youngest of the group, so in her mind she is kind of filling Vi's role as older siblng, and must protect you like Vi did her. Should someone try to hurt there darling, Powder is the impulsive one but Ekko is the deadlier one between the two. Ekko is calm and more laid back, but he seems like he has the patience to go in for the kill on the first strike. Silent but deadly.

Now with romance, there all into you, sorry not sorry. I actually don't think they would have the company to share a darling. Powder and Ekko, maybe? But Claggor and Milo, definitly not. Milo would be that last to realize that everyone is pinning after the same darling, there all pretty perceptive so it wouldn't take them long to figure it out amongst eachother.

You would never have any partners, they would scare them all away. Powder would be the dustrusstful one spreading seed of dought anytime someone would flirt with you, saying there not good enought for you. Ekko and Claggor would be the intimidating ones, Ekko has the deadly glare while Claggor has the build to scare off any potital suitors. Milo is one of two, he is the one who likes to claim you already taken, usually with him saying he's you boyfriend, or the physical aggression type. He will get kind of pissy wanting your attention kind of annoying the person flirting with you. Then maybe ruffing the person's up after they leave your earshot so you don't see.

They would all try to one up each other in there own ways Claggor is the more laid-back type and lenient of yandere, so he would milk you needing to escape from the other craziness. Powder is clingy type and needs to be near you always. Ekko seems like the silent type, always lurking in the shadows, the man always has his eyes on you and knows where you are. Milo seems like the possessive and aggressive. Not aggressive in the, I'm going to hurt you type of way but someone else for looking at you the wrong type of way.

No matter who you end up with its going to be messy, I'm sure of it.

[karabell]

Color Theory in Cinderella Boy

There’s some silly stuff happening with colors, and in this probably brainrot post, I will be using my art brain to over analyze the heck outta this (for those who are interested, though I find it fascinating!)

**This post includes a scene from todays new ep (53), so make sure you read that first!**

So, I first stumbled upon this discovery sorta by accident. I use Clip Studio Paint for my artwork, and I often end up with an average to 30-50 layers per drawing, and thankfully Clip Studio has an option to color-code your layers to make things more manageable.

For my CB drawings, I defaulted to using green for Chase, purple for Buddy, and blue for Deacon. It made sense to me, because of the casts ‘default’ outfits feature these colors:

We can also see these colors in some book outfits:

Chase’s green outfit in We Need to Talk About Buddy, Deacons shirt in Beach Boys, and the blue accents in All That Glitters

What I noticed though, was that these aren’t the only colors they are seen in, and in fact, out of all the other colors, two in particular stand out

Specifically, pink for Chase, and orange for Deacon

Something to note is that these colors are nearly perfect complementary colors to each other. Even Prunella seems to have this theme, with her red hair and green shirt.

Now, it is generally good for character design for outfits to have good complementary colors to make them stand out, but me thinks that Punko went even further with this.

The thing is, Buddy really only has purple in his color scheme (unless out count every shade of gray and black).

We see him in some other colors, but mainly it’s purple:

Like, a lot of purple.

(Other examples include Toffee Break, Beach boys, Sick Day, etc)

Pretty much all but two of Buddy’s ten outfits have included some element of purple.

But then again, up until recently, he’s only been a villain. A foil to Chase. The black and purple suited him, for a while, because he was only ‘evil’. (This also leads me to believe that future Ex Libris members will also wear black in their outfits to fit on theme. In Dreams by Day, a presumably Ex Libris worker is wearing a black shirt).

But now? It’s Buddy’s story too. He is becoming a protagonist. And that means getting a new color, possibly one that compliments purple.

And what color flowers bloomed when Chase saved him?

Yellow.

This is leading me to believe that Buddy will have a major character shift at the end of season 1 / beginning of season 2, where yellow is included in his outfit colors. And maybe, S2 will feature Buddy’s story more as he becomes a protagonist ‘,:3

TL;DR: Colors are important to CB characters, and Buddy is gonna be a protagonist soon.

I’ve actually been forming this theory of mine since like, the beginning of October, and the amount of serotonin that filled my brain when I saw those flowers, and seeing that my theories may be true could literally flood a city.

Thank u for reading :D

[compostboy]

This isn't directed at OP, I just think it has to be said

You can also be the fascist shoehorning people into dehumanizing categories, I think we need to remind ourselves of that

I'm not going to talk about pedophilia being used as a weapon for queerphobia, people have done that better than me and will continue to do that.

What I want to bring up is the "zios" part here when... Historically that is exactly what has been used to persecute Jewish people, in Russia, Europe, America, West Asia, North Africa, leftist political circles? Like the logic absolutely did go "zionists should be murdered and tortured->jews and jewish expression are zionist->jews in general should be murdered and tortured" not an exaggeration, that ALREADY HAPPENED do you know how many died, fled, were prohibited from fleeing, went missing?

Wikipedia page for the fabricated "The Protocols of the Elder's of Zion"

Wikipedia for the Limerick Pogrom

Kyiv Pogrom

Shiraz Pogrom

1917 Jaffa Deportation

Pogroms during Russian civil war

More Kyiv Pogroms

Pinsk Massacre

Massena Blood Libel

Thrace Pogroms

Constantine Riots

Gabès Riots

Iași Pogroms

Tripolitania Riots

Egyptian Riot

Kielce Pogrom

Aleppo Riots

Oujda & Jerada Riots

Night of the Murdered Poets

Doctor's Plot & Anti-Zionism as antisemitism

Soviet Anti-Zionism(/Zionology)

Soviet Jewish History

Anti-Zionist Committee of the Soviet Public

Here are some of the things happening in the 1900's

you can find a timeline over 20th century antisemitism here

Here is a timeline of antisemitism throughout history

As you can see if you read through all of these events, antisemitism takes many shapes, and often the perpetrators will say "of course I'm not attacking Jews, I am attacking ___ (and willing to kill Jews if they are ___ which I assume they are without real evidence)"

The ___ can be anything

Child killer is a very common ___. Who wouldn't hate someone who killed a child? A poor innocent child, of a majority religion nontheless? If they kill children, surely then we can harass, assault, pillage, lynch and kill dozens or hundreds or thousands of them without trial?

That may seem like a sudden big leap in logic to many people but it keeps happening over and over and over and over again. Throughout history. It still does.

If you want your anti-zionism to NOT be antisemitic, you have to actually do the work and learn about all different kinds of antisemitism, Jewish history, and learn from Jewish people how to be an ally. And I'm not perfect! But I'm speaking out right now because I believe it's better to do something good imperfectly than to do nothing and stay silent

Very concerning to see that kind of talk.

You are not supporting the freedom of the Palestinian people by saying that kind of thing.

Focus on making sure people have food and aid and pressure your government to oppose the Israeli occupation and settlements. Build community without borders. Uphold international law and human rights. Criticize and protest against governments.

Do not start any kind of "jew hunt" or incentivize or participate in pogroms

Do not speak about political enemies as someone to sniff out, round up, and exterminate, no matter how vile you think their actions have been or values are

There is no upside to that kind of talk or action

Do something good by donating to Palestinian Children's Relief Fund instead

me in real life: torture and murder are horrible and you shouldn't do them.

me in fiction: torture and murder are literally the two sexiest and most fun things you could possibly do and you should do them all the time.

[stillness-in-green]

Some thoughts on The Discourse about the last BNHA cover

(Note: This Discourse was on Twitter. I don’t know how much of this may have been said here on Tumblr, so consider this either my contribution or just me reporting back on drama from other fronts.)

So, I saw a lot of back and forth over there between people who didn’t like the cover and people who did, and I spent a little while mulling it over. It seemed to me that the people who didn’t like it had a good point, but one they were not articulating particularly well, possibly thanks to the character limit and possibly also because the people talking about it tended to phrase their objections in sarcastic, consciously exaggerated terms because that’s the language months and months of dealing with the truly insufferable Horikoshi Defense Squad on Twitter primed them to use.

So what is the point?  Basically this: In going for the lazy/easy callback in both the cover design and Dai (plate-hair kid)'s role in the final chapter more generally, Horikoshi landed on an "everything comes full circle" ending when what the story desperately needed was an indicator of change.

We didn't need to know that a kid with low self-confidence and nothing to speak of in the quirk department can still become a Pro Hero if he[1] wants to.  We already knew that because it's what the whole story of BNHA was about!  Deku passing the torch/paying it forward is nice if all you care about is Deku's personal arc, but it's sheer reductiveness if you care about literally anything else.  If there was going to be a kid getting Deku's encouragement and help at the end, if that's the ending Hori was absolutely set on, it shouldn't have been the Deku Redux kid; it shouldn't have been the weak kid who has already been metaphorically proven capable of becoming a Hero.

1: And of course it would be a boy.

It should have been the troubled kid, the one from the bad family situation, the one who isn't sure whether he even believes in this Hero thing.  It should have been the kid who, if nothing about Hero Society had changed, would’ve been rejected by the whole corrupt system—in so many words, the Tenko Redux kid.  That's the one who we saw could not become a Hero under the previous system.  That's who we needed to demonstrate the system's improvement.

Instead, all we get is Deku helping himself.  And it fits, I guess, because “himself” is the only sort of person Deku ever wanted to save anyway—remember that in the very first chapter, Deku tells All Might that he wants to be a Hero because he was never “saved” as a kid and so he thinks saving is the coolest thing ever.  Implicitly, then, Deku wanted to be the kind of Hero who could have saved the kid he was, and that tendency to reserve his compassion for people he can recognize himself in—the crying children and the Hero wannabes—is consistent throughout the series.  Dai, then, simply becomes the very last of these examples, the chance for Deku to tell his middle school self that he, too, can be a great Hero.

And that’s quite a choice, isn’t it?  Take a second to consider the implications there. The metaphorical parallel Deku helps is his middle school self, not his childhood self—there’s no evidence that Dai was bullied on the same level young Izuku was, and we sure didn’t see anyone telling him to jump off a roof.  So, who does save those children, then, in this grand, improved version of Hero Society?  Does anyone?

Well, not really. Not that we’re shown. Indeed, the child who was the closest analogue to young Izuku—a weak and seemingly quirkless boy who stuck his neck out for other rejected children, who still stubbornly wanted to be a Hero despite a parent's disapproval—was Tenko, and Deku pointedly did not save him.

To be clear, I don’t mean that just in the sense that Deku failed to save the adult Tenko became, but even in the emotional sense that the series clearly wants me to believe Deku succeeded at, the saving of the boy's heart? I don’t think Deku even managed that.  Sure, he might have protected the echo of that child from a few memories, might have held his hands for a few exchanges of dialogue, but then the boy transformed back into the form of the Villain he'd become and was swallowed down the spiritual maw of the man from whom society failed to save Tenko to begin with! And what was Deku doing as this happened? Absolutely nothing but yelling impotently as he got blown backward and out of the mindscape.

Imagine that Deku had found some way to cheer up Izumi Kouta only for Muscular to kill the kid thirty seconds later.  No one would be saying, “I think Deku still saved him—his heart, anyway,” if Deku got Kouta to smile and admit that Heroes were actually pretty cool only to do nothing but scream helplessly as he watched Muscular pulverize Kouta’s ribcage with one gentle squeeze.[2]

2: Mind you, this comparison is flawed!  Unlike AFO’s vestige, Muscular doesn’t turn up to kill a child as a direct result of Deku’s own actions. Also unlike the events of the final battle, Deku doesn't jump up and personally administer the killing blow to the still-screaming victim, either.

It just leaves me thinking about some of the stuff @codenamesazanka has said about how the narrative treats Shigaraki and Deku helping him: not as something Deku has a duty to do, not something Hero Society on the whole owes Shigaraki (and all the other metaphorical expy/future Shigarakis), but rather a bonus, a nice extra, a demonstration to shine up Deku's Hero cred because he's making efforts no one else would bother with and that no one would reasonably expect him to make. It's not Deku’s job to save the Tenkos or the young Izukus of the world; apparently that just falls to society at large.

So then, what was the point of making Tenko/Tomura such an extreme case of someone who started in a similar place to Deku?  Why make him, also, a weak kid who was told he couldn't be a Hero, if you're not going to have Deku save him in the way no one saved Deku himself?

From where I'm sitting, the answer is, "It seemed like a good idea to Horikoshi at the time, but proved to be poorly thought out."  But if Deku failing to save his own closest childhood analogue was where the story was going the whole time, then Shigaraki should never have been used to parallel Deku to begin with.  It's just a damned waste of Shigaraki as a character, an insult to everything he represented, to use him for ~the parallels~ throughout the entirety of the story except the very beginning and the very end.

Anyway, Pro Heroes are bullshit and the ending should have been them being radically reconceived from the ground up with input from all the people they failed to save.  But again, if you have to still have Heroes-qua-Heroes at the end, and you have to have some stupid thematic echo because you as an author think callbacks are the single most compelling storytelling tool of all time, then everything we got on Dai should have been for Scissors-kun instead, and here I am very much including Dai's scene before the first war. An unsettling scene of a strange child with his mouth sewn shut, stuck in a straitjacket in a dark room should have been the last thing we saw before launching into the day of the raids, an apparent element for the future in the same way that so many future Villains were first shown in the wake of Stain's arrest.

See, Shigaraki’s own destructiveness is what ultimately frees Scissors-kun from the basement, “saving” this rejected, abused child in a way no Hero ever managed or even knew to try, just as Shigaraki brought light and a strange sort of hope to the lives of so many others whom Heroes failed.  However, Shigaraki couldn't carry his ambitions through to the end. He was never able to meet the kid he indirectly saved, never able to offer that appallingly abused victim an avenue for his signature brand of rough justice. Heroes stopped him from doing so. So then, who will help Scissors-kun?

If we’re to believe that the story's protagonist has made a real difference, that Deku and his classmates have changed the world for the better, then we don't need to see them helping a kid who we already know is going to turn out fine because “he” aleady did. We need to see them help the people that previously only Villains would have helped, picking up the torch they struck from Shigaraki’s hands.

So sure, keep the scene with Granny Evil and Scissors-kun if you must, to show that it’s not only Heroes but also the broader Hero Society that’s changed. After that, though, show Deku stepping in.  Show him taking an interest in this kid as a way to keep his promises—to Shigaraki, that the rejection and obliviousness that he sought to destroy have indeed been destroyed and will remain so, and to Spinner, that Deku will remember Shigaraki for the rest of his life. 

When Deku is older and in a position to give advice to a kid who’s floundering and uncertain of what to do with his life because of what people around him say about him, make that character echo the characters the old system failed to save, not the character who the entire story proved would do just fine.

For god's sake, ditch Deku Redux.

Now, I know the obvious rejoinder here: We can’t use Deku’s story to say that BNHA already showed us that Dai would be fine because Dai has a quirk where Deku did not, therefore Deku’s path would not be open to Dai.  To this, I would reply that neither Deku nor Dai specify that Dai wants/is able to be a top Hero, merely that he be the kind of Hero people can admire—which the story has also already proven true!

Ojiro got into UA with nothing but one (1) extra limb.

Manual has a perfectly middling quirk that turned out to be absolutely crucial in two different wars because it was the right quirk at the right time.

Wash’s quirk makes strong bubbles. 

Like, this list is not short.  Manifest Plates might or might not make Dai Hero Billboard material, but one of the major points of the endgame was the sublime and noble value of helping when you can, in the way that you can.  So to reiterate, we didn’t need that to be proven again in the epilogue.

If anything, going the route of retreading the same story makes the epilogue much worse! Not only do we not get to see how this society is helping the people the old society most profoundly failed—victims who fall through the cracks and become Villains—but in seeing yet another a weak kid being mocked for his heroic aspirations, we find that we’ve barely moved a step beyond the exact same place we started.

That’s the message Horikoshi chose to go with, for both the closing chapters of the story and the story’s final volume cover.  Truly, as art that summarizes the story goes, it’s a masterful choice!  And that's the whole problem. The cover of Volume 42 is a perfect illustration of the self-absorbed, cynical, cyclical nature of BNHA's endgame. Little wonder, then, that it's hated by the same people who hated said endgame.

[whokilledsamara]

SHIGARAKI NSFW ALPHABET

{ gift for my beautiful wife ~ @nutsnhonie }

warnings || smut, asphyxiation, fear play, blood kink, marking, rough sex, biting, vouyerism, {more,, but i cant rly think of what to put}

{an: wife wife wife wife wife wife}

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

he cant do much honestly, due to his quirk, but he will hand you things like a wet rag,, water bottle,, etc. even though he is an asshole, he still cares about you.

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

his favorite is your hair, since he cant harm that by touching it. but from afar his favorite is definitely your thighs.

on HIMSELF,, he doesnt like much. though he is proud of his dick for some reason,,,

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

he doesn't cum as much as the others, but he still fills you up, hence the name "creampie"

will almost always do it inside of you.

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

he definitely watches you masturbate, or watches you while HE masturbates. plug a lil weird but he chill,,

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

hes fucked hookers, or anyone the was willing, but he never cared for them or cared if they finished or not. therefore he is more experienced in HIS job at it. not so much the other things.

F = Favorite position (this goes without saying)

doggy style. though he holds your hips like a british person and their teacup, its still his favorite position.

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

doesnt find humor attractive during sex. therefore he is definitely the serious type.

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

he has a good amount of hair, but keeps it maintained. same color as the hair on his head and has a niiiceee happy trail.

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

not very romantic, but does love you. will probably be romanticish AFTER the sex. still cant fathom the fact that you want him.

J = Jack off (masturbation headcanon)

does it when you arent there. when he is really pent up with stress from either a mission or something else, then he will find different ways to touch himself. just wants to get off a few times.

K = Kink (one or more of their kinks)

asphyxiation, blood play, the usual. he definitely likes choking you to the best of his abilities without actually killing you.

L = Location (favorite places to do the do)

his room, though anywhere you want him to fuck you he totally will.

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

you in general, but theres just something about seeing you covered in blood that sparks a match in him.

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

coprophilia or anything nasty like that.

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

prefers giving, seeing it as his best way of getting you off. his chapped lips definitely make the job easier. he does enjoy receiving though as most people do.

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

fast and rough definitely. will only slow down if you beg him too.

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

absolutely. he loves taking risks of someone catching you. also if he is in a time crunch he will.

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

this is Shigaraki we are talking about. of course he will. enjoys inflicting pain on you, risking being caught, etc

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

for him around 4, but thats just for him. if he is going down on you than it doesnt matter. he can go as long as you need him too. gets him out of team things anyways.

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

has a few small vibrators that he collected for you. mainly for when he isnt there, though he definitely doesn't mind using them during sex with you.

U = Unfair (how much they like to tease)

teasing is almost constant with him. he enjoys watching you squirm and watching your face flush up with embarrassment.

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

aside from grunts and huffs, he doesnt make much noise. if you manage to get him in a submissive manner {unlikely} then he will whine from overstimulation.

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

absolutely into marking. likes licking blood from cuts he inflicts on you, or marking you with hickeys or bites. another one would be fear play. enjoys watching you squirm with fear as he pretends like he is about to actually touch you fully.

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

his torso and arms are toned and he is littered with scars from either fighting or missions. his dick is around 7-8 inches hard, with a slightly darker tip than his skin.

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

most likely high from all the pent up anger, but wont force himself on you. {maybe in another fic....}

Z = Zzz (how quickly they fall asleep afterwards)

will wait for you to fall asleep until he does, but sometimes he doesnt sleep at all after.

hope you like,,, im not used to his character much since i left the fandom a while ago.

{ made by @whokilledsamara }

[abbysimsfun]

Sims In Bloom: Generation 2 Pt. 94 (The Body in Brindleton Bay)

cw: dead body and a blood puddle, discolored / shadowed by the lighting, just to be less graphic tbh. For that reason I also don't zoom in on the body that closely, but text mentions who it is and there's no trick! That is who it is, even without a close-up!

Conrad met his young, eager partner, Zion Spangler, at the docks. His last partner, Josephine, had stuck around a few years longer than planned, but she was so close to retirement she deferred almost all her field work to Conrad and Zion. The sergeant liked the newly-minted detective's ambition and his instinct, and they approached the crime scene with caution.

A body laid at the edge of the pier in a pool of blood, already slightly washed away by the heavy, wet coastal snow of Brindleton Bay.

"The owners of the Salty Paw said someone knocked on their door about a body by their patio tables, but everyone was inside because of the cold and no one saw anything," explained Zion.

"Did you find any clues at the scene?"

"None. The snow washed away every footprint and fingerprint we might possibly find."

Zion got down on his knees to brush through the snow surrounding the body in search of clues. But Conrad took one look at the victim and knew exactly who they needed to look for. "Any ID on him?"

"Everything. Even his money. Vic's name is Jameson Bower."

No it wasn't. Not really. "Run that name through the database back at the station. Make sure he doesn't have any aliases, check his record."

Conrad could have offered to do it himself to cover his tracks. But he wanted to mentor Zion to be as good a detective as he could be, and he knew what the body of Jimmy Stefano represented. Surveying the grisly scene, his heart raced.

When Conrad backed out of the search for Rafa, Ximena called his bluff. This was his jurisdiction. He couldn't ignore a dead body connected to the cartel in Brindleton Bay. He didn't know whether Ximena wanted to hurt the cartel or bring him down, but she wouldn't let him walk away.

He'd all but asked for this when he agreed to meet her in this very spot months earlier, hoping he could get her to disappear by giving her what she wanted, helping her brother in the process. But Ximena hated to go quietly, and if he'd ignored her she wouldn't have let him be, either. It probably always would have come to this, but that didn't make it any easier to swallow.

He called Heather to check in. "Did you get to your parents'?"

"We're fine, Conrad. Lavender's asleep again and I'm just hanging out with Sammy." She tilted the camera on her phone to show off River and Cass' infant son, quietly drinking from a bottle. "Is the body related to the cartel?"

"It is."

"What are you going to tell your boss?"

"The truth."

"You could lose your job for sneaking around."

"Wouldn't I deserve it? I had to come clean to you first, and now it's time to come clean to everyone else."

"Conrad, I love you," she said. "I'm so mad at you for lying to me that I don't even know what else to say right now, but I need to be mad at you in one piece. We can talk more if you make it here this weekend."

"I love you, too." Zion called him then to return to the precinct. "I have to go."

As much as it burned to leave their conversation on that note, Ximena had forced his hand. If he didn't come clean to his coworkers and his boss, he'd lose his job. He might, anyway, but he couldn't move in shadows anymore.

With the scene documented and cleared and the body moved to the morgue, Conrad and Zion returned to the station. They worked through the night, and by morning it was obvious the victim was Jimmy Stefano, a low-level member of Los Tigres de Selva, one of the most violent cartels in Simlandia. "Do you think it's a new turf war?"

Conrad shook his head. "I don't think Los Tigres has operated out of Brindleton Bay for years."

Zion cocked his brow in confusion. "Well, what stopped them? They operate just fine out of everywhere else."

"They don't need Brindleton Bay when they've got hold of the ports in San Myshuno," he said, but his attention turned when their captain arrived. The man barely said hello, immediately shutting himself inside his office. Conrad didn't know if it was just that he'd had to come to work on a Saturday, or this specific case, but he had to come clean.

He knocked on the door. With a look, the captain waved him inside. "Sargent, you look tired." He laughed as if he'd made a joke.

"Been a long night."

The captain's expression changed. "Go ahead and shut the door, Sargent."

Conrad sat with an anxious expression, knees together, eyes down like he was about to be reprimanded in grade school. "About the docks victim, sir. I knew him."

The captain nodded plainly. "I read your file when I took over. But you're not the first cop who turned toward the law when they could have easily gone the other way."

"The thing is, I've been working a case under the table for a while now. I found Jimmy Stefano and filed a report against Ximena Bonilla."

"After everything done to bail you out and send you through the academy, you thought it was a good idea to investigate the cartel runner you once dated? For what reason?"

"She found my address, scared my fiancee. Ximena told me her brother was missing, and he and I were close. He was so young, and I wanted to help him."

"You didn't want to help San Myshuno PD? Ximena Bonilla's brother is a wanted man..."

"I would have told him to turn himself in and work a plea," he insisted. "My old precinct would look good, and I hoped Rafa could turn his life around with a little encouragement from someone other than his sister."

"Are you still in touch?"

"No, sir. I told her two days ago I was done searching for Rafa because I thought she was trying to trick me into investigating the cartel. Blocked her number. After the body showed up I tried the number I had but it's been disconnected."

"So she's the prime suspect."

"I think she might've figured out Jimmy talked to me and she wanted to get rid of him. If she didn't kill Jimmy herself - and she might have - I think she ordered the hit to draw me into an investigation against the cartel that could get me killed and endanger my family."

"Do you think she's working with Los Tigres?"

Conrad shrugged. "I don't know. I did a bit of digging and it looks like the cartel itself might be in a bit of disarray. Power vacuum after the murder of one of their higher ups (go on Frida!), so a turf war seems unlikely. I think the safest way to do this is to treat Ximena like a lone wolf. The cartel's not even supposed to be operating in Brindleton Bay these days."

"Since George Brindleton pulled his guys from the ports, they could have moved back in."

Conrad's stomach flipped. "George Brindleton?"

"George Brindleton lost his boats, but he didn't lose his security business. Pulled his men just before he left for Sulani. Said he was cutting costs at the port during the dead season, but I think he's just trying to remind us how important he is after his son went to prison. We upped patrol to try to deal with the lack of security down there, but his guys don't abide by any constitutional rights...I don't admit this outside these walls, but Brindleton's ports have always run better under private security."

"Was this before or after the restraining order I took out on him for Heather and the kids?"

The captain excused Conrad to think, soon calling him back with Zion and another officer who typically dealt with the press. "This is the plan. Our suspect is Ximena Bonilla, but we don't announce it. We look for her, or her brother, and no one else. We say the investigation is ongoing until we've found one or both of them. And Spangler, you're taking point on this one."

"Why me? Gordon's the sergeant."

"Gordon's too close to this one. I want him focused on looking for Rafa Bonilla, not Ximena, but he'll cooperate with you and help behind the scenes. She might try to reach out to him, and if she does, you'll be the first to know. And if you're not, he's a suspect, too." They nodded with understanding. "And Gordon? No more bullshit under the table or I'll put you on leave and find a way not to pay you."

Having worked through the night, Conrad relinquished his files to his mentee, but he left the precinct with a sense of unease. He still had a job, and he could still search for Rafa without needing to hide anything from his coworkers, but while Ximena was unaccounted for he would scarcely be able to relax.

After a nap in the break room, Conrad prepared to drive to Henford-on-Bagley and face his fiancee. ->

<- Previous Chapter | Gen 2 Start | Gen 1 Summary | Gen 1 Start

NOTE: I reinstalled TOOL to place the body. The blood isn't placed underneath the victim properly, but I was working at the edge of what was visible in a fully zoomed out screen, and for my second ever placement of a build/buy item and first ever placement of the teleporter off a lot in-game, I'm happy enough with the fact it looks like he bled out from the knees. 🤷 Maybe he did, I don't know, I didn't get detailed about the condition of the body because it doesn't advance the plot. Who and why is more important than how.

WCIF Poses & CC? @simmerianne93's Injured poses pack #1, which is a great set - so cinematic. One of the injured poses has the victim with eyes closed and looks a little like EA's curled-up death animation to me, and that's the one I used. And Blood on the Floor from the There Will Be Blood set by Lore from SimsRebelCreators. Several swatches (including red!) and different spatter patterns if you need some blood for your storytelling!

[enbycarp]

Yeah, their products are expensive. But also, it's a company working to be sustainable, eco friendly, and ethical. Their employees are paid well and get unlimited pto, for example. I doubt hanes employees get that.

They also have products like tucking underwear for trans women. When they talk about having products for diverse genders they don't just mean "women and nbs." They didn't start with products for everyone, but they grew and took customer feedback.

Also, they go up to 6x, which i can't get just anywhere. I get their undies when it's on sale, which comes to about ten bucks a pair, which is also what I'd pay at the men's big and tall store.

And it's a queer owned business, which i kind of thought we all were supposed to be supporting when we can?

Yeah we're being sold a product. A product we're going to have to buy somewhere, so why should i feel dumb for buying from a place that is queer and fat friendly and that's at least trying to be an ethical company?

I also pay more when i choose to go to poc and indigenous owned businesses. Am i being a sucker then, too?

Anyway, I've worn a lot of different brands of mens underwear, and the tomboyx undies have been the most comfortable for me. Especially when i went from just xl to 6xl. Other briefs tend to bunch up and slip down when i wear them. Panties, too, have never for me well. Plus, when i had the money for it, i liked to buy fun patterns. As a super fat person, i generally have to just be happy with what i can get (which usually doesn't include fun patterns and colors) .

If tomboyx doesn't appeal to you and your comfortable with underwear that you can get cheaper elsewhere, then that's great. If you don't need specifically gendered underwear, good for you. But we're not all being scammed into paying for something we don't need.

i really dont know why trans men convince themselves that they need special afab boxers from the women and nonbinary store at $20 a pop. you are being sold a product bitch

[novlr]

I’m just starting out with writing, and I really want my characters to feel different from each other. How do I make sure they have their own unique voices so my readers can tell them apart?

Experiment with character dialect

Dialect refers to the language people use when they speak: their accent, their slang, their regional or generational vernacular. When we think of “dialect”, we often think of things like “y’all” or “yer man” or “innit” — clichéd indications of place. You can definitely use these in your story, but also challenge yourself to go deeper.

Dialect can be a result of generational trends — you’ll notice that today’s teenagers don’t talk the same way their parents or grandparents do! Words fade in and out of fashion all the time. They can also be tied to a particular industry or subculture. When developing each character’s unique voice, consider what kind of slang or specialised language they might incorporate into the way they speak. 

Vary your characters’ syntax

Syntax has to do with the way we structure our sentences. Some characters will use only short, compact sentences, while others will ramble for miles. Some will always use grammatically correct language, while others will speak in fragments. 

A useful exercise is to write a conversation between two characters who use very different syntax in the way they talk. You can take their different approaches to the comical extreme until you get a sense of their different voices, and then dial it back and incorporate their individual syntaxes with more subtlety.  

Consider your characters’ word choices

There are very few true synonyms in the English language; each word has its own distinct connotation and tone. For example, one character might describe themselves as loquacious, while another describes them as a motormouth. Or, they might describe an authority figure as derisive, while the other character says they’re mean. 

The words a character lands on in any given situation can communicate a lot about how they see the world and themselves. 

Put your characters in moments of conflict

Conflict, tension, and suspense reveal who your characters really are. One character might become loud and aggressive, while another shuts down and speaks only in quiet monosyllables. Sometimes, a character’s voice contrasts the words they’re saying (you can communicate this through dialogue and action tags); for example, if a character says, “I’m not afraid!” in a strained, rattling voice, that belies their fear. 

As an exercise, try writing an argument between two of your characters and explore how the tension changes the way they speak. Then, you can incorporate this into your story.

Don’t neglect body language

On that note, a big part of a character’s distinct voice is the way they behave when they talk. You can convey this through action tags (“She hugged herself tight as she spoke”) or through descriptions surrounding the dialogue. 

Look at how your character holds themself — do they sprawl, taking command of the space, or do they try to make themself disappear? Do they only half-listen to the person talking to them, or do they make them feel like they’re the centre of the world? The way you communicate body language to the reader will inform the way they hear that character’s voice.

Read your work out loud

When you’ve finished the first draft of a story, it’s always a good idea to read your work out loud. This helps you catch any misused words, typos (the age of autocorrect is notorious for this), or inauthentic speech. You don’t have to let anyone hear you while you do this — it’s simply a tool for you as the writer to get a better sense of how your words come across on the page.

When you read, listen to each character’s dialogue and check to make sure it sounds true to that particular character. If you can’t tell the character voices apart, you may need to create a little more distinction through your revision process, using the tools we looked at above. 

Listen to character voices in the wild

A great way to develop your ear for character voices and get inspired along the way is to listen to the way real people talk. Go to a public park, a café, or a marketplace and stealthily absorb the language people use to express themselves. See if you can get a sense of what they’re thinking and feeling underneath their words. Then, you can incorporate elements of these experiences into your characters. 

Remember — human beings are unfathomably complex. Each is the epicentre of their own little universe, with all its dangers and joys. To create characters that readers will follow to the end, ensure that each one has a voice that’s unique and alive. 

[raayllum]

What Is Up With Terry :: the Thread of Necessity

Intro

Terry is an interesting character in a lot of ways. He's unflappably kind and optimistic, accepting even to a fault, and he's an elf with no issue with dark magic yet doesn't seek out its use for himself. He's a non-traditional antagonist for starters, he's trans without being overly sanitized, and he most notably provides a sounding board for more overtly 'evil' characters like Viren in season four and Claudia in seasons five and six. Most of this is in service of Claudia's goals, with Terry not having many of his own goals outside of his support of Claudia and Viren; this is, mind you, not too dissimilar from Soren with Ezran in arc 2 as well, or even Amaya with Janai.

I also think he's a very important in a character in a lot of ways, for the ease with which he explores and exemplifies

You can love / support Viren and Claudia and that doesn't make you a 'bad person' in the show

You can be okay with dark magic without changing your mind and that doesn't make you a bad person either

You can kill someone in TDP and that doesn't automatically make you a bad person either

We know all of this is true (and will likely continue to be true) as we know in S7 there is an episode about Terry related to him still having a "true and pure heart," which is about as classical "good guy protagonist" speak as you can get. In those lenses, I think Terry was a fantastic choice in introducing a new character to not only contrast against Claudia and Viren, but also in terms of getting us to be more sympathetic towards them (particularly Viren) than we might've been inclined towards in arc 1.

That said, I think the most important thread that Terry carries is that he is a character who truly and wholly does whatever is necessary for his cause, nothing more, nothing less.

But what does that mean, tangibly, within TDP's narrative? Well, let's talk about it:

Necessity

The concept of necessity—I needed to do this, or I have to do this (even though I don't want to)—is one that has been central to TDP for a while. We see this characters who cite a lack of agency ("He was going to take Claudia's life, I had no choice" / "Every step I took, I took because I had to" / "I'm sorry. I have to do this") throughout the show, both dark mages and not, particularly Rayla, Soren, and Callum.

And in return for perceived necessity, as Harrow states, "I have done terrible things. I thought they were necessary. Now I don't know." We increasingly see people justify, or struggle to justify, worse and worse actions. Claudia's mindset has become very transactional, for example ("He saved you, and now we have to save Aaravos" / "It's a mistake! I saved you! You owe me your life!"). Generally speaking, the show treats these things labelled as necessary as unnecessary (hence the regret they experience, and even Terry disagreeing more adamantly than he ever has before).

This is, of course, because 4x09 and 6x09 together very clearly spells out what is important for Terry to believe something is necessary: it must be done entirely out of love, no more and no less.

I've seen you do a lot of awful things, dark magic things, but I always believed in you because you had a reason [saving your dad]. But what you just did, the way you tricked that Moonshadow elf? It was just cruel.

Maybe it started out as a story of love, but along the way it got twisted. [...] He isn't doing anything for love. He's doing it out of revenge.

To Terry, you do what you have to do but go no further; you don't give into anger, you don't give into revenge. You act entirely out of love, and keep acting out of love and let it temper you. This is why Terry resonates, I think, and seeks guidance from Viren after the mage's initial assessment of what's been happening, emotionally:

This is similar in practice to why Viren (and Claudia to a lesser extent) are characters with such fraught paths. Not only because of their dark magic use, but because of their denial. Viren violates Lissa's safety and trust to save Soren, but then blames Soren for it; Claudia heals Soren and brings back Viren, and doesn't understand why fixing things physically wasn't enough. "I had no choice" for them means "I have no accountability," and that's why they kept spiralling deeper till Viren broke out of it. He atones then not by swearing off dark magic (although it helps) but by taking full agency in the choice to do dark magic and in what manner (not sacrificing his family again) and without a desire for ego, which was his biggest character flaw in a lot of ways.

The reason I bring this up is to provide a contrast for Terry in a few ways, such as

Terry always being very emotionally open, rather than repressing or offloading blame onto other people

Mandates that he had no choice (4x03, 4x04) but to kill Ibis verbally, but is also aware that it very much was

Is able to accept that this was a choice and move on

Terry does what he believes is necessary. He feels things about it. He doesn't go further into outright self destruction, and he doesn't escalate to what harm is deemed unnecessary. That doesn't mean Terry's levelheadedness can't be a flaw (he absolutely should have told Claudia to give up magic in 6x04) or that what he believes is necessary always is / that his choices are perfect (they're not), but that in his contrast to Claudia and Viren, he continually provides that contrast. He can be held at sword point by Rayla, a total aggressive stranger, and still recognize that withholding her family from her is what he deems as unnecessary cruelty (but more on that later).

For now I want to talk about patterns, specifically two that he engages in with Claudia.

Patterns

The first pattern is unsurprising, perhaps, given that Claudia-Rayla have continually had parallels, given that:

1) Claudia keeps leaving him

This is, of course, most obvious in 6x01 when Claudia states her intention to do so, or even in 6x09 wherein Aaravos literally lifts her away from Terry:

But we also see it earlier on with even the choices Claudia makes in her mission. Terry is a passive person, much like how Claudia at her core is ("Tell me what to do" + 90% of interactions with Viren that aren't about saving him), and therefore Claudia leads the way, and Terry is happy to let her.

He never really considers that he might be a core part of her truth, and that she wants more active advice (see the way Rayla counsels Callum about his dark magic use, comparatively, in 6x03, or nudges him forwards elsewhere throughout the seasons). While Terry isn't wrong to encourage Claudia to think staunchly for herself, and in fact she very much should, it does leave her more vulnerable to the next first person willing to tell her what to do: Aaravos.

We also see Terry's passivity go even further back to one of his first episodes, as well as in the S5 finale.

Each entry in the pattern is a little different.

4x03: Claudia leaves / goes in alone and fails at her mission. Terry follows and saves her by killing Ibis at great cost to his personal emotional state.

5x09: Claudia leaves / goes in alone and fails at her mission. She goes further into Aaravos' clutches (the ocean here metaphorically) and returns of her own accord.

6x01: Claudia succeeds at bringing back her father but cannot make him stay. She leaves on her own in an attempt to break her family's cycle of abandonment without realizing how she's continually perpetuating it, but returns in a devastated and dejected state.

6x09: Claudia succeeds at her mission of freeing Aaravos, and the Startouch elf takes her literally into his clutches and away from Terry.

Each time it is her choice to leave, with only 4x03 firmly having Terry following without her returning by her own merit. Whereas Claudia plays out her family's cycle of abandonment with all its members—her mother, her brother, and finally her father—Terry plays it out with just Claudia, over and over again. This doesn't mean their relationship is bad or that some of these times are unreasonable—Terry is willing and supportive to let her go in 4x03 and 5x09 much the way Callum is supportive of Rayla in 4x09, 6x05, and 6x09—but it is a pattern that has then taken on a negative slant in S6 and will likely to continue to worsen in S7 before it gets better either in the season or beyond.

Then, we have the pattern of how

2) Claudia gradually stops listening to him.

This is probably more interwoven with the thread of necessity than the previous pattern, since as stated before, sometimes when Terry is letting Claudia go off on her own while it's imperfect in the narrative, it makes sense within their dynamic / resources. Like as previously mentioned, too, Terry is more often correct than he is wrong about the next moves people should make. He's right that Claudia will need help in 4x03, he's right that they should go look for her in 4x07, he's right that she needs rest in 5x02, and right to be wary and against Aaravos in 6x09.

In the beginning, Claudia listens to him.

But as the seasons go on, this gradually changes with twice back to back in 5x06.

T: It won't chase us anymore, you won. It's trapped. Please. C: You're right. It won't follow us. But not because it's trapped.

Season six is arguably the season where Claudia listens to him the least despite Terry reaffirming her agency most directly (6x04) as she ignores or doesn't listen to every reservation he has.

T: It's him. It's your Dad. C: Then I have to... T: No! Please! Please don't... I don't think you should see him like this. C: I have to! I came all this way to see him one last time. I need him to show me the right path. T: This won't give you answers. Only anger. Only pain. I'm so sorry. He's gone. He is gone.

And Terry, who does things only that are necessary, only out of love, would know the difference: unlike Rayla, or Claudia, or numerous other characters arguably in the show, he always has, particularly when given broader context the way he is in 6x09 (which hasn't always been true in his relationship with Claudia, either).

None of this is to say that Claudia is a Bad Partner or that your partner should always listen to you, either, because neither of those things are true in life or in TDP. Healthy couples in TDP disagree all the time in both healthy and unhealthy ways. Rayla left Callum when he explicitly made her promise not to, and Callum did dark magic to save her twice despite 100% knowing it's not what she wold've wanted.

But the first thing I want to address is the difference between Claudia leaving out of grief and trying to feel in control after losing everyone but her boyfriend, and Rayla leaving out of grief and trying to feel in control after losing everyone but her boyfriend because they are wildly different for one main reason.

Rayla left in the middle of the night while Callum was sleeping because "you’ll wake up and try to stop me… from doing what I know I have to do. Leaving. But I can’t let you stop me, Callum. No matter how much I want to. [...] And if you said even one word to me, I wouldn’t be—couldn’t be. If I stay even until your eyes open and you yawn your silly morning yawn, I’ll break" (TDP reflections, Dear Callum).

Terry, meanwhile, is actively begging and pleading with Claudia, and he is still abandoned. Granted, Claudia seemingly comes back within a day or two, not two years, so that does mitigate things, but the fact remains that Rayla thought she wouldn't be able to leave to protect Callum if she even heard him speak a word or yawn, and Claudia was able to leave to protect herself while having a full on conversation. Ouch.

Nor does this completely absolve Terry of the one time Claudia straight up asks him to tell her what to do, or what he thinks she should do, Terry doesn't (6x04). He's not wrong that she needs to choose the way and figure out what she needs, but him emphasizing that he can't tell her what to do and then immediately accepting her premises that Viren can and should tell her what to do is something that's already bitten both of them in the ass.

Terry also only asks Claudia to listen to him, really listen, and to tell her what she should do when he thinks it's absolutely necessary.

This is also one of the reasons why she and Terry are suited to each other. Both value and respond to necessity, scaffolding everything else on top of what needs to be done or doesn't need to be done. What's risky about this mutual understanding is the potential for it to stop being so mutual if they start to have different views on what's necessary. And as we see in 6x09, that's happening more and more. What is going to continue happen when Claudia keeps viewing Aaravos' actions as necessary, and Terry doesn't?

Questioning

So Terry is, presumably, going to increasingly be wary and against Aaravos. What is that going to look like?

We have a decent idea, honestly. As stated / noted before, Terry actually pushes back against Claudia fairly often. He's just rather gentle about it, and usually is trying to prioritize her wellbeing (or someone else's) when she isn't. Examples include:

4x09 over the coins / being cruel

5x01 ("You'd think if dark magic does this to a person they might not do it")

5x02 over resting

5x06 over attacking the dragon

5x06 over killing the dragon

6x01 over her leaving

6x04 with telling her what to do

6x08 over seeing Viren's corpse

6x09 in helping / freeing Aaravos

However, we're also yet to see him be angry in his questioning or when pushing back, which is what I think would be most interesting to see change (think the moment where Iroh finally yells at Zuko beneath Lake Laogai). His pushback with Claudia has gotten more and more consistent as well as more dire throughout the seasons, and just like how Viren and Claudia eventually disagreed and split up, I think Terry and Claudia will too. How permanent that split will be, I think, is up to her (I could see parallels happening between Soren and Terry teaming up to try and bring her home, with Ezran and Rayla doing the same for a brother-partner tag team Callum duo), but I do think that Terry's testament of "I love you, I will never leave you" is apt foreshadowing to see what it would take for him to break his promise, and do just that.

To what he knows needs to be done, even if that means walking away.

Misc. Season Thoughts

Terry also has some interesting things that don't fall under the necessity umbrella that I wanted to talk about as well. One of those things is

TERRY AND IDENTITY

This isn't to say I think Terry actively has an identity arc in seasons 4 through 6 the way other characters (Callum, Rayla, Viren) are, but that Terry like most of the main cast is linked to arc 2's continual increased emphasis on identity and choosing your own identity. This is true particularly in 4x01, which opens after the intro with Callum running through / clarifying his titles (or identity roles) and concludes with Viren and Terry being introduced to one another. Terry gives details on his name ("[Terrestrius] is a bit traditional, but my friends call me Terry") and then asks for clarification on what he can call Viren.

Later on in S5 and S6, we see Soren and Rayla respectively see through the 'monstrous' / threat of others by reaffirming their similarities ("I know what this is like. I know how you feel" / "This storm isn't your rage, it's your grief. I know how you feel") and bestowing agency through naming conventions. Rayla identifies the monster isn't a monster but a pet, and more than that, gives Esmeray back her name. Elmer does the same when he overthrows Finnegrin and Soren likewise affirms it: "We literally didn't [defeat him]. Elmer did."

Why is this relevant? Well, in an arc that's all about emphasizing over and over again to see other people's personhood by using their name(s), recognizing that you have a choice, and choosing who you want to be...

So often queer characters in media are regulated to their queerness being happenstance (i.e. they fulfil a certain story role regardless and just happen to also be queer) or it's all their character gets to be (a "figuring out queerness and/or a coming out" arc). One of the reasons I myself (as a queer and trans person) has always deeply appreciated Terry as a queer character, specifically as a trans character, is precisely the way that his transness is interwoven with TDP's broader themes of chosen identity, self-actualization, and knowing / name motifs. In having these themes and ideas for multiple cis characters, Terry's interplay gets to be enhanced by his trans identity and simultaneously let him enhance the thematic explorations the series has going on, and I think that's pretty cool. Identity is one of the main themes of s4, and for Terry as well, so it's nice to see the ways that's reflected.

I expect season 7 to challenge his identity further ("I'm going to be strong enough to do whatever I need to do and still have feelings") if forcing him to confront who he wants to be, who Claudia is becoming, and who he thinks they can still be together. In a lot of ways I'm expecting S7 to be a sister season to S4 thematically even as S7 builds on S5/S6 in terms of plot and character arcs, since S7 seems geared to be about identity directly even more than S4 was (and much more than S5 or S6 were).

TERRY AND COMMUNICATION

If season four is about identity, season five has a strong emphasis on communication. This is, again, likewise true for Terry, as he encourages Claudia to communicate in various ways across the course of the season.

The situation is urgent, and you're worried I'm not treating it that way.

Terry consistently having clear communication is also something that puts him in direct contrast to Aaravos, who is a master manipulator and very careful liar-not-liar in his own way. Terry is always open and while thoughtful does not really bottle things up; he communicates clearly with other people and is comfortable doing so, and is very good at validating others as well. Whenever he does push against Claudia, he always clearly explains why he's doing so or why he disagrees but leaves the choice of what to do next in making amends or carrying on up to her. Aaravos, meanwhile, continually withholds or omits information, and presents things in certain ways in order to get, well, his way.

I don't have as much to say for season six, given that Terry is only in about half the season (6x01, 6x03, 6x04, 6x08, 6x09) and one of those is entirely silent. I'd say his main idea in s6, like s4 with identity and s5 with communication, would be the theme of Questioning (scaffolded under 'supportive'). He's supportive of Viren and Claudia's searches for meaning alongside his own increase questioning of what they and Aaravos are doing and why. I'll be curious to see what his main character beat may be in s7 going forward.

Conclusion

There's more I could talk about with Terry (Viren dreaming in 5x03 of chasing after Claudia only for her not to listen, only for Terry to live out that worst fear in 6x01 directly, for example) but I think for now these are the main things I wanted to discuss without going further into speculation than I already have. I hope this maybe brought a new perspective or appreciation for Terry as a character and for his arc in the show so far! As always, thank you for reading and I hope you enjoy.