#when this is how people react by default then of COURSE it does. It's so easy to get a strong reaction

[tubbytarchia]

I see so so many videos and comments and discussion from people including artists expressing grievance and cringing in one way or another at modern and performance art, and all I can think is damn. That sort of art is really goddamn effective when it gets this much publicity and attention from people trying to cope because it gets under their skin so easily and not realizing the irony

At this point there's no modern or performance art I don't respect (other than ones that cause harm to animals 😐) just for being able to so effortlessly get reactions out of people. Like the "who's afraid of yellow, red and blue" paintings that to most people look like solid boring colors, 'how in the world is that art?' and all that, and yet, fittingly for its name, it gets vandalized (and is also impossible to restore because no one can replicate the intricate technique of the author). Some things never change. Godspeed modern and performance artists

[leggerefiore]

I fear now we need all of the men navigating NNN. My beloved man Cyrus would see no problem with the challenge and would probably call it dumb

Cyrus is victorious by default. His low libido makes it no challenge, after all. Though, he absolutely is not actively participating. He finds the concept dumb and sees no reason to indulge it. He just wins because he does not ever really seek sex unless it's to appease his partner or to cope with horribly strong emotions. Basically, as long as you don't demand sex nor does anything make emotions run high, he's winning without trying.

Grimsley is dying but trying his absolute damnedest. The gambler has the highest libido of the group and is the resident manwhore (before settling down with his partner… who now has to deal with his sexual appetite). Despite this, however, he loves a challenge. If you offer a bet to him about making it through November like this, he will agree. The price you pay will likely be something insane. He is surprisingly resolute about it all. He has trained himself to hide his emotions, after all. Teasing him seems ineffective. Though, he can and may break. In truth, it is a battle of his love of gambling versus sex.

Colress agrees. Why? Well, for one, he believes he can do just fine without sex. But, also, because this is valuable data! How will your bond with one another change due to the lack of sex? How will you react? How will he feel? He has read plenty of studies on the supposed benefits, but he is eager to see if they truly are to occur. Basically, November becomes a personal study for him. Be ready to he observed (as usual).

Nanu grumbles and says no. He is not having his schedule and sexual proclivity dictated by some internet meme. He is too damn old for that. If you want to go in on it, be his guest. He has handled his own needs before, and he can handle them now. Will not participate and cannot be convinced.

Lear is bewildered, but it is a challenge. He scoffs and says that seems easy enough. A month without sex or masturbation? Nothing in comparison to his training to be king. Behold his kingly restraint! (He breaks down halfway in and demands that you stop, too. He is about to snap.)

N doesn't know what you're talking about. He just blinks. Going without nuts for a month? He supposes that some people with nut allergies deal with this for a lifetime, so a month should not be impossible. Do not try to explain further. It is not worth it. He can win by default, too, since he's not inclined towards sex. He mostly meets his partner's needs in that department.

Volo squints his eyes at you. Why are you proposing this to him? He feels as if you are messing with him. Even if you try to explain, there is little to do to convince him. Wager the Azure Flute or something, and he might agree. His willpower is quite terrifying solely towards Arceus. Otherwise, he is not giving up sex for some frivolous challenge. Even pulling the Arceus's Chosen card fails.

Maxie ponders what the hell you are talking about and agrees because you make some comment about Archie being able to do it. Of course, he can go a month without that! He is a man of science and restraint. He suffers endlessly, and his temper is flaring. Magma grunts will beg you to call off whatever you did to their boss. He gives up nearly at the end.

Archie is going to refuse since he doesn't really see how that could be fun or anything beneficial to him. It is only when you mention Maxie apparently being able to do it that he agrees. He surprisingly makes it through the entire month. His mood is barely effected. Maxie is mortified when he hears the news.

Giovanni thinks you're insane, laughs at you, and says no. Then, when you mention it being a display of his strength, he reconsiders. Suddenly, he devotes his entire focus to such a thing and proving you wrong. He will make it through by becoming extremely pissy and by the skin of his teeth. His prize is locking you away for a day and making up for the lost month.

Lysandre supposes he has heard of something like that before. Yet, strangely, nothing can convince him to participate. It simply cannot be done. He says it is a waste of time and energy. (In truth, he simply cannot deny himself pleasure and uses sex as a way to express his love.)

[pomefioredove]

a-yo there, Claudette! how ya' doin'? could I ask a request with the overblot gang like this: they are flirting with reader, in some case is more boldly, another is smoothly or a 'smart'/well thought out flirt, (because i'm SURE that leona and vil don't flirt the same, or blue and idia, for example). reader blushes a lot and looks away. after a second of silence, reader flirts back just as smoothly, slyly or boldly. how do the 7 primors react? 💗💗

thanks in advance! take care<3

oooh- yes, of course!! I had fun with this. it also occurs to me how bad most of them would be at flirting...

*ੈ✩‧₊˚ the boys do a flirt

type of post: headcanons characters: riddle, leona, azul, jamil, vil, idia, malleus additional info: romantic, reader is gender neutral, reader is yuu

anyone here familiar with Victorian courting rules?

well, Riddle is

he is alllll about etiquette

literally "no hand holding before marriage"

the boldest he gets is with... flowers

for what he can't say or do outright, he can convey in floriography

daisies for loyalty, pink camellia for longing...

if he's feeling bold, he may add a lavender sprig or two

now, imagine his surprise when you send him a red orchid...

his face blushes the same color as the flower and he gets all giggly

going around Heartslabyul, saying he's got to send you a red rose back

...as if anyone knows what that means

(everyone in his dorm thinks you're both crazy)

*ੈ✩‧₊˚

Leona is the god of avoidance

he would rather crawl on his hands and knees through sewage than be honest with himself about his feelings

so, what does he do when he knows he's falling for you?

bullies you

like, lovingly

it's just easy for him to banter and push you around

he will call you short no matter what your height is, let himself into your room to sleep on your bed and make direct eye contact with you while he knocks your things off your desk

like... petty cat behavior

he was not anticipating you to reciprocate

man, you have a mouth on you

the things you say... color him impressed

honestly, he likes you even more than before

...which now makes avoiding his feelings impossible... crap

*ੈ✩‧₊˚

unfortunately I think Azul's best attempt at flirting is staring at you across a crowded room

he's a flatterer by default, but, like, he actually likes you

he knows how to get someone into a contract, but not how to ask you out on a date

funny, right?

well, not for him

it takes all of his courage just to say you look nice

Sevens, what is wrong with him?

you make him feel like an utter fool... so, of course, he has to compensate

now, when he's around you, he becomes smarter, more interesting, and about three times as pretentious

to impress you. obviously

then you match his energy and he's right back to square one

who knew he could get so easily flustered?

*ੈ✩‧₊˚

Jamil doesn't "flirt"

...at least, that's what he tells himself

before you, he'd simply never had a reason to. now...

how hard can it be, right?

and, well, he's not half-bad at it

Jamil knows how to keep his cool, and flattery is his second language

and he gets a chance to show off a little...

perfect, right?

well...

he can never seem to surprise you

every hint he tries, every subtle compliment and little smirk, you have something equally as crafty

...not what he had in mind, but, hey

the psychological warfare makes flirting much more interesting

*ੈ✩‧₊˚

Vil is, perhaps, the only person here who actually knows what he's doing

not that he's used to flirting

he just... knows how to talk to people

he's always quite subtle about it

forward advances are tasteless, if you'd ask him

he tends to flirt in subtle, but meaningful ways

that is, he makes his intentions known through touch

nothing aggressive, of course

a gentle squeeze of your shoulder, a brush of his hand against yours, an arm around your waist...

just enough to fluster you (which he so enjoys doing)

imagine his surprise, then, when you start touching him back

wordlessly holding his hand, sitting close enough to him to feel your shoulder against his...

he'll admit, he admires your boldness

*ੈ✩‧₊˚

the only "you" that Idia is flirting with is a chat bot he programmed to talk like you

I mean WHAT who said that

he DEFINITELY does not have that. haha... that'd be like, super creepy...

on that note, he also definitely DOES NOT obsessively study your words and mannerisms to better understand you

...well...

listen, he just doesn't know how to approach you!

you're so... you! and he's so... him

so, he'd much rather watch your every move and fantasize about being able to actually... talk to you...

he is, understandably, terrified when you approach him

...even more so when you seem to know about him and all his interests...

???

...you know what? he's not even going to think about it

*ੈ✩‧₊˚

Malleus can be a little... old-fashioned

and by that I mean Briar Valley old-fashioned

he was taught how to court by Lilia, of all people, so you know whatever he's doing is...

...strange

and he's somewhat aware of it, too

he just thinks it'd be even stranger for him to flirt with you like...

well... you get it

everyone else

he is, however, pleasantly surprised when you seem to know what he's doing

you've been reading up on Briar Valley customs, and recognized his courting rituals pretty much right away

...not that you're going to tell him that

reciprocating his flirtations is more fun when he doesn't see it coming

he makes that one surprised face every time

like this -> o_o

[eldritch-nightmare]

Can you make a scenario about how the pastas would react after an argument? Like, if the reader left to get some fresh air? (I crave angst)

-💫Anon

a/n: indeed i can my friend here's a healthy amount of (very mild) angst just for you. i'm so totally gonna use this idea in a future chapter for the silly lil scenarios book as well because uh angst. maybe the prompt got away from me just a little bit i won't lie.

how do they react after an argument?

includes: jeff the killer, laughing jack, slenderman, nina the killer, eyeless jack, jane the killer, candy pop, clockwork, ticci toby, nurse ann, x virus, kagekao, jason the toymaker, the puppeteer, homicidal liu, sully, the bloody painter, the doll maker, zalgo, and hobo heart.

warnings: the aftermath of an argument, relationship disputes, some of these are healthy and some of these are not, inconsistent length.

JEFF THE KILLER would honestly be more upset if you walked out after an argument. he's already upset enough as it is, so you turning your back to him and storming out just makes his blood boil. he won't follow after you, but he'll definitely disappear for the next few days. he really isn't the best at resolving arguments, no matter how small they are. and unless he really fucks up, then he isn't going to apologize even if he is in the wrong. he's jeff the fucking killer, what the hell does he have to feel sorry about? you should consider yourself lucky that he didn't gut you for pissing him off.

if you want to have any form of resolve to this argument, you'll have to force the conversation because he will actively try to shut you down. he can't. he literally can't. resolution is not something he is good at, and unless you're the one to apologize, even if you aren't the one who is at fault, he's just not going to let any of this resolve. does that make him an asshole? yeah, it does. does he feel guilty? just a little. does that change anything? no, not really.

LAUGHING JACK, similar to jeff, would feel more upset over you walking away from the fight rather than the fight itself. he can come off as pretty scary during an argument, especially if it's one where he feels like he's in the right. he gets frustrated easily, and he's just overall a very expressive person, so. and he can get pretty fucking mean if he wants to, so yeah honestly you needing to walk away makes complete and total sense and he knows that it makes sense but that doesn't make him any less upset.

he'll just blame it on his abandonment issues or something because seeing you leave just to go and calm down should not have hurt as much as it did. and he debates going after you but he ultimately decides it would be best if he didn't. he wants to resolve this though, and he'll try but it'll be painfully awkward because, i mean, yeah.

SLENDERMAN is, by default, a pretty scary being the begin with so i imagine an argument with it would be pretty unnerving. it isn't used to people arguing with it, that's for sure. i think it would be more amused than upset, seeing such a small being stare up at it as if trying to intimidate it... it's a cute sight to see, that's for sure. it'll keep that thought to itself, of course. it imagines that saying such a thing out loud may only make things worse.

slender won't be upset when you walk away. it understands that you're just going to cool off. it'll take this time to clear its own thoughts until the two of you are ready to talk again and clear up the tension.

NINA THE KILLER would be immensely frustrated seeing you walk away. she'll probably let out a groan and tell you to come back, but she won't follow after you. she understands that if the two of you kept arguing any longer, things would only get worse. she knows that, so she'll use this as a chance to calm down herself. nina gets over things easier than you would think, and if this argument wasn't over anything major then the next time you see her, she'll most likely be back to her usual self.

she'll probably be the first to apologize as well, even if she feels as if she's not the one at fault. she can't stand when you're upset at her, so just accept her apology so the two of you can move on, yeah?

EYELESS JACK is always viewed as mature and in control of his emotions. and he is. a little too in control if we're being honest here. for most arguments you guys may have, he'll keep his cool and will try to understand your point of view and where you're coming from. there are times, however, when the control he has over his emotions slips, and you get reminded that oh. your boyfriend is a cannibalistic demon that can literally kill you in the blink of an eye. he really doesn't mean to scare you, but it's definitely a good thing you choose that moment to walk away to cool off because he has to physically force himself to not go after you.

and once he calms down, he will apologize. it's a genuine apology, one written all over his face. he never wants to or means to invalidate you and your emotions, and he never wants to make you scared of him.

JANE THE KILLER would probably be the first to walk away from an argument, if we're being fairly honest. if this is richardson we're talking about, then she's definitely more mature about it and politely suggests that you both take fifteen minutes to cool off before continuing the conversation. she does it because it's one, a healthy thing to do for your relationship, and two, while she is heavily in control of her emotions, the liquid hate running through her veins enhances her anger and it would be really bad if she genuinely got angry.

if this is arkensaw, i think she'll be a little less mature than she would like. she portrays herself as someone in control of her emotions, but her emotions and her hatred are what drive her. she does her best to her burning-hot anger in check but if you two have an argument, then it's fairly difficult. if you walk away first, then it'll only serve to upset her more, but she won't go after you. honestly, she'll probably even avoid you in the coming days because her anger lingers. it always lingers.

CANDY POP thinks it's cute that this little argument of yours got you so worked up that you had to walk away from him. honestly hell yeah if i were you i'd walk away from him as well because there is simply no winning with this guy. worst man you could ever argue with, to be honest.

but as we all know, his mood can change in an instant with no warning so. one moment, he thinks you walking away from him is cute and adorable. the next, he's getting frustrated and following after you because you don't get to walk away from him, silly. haven't you realized that he owns you?

CLOCKWORK, while she has her own anger issues and tends to get easily frustrated by the smallest of things, does try her best to keep her emotions in check if you two ever have an argument. it's not easy, and there have been times when she's snapped at you, but she always apologizes immediately after.

you walking away would make sense. she understands, she knows that you both need to take time to calm down before things get too heated. she gets it. but depending on what you two are arguing about, doing so could only serve to make her more angry. it's... frustrating, really. she won't follow after you though, because she knows it's what is best.

TOBY would want you to walk away. he needs it, to be honest. he tries to avoid getting into arguments with you for various different reasons. arguing with you stresses him out more than he would like it to, and it reminds him of the hold you have on him. you walking away from the argument would give him time to clear his head and cool off.

once you've both calmed down, he'll probably be the first to approach you because he cannot stand the awkward tension that always lingers after arguments with people. he wants to clear the air so this can all just be water under the bridge. it'll be a painfully awkward conversation though. he's not good at... resolving arguments. never had a positive example, to be honest.

NURSE ANN struggles to speak, so i think she would try to avoid getting into an argument because she feels as if she won't be able to properly get her point across. but arguments are bound to happen sooner or later, even in the healthiest relationships. and ann, to put it simply, is a very angry person. she keeps that anger in check when you're around, but it's literally impossible to not slip up a few times.

since ann rarely ever vocally speaks, her anger is typically conveyed in her stares and her jerky gestures as she signs. you walking away is the smartest thing you could do in that moment, leaving her alone to stew in her always-burning anger that she'll choose to take out on any nearby destructible objects or some sad poor soul that just so happens to trespass at her hospital in the coming hours.

X-VIRUS seems like the type of guy who has never really been in any arguments, to be honest. maybe when he was at the orphanage he got into a few petty arguments between the other kids, but nothing that would warrant needing to walk away, y'know? and i definitely don't think he'd treat the argument seriously, brushing off your words and whatnot.

he only realizes that you were genuinely angry with him when you walked away. it's definitely like... a slap in the face that oh. i'm a fucking asshole. he's not really sure what to do in this moment, and he waits until you come back on your own to try and apologize. but he's not the best at apologies.

KAGEKAO wouldn't treat the argument seriously at all. at least, not at first. honestly, he'd probably purposefully get you even more upset just to get a reaction out of you. does that make him an asshole? oh, most certainly. he just likes seeing you feel anything towards him, even if it's anger. he likes getting a reaction out of you because it's him you're reacting to. and it's entertaining as well, though you don't need to know that.

when you walk away, he'll feel a little frustrated at not being able to see you but he won't follow after you. he knows when to stop his antics. shocking, i know. and, if you're lucky, he may even hold you in his arms once you calm down. it's his way of an apology, i suppose.

JASON THE TOYMAKER fucking hates arguing with you. you're his other half, so arguing with you makes him feel sick to his stomach because what if... what if you aren't the one? he likes you too much to lose you, so you have to be the one. he definitely seems like he'd try to keep the argument short, and he'll be relieved when you walk away to cool off.

you don't try to leave him afterward, even if he was at fault for whatever you two may have been bickering over. that's good, really. that means you want to stay with him, even if you two have arguments like this. that's... that's so good.

THE PUPPETEER can't stand when anyone argues with him, so yeah, any argument you may have with him will be horrible and tense and it will not be pretty. he has to be the one to get the final word. he has to be the one in the right, even if he isn't. you must be aware of this, right? i mean, you're (hopefully, i assume) willingly sticking around this guy, right? so you should know that there's no winning with him.

and you walking away is simply not something he'll take kindly to. it's something that'll more than likely get a how dare you reaction out of him. you're a fool if you think he's just going to let you walk away. no, he'll either follow after you, or he'll pull you back with his strings. the conversation isn't over until he says that it's over.

HOMICIDAL LIU definitely does try to avoid any potential arguments with you. to be honest, most of your arguments with him will more than likely stem from his almost blatant disregard for his health and safety when he's injured as well as his almost suffocating habit of needing to protect you and keep you safe. it's inevitable, even if it's something he tries so desperately to avoid. that desperation is what tends to lead to arguments as well, if we're being honest.

he's not upset when you walk away. honestly, he's glad that you do. he always feels pretty damn awful whenever you two fight, and he patiently waits until you're ready to pick things back up so you two can resolve things and move on.

SULLY listens to everything you say with rapt attention. the only thing that matters to him at that moment is whatever you two are arguing about. hell, he doesn't give a shit about the argument itself rather than what you say, the expressions you make, and your tone of voice. every little gesture or movement you make catches his attention. honestly, if you asked him what you two were arguing about, he'd just look at you with a slightly confused expression because he's already forgotten.

and when you walk away to cool off and get some air, he has to restrain himself from following after you. he forces himself to sit down and he bites his fist as his mind hyper-focuses on every word you said and the way you looked at him and just... yeah, he's already moved on from the argument he just wants to see your face and hear your voice again.

THE BLOODY PAINTER is definitely not someone you want to have an argument with, honestly. not because he's an angry person or scary to get into an argument with or anything like that, no. he's just... very apathetic. it'll feel like you're arguing with a brick wall rather than a person, and you'll maybe even feel as if he doesn't care about you or your feelings. he just stares at you, blank-faced and monotoned.

once you realize that this argument is going literally nowhere, you leave to calm yourself down and he stays behind. it's not that he doesn't care about you and your feelings, he does, truly, he just... well... i could go into heavy heavy detail about his apathy when it comes to arguments but to spare you the length of that, just know that he does care, he's just absolutely horrific at showing it. once you come back, he will apologize for not better expressing himself and for unintentionally invalidating you and your feelings. he'll be better, though it will take time for him to become expressive.

THE DOLL MAKER seems like the type of person who wouldn't handle arguments well, i think. he's a fairly closed-off person and has some trouble conveying his thoughts and feelings sometimes, so i think it would stress him out a bunch if he got into a fight with you. depending on how bad the argument is, he'll either try to diffuse the situation or he may get angry and make things worse.

the moment you walk off, vine will be throwing himself into work to both calm himself down and distract himself from any potentially needless thoughts. he'll certainly try his best to resolve the conflict with you once you've both taken time to calm down but it'll definitely be stiff.

ZALGO would be very amused if you try arguing with him over something. you, a silly little mortal that somehow managed to catch his interest, are trying to argue with him, an eldritch horror beyond human comprehension that literally creates chaos for shits and giggles? how adorable. he's not going to take you seriously at all, i hope you know that.

and even if you walk away, you won't exactly be alone. zalgo is always there with you, even if not physically. a part of him is stuck with you, so he's always able to watch you, to talk to you. he thinks you're being dramatic for getting upset over something that he deems to be so utterly insignificant. there won't be any form of conflict resolution with him, so don't expect any form of apology or empathy or anything of that sort.

HOBO HEART you gotta be careful with, i think. the last time he felt as if he'd been wronged by the person he loved, he tore her heart out. not to say he'd tear your heart out over a minor argument or anything like that, no, that would be pretty petty and... he doesn't really think he's a terrible enough person to do that. maybe. depending on how serious the argument is.

he'll be a little disheartened when you walk away because he would rather clear up the air and tension immediately rather than wait but he understood, somewhat, that it'd be better if you both took time to cool off before either of you tried to resolve the conflict hanging in the air.

[maximumzombiecreator]

I would actually like to know what you consider the basics of improv to be! If nothing else, you phrase these things really well and in ways I haven't heard before, and I'm also aware there's a lot of things I don't know (I'm in a student run college improv group, our theory might be a bit lacking)

Be glad to. A lot of improv stuff is just oral tradition at this point, passed down in musty school drama rooms and community centers, so everyone has to pick it up somewhere. When I've taught people before, beyond the basic definition of what an improv scene looks like, I usually focus on a set of do's and don'ts.

Do's:

Make offers, and make them good offers. A good offer should be strong and elegant, like a power lifter in a ball gown.

Broadly speaking, I'd say the strength of an offer refers to how much it establishes about the scene, and how much what it establishes is different from a theoretical "default" scene. Typically, you think about how much an offer is establishing in terms of the questions words: who are the characters, what are they doing, where are they, etc. An offer that establishes "two characters who are old friends since high school meeting up at a coffee shop to catch up" is establishing a lot, but it's still a weak offer because it's such a typical scene. You're not adding much that can't just be taken for granted.

When I say a good offer should be elegant, I mean that it should be as compact as possible while still doing a lot. The typical inelegant offer is verbose and unnatural. A character walks into a scene and says, "Hey, big brother Billy, I hope you're recovering from the illness you've had for the last six months, ever since our father died," or some other expository nightmare.

So, the best offers are both. They create a lot of unique, interesting details about the scene, and they do it quickly. Let's say you stagger into the scene, miming carrying something under your arm, and say, "Doctor! I've been decapitated again!" In five words, you've established who you and another character are, where you are, and why, and you've implied a lot of very unusual details about the scene, world, and your character's history.

When thinking about elegant offers, it's also worth noting that a lot of offers that you should be making are physical. Depending on the type of improv you're doing, you might be physically embodying objects and the environment, and if you're doing background like that you can add a ton of detail that the audience can pick up without friction. But even if you're not, you can establish location through miming actions, you can create details about your character through how you walk and hold your body, you can endow others with traits through how you physically react to them.

That brings us to the next do: make strong character choices and enhance other actors' characters. People have written whole books on what comprises a "strong character" but for improv purposes I'd focus on three details: quirks, status, and connections.

Quirks are fairly straightforward: what makes this character unusual? Establishing character quirks is the focus of a lot of improv games and exercises, and the best quirks are quick to establish, significantly inform the character, and are handled with enough sincerity to make the character compelling rather than only funny.

Status refers to how powerful and important a character is. High status characters will command the room, low status characters will be ignored or mistreated. Status might shift over the course of a scene. The sheriff is a high status character until the king shows up, for example. Status might seem like an obvious thing to figure out from a character's role, but it's useful to play with it. What does a low status king look like? What does an employee-boss scene look like if you decide your employee is higher status than the boss?

Connections refer to the relationships between characters. This is going to drive scenes more than most other character details, and you almost always want to avoid unconnected characters. Choosing a connection to an existing character is a very good first choice when entering a scene, as it should immediately suggest a direction for the scene to take. This is also a reason to favour unusual connections. If two actors are in a scene where they're arguing about a fender bender they've been in, you could choose to enter as one of their friends, but it'll be far more dynamic if you choose a more unusual connection. What if you're one of their anger management therapists? Their boss? Their dominatrix?

In addition to creating your own character, you should add to other actors' characters. The main way you do this is endowment, giving the character traits through your offers. Direct endowment is when you simply ascribe them a trait. If you say, "Bill, you've been mayor for the last ten years," then you're obviously giving them the trait of "mayor." But there's also indirect endowment, where you add something to a character through part of how you react to them. If you flinch when another character moves suddenly, you're endowing them with the traits of being dangerous and erratic. If you speak to them very slowly and simply, you're implying something about how intelligent your character perceives them to be.

Putting it all together, the last big thing to do is build up. There can be a temptation in improv to build out, to add new details to scenes that sort of sprawl outward from the original premise. Try to avoid that. When you add new details, make them ones that build on the existing details. Instead of adding new tensions or conflicts, raise the stakes of existing ones. Reincorporate and re-contextualize things that have already been established. Incorporate audience suggestions repeatedly, using them to colour other offers.

Don'ts:

No blocking. This is the one even people who don't know improv know. If someone adds something to the scene, go with it. Don't reject or ignore offers, incorporate and build on them.

No wimping. Whatever the scene is, whatever your character is, whatever offers are made, fully commit. Bring all your energy to it. If someone says your character is on fire, don't just stop, drop, and roll and then go back to whatever else was going on. That's wimping. Be the most on fire that you can be.

No dithering. When you're in a scene, always be adding to it or moving it forward. Saying something that just fills space, at best makes a joke, and doesn't add to the scene is bad form, it doesn't give other actors anything new to work with. If you're dithering, you're forcing other actors to pick up the slack. This is called "gagging" if you're being funny by not adding to the scene, and is a great way to be popular with the audience and have everyone else hate you, don't be that person.

Don't make yourself look good at the expense of your scene partners. It's okay to get laughs at the expense of other characters, but not at the expense of other actors. Help others get into the scene, develop their characters, and give them things to respond to, add onto their offers.

Related to the above, don't steal the spotlight. If there's a scene going on that you're not the focus of, you should be trying to figure out how to enhance what's going on. Everyone can tell when an actor can't bear to be in a supporting role, and it's not a cute look.

More than anything, don't betray the trust of other performers. All theatre requires trust, but improv requires so much trust. If you lose that trust, you're done, you've got nothing.

[featherquillpen]

Gained in Translation

I speak four languages (at varying degrees of fluency) and do translation both for smooth and peaceable family reunions and for fun, with works of literature I enjoy. It's practically a truism at this point that meaning gets lost in translation; in fact, I'm currently reading an excellent book, Babel by R.F. Kuang, in which there is magic powered by the meaning lost in translation. But a topic I hardly ever hear anyone discuss is how meaning can be gained in translation.

Example 1: References

A type of meaning that can be gained in translation is that when you translate from language A to B, you can make references to other texts in language B that the person who wrote the original in language A wouldn't have been aware of. Here is an example from a translation I did of a Pablo Neruda poem:

Yo te recordaba con el alma apretada

de esa tristeza que tú me conoces.

I remembered you with my soul gripped

by the tragic ordeal of being known by you.

These lines in Spanish reminded me a lot of the meme based on the viral New York Times article about how you need to submit to the mortifying ordeal of being known in order to reap the rewards of being loved. So I decided to make a subtle reference to that quote in the way I phrased the English translation. This meaning, of course, doesn't exist in the original Spanish; I added it in.

Example 2: Meaningful Distinctions

Meaning is often gained in translation because the target language makes a distinction that the source language does not. The translator has to choose one side of that distinction, and so meaning is gained.

Here is an example from the Spanish localization of the Japanese RPG Fire Emblem: Three Houses. There are two unlockable scenes in which the character Hubert is given a gift as a romantic gesture. Now, I don't speak Japanese, but through reading the analyses and translations done by Japanese speakers, and by checking for consistency in the kanji, I can see that the same word for "gift" seems to be used throughout these scenes. However, in Spanish, there are multiple words for "gift" with rather different connotations, which becomes relevant in the localization.

In Spanish, there is no generic word for "gift" that applies in every situation. There is a distinction made between gifts that are personal, between people who care about each other, and gifts between people who are not close, such as charitable gifts and formal gifts given to a diplomat. The translators of the game had to choose which of these words to use in the Spanish, and they used the distinction to add some very interesting meaning to these romantic scenes.

In each scene, what happens is that Hubert notices the person has a gift and comments on it, thinking it's for somebody else. In these lines, in Spanish, Hubert uses the personal intimate word for gift. Then, when he finds out the gift is for him, and reacts very awkwardly, he switches to a formal word for gift, creating an emotional distance between himself and the romantic token. This is excellent characterization and adds a layer of meaning in translation.

Example 3: Meaningful Ambiguity

Sometimes, the opposite phenomenon occurs, where the target language does not make a distinction that the source language does, and that ambiguity or vagueness adds something to the translation.

I have a Finnish friend who has told me that fiction that plays with gender is often more meaningful for him in Finnish translation than in the source language, because Finnish does not have gendered third person pronouns. Where books like The Left Hand of Darkness or Ancillary Justice have to make a conscious decision about which gendered pronoun to use for characters that fall outside the Western gender binary (The Left Hand of Darkness uses "he" and Ancillary Justice uses "she"), the Finnish translations can just use the default neutral pronoun they use for everyone, and never have to resolve that ambiguity in any direction. My friend has told me that there are some books about non-gender-normative characters that he wishes he'd read in Finnish instead of English because the experience would have felt more authentic in some ways.

What It Means

The reason why I bring all of this up is that the concept of meaning lost in translation is tied to the idea of translation as an act of violence. Indeed, there is a saying in Italian, "Traduttore, traditore," which means "Translator, traitor." I agree that translation can definitely be an act of violence that destroys the intended meaning of a text and warps it to suit the needs of the speakers of the target language. But when we focus only on what is lost in translation, at the expense of what is gained in translation, then we deny that translation can be an act of liberation and power.

I was raised in a bicultural household speaking both English and Spanish, and when I translate between these languages, it makes me feel empowered and proud of my heritage. It feels insulting to me to claim that when I translate, I can only ever deplete the meaning. That is not true. Every translation requires a translator, and we are more than thieves and traitors. We are more, even, than archivists, trying to minimize loss and decay as much as possible. We are creatives and inventors who can add something beautiful and meaningful to the text via our translations.

[kindestegg]

"Maybe if I ask her real nice, I won't have to turn her into a puppet!"

So... this line has been puzzling me for a WHILE because it feels like it goes against the idea Collector's go-to default is to just puppet-ify everything.

UNTIL someone in a server I was a part of pointed out that hey, doesn't it seem like Collector is also actively trying to nudge King to play something else? That they're tired of this game?

And I thought about the capture the flag game suggestion.

"What if we switch it up? We could play capture the flag! Us versus... everyone on the Isles!"

Okay, aside from the obvious commentary that Collector sees himself and King against the world (which is. another thing. I need to write up on *biting down on my arm*), it's interesting this implies the people would probably not be puppets anymore, since you'd probably need people who are conscious to actively play in the game, and the whole "people breathing on the moon" discussion doesn't seem like it would happen if they were considering the people as puppets.

It's also worth noting that Collector turning Lilith and Hooty into puppets happens immediately after King tells him The Owl House Game is like playing pretend...

And also, after Collector asks King what role he gets to play, and King presumably tells him, he uh, does this...

Which I'm guessing means he was pretty happy to hear he's going to be the main character. And then immediately after...

... Do you think there's a possibility Collector's go-to isn't in fact to just capture people as puppets, but interpreted this immediately from King's talk of the Owl House Game?

He also lashes out at King for criticizing him over turning Terra into a puppet, claiming he's just "playing pretend".

And considering how, from King's talk with Eda and Lilith, he's only losing his fear of making Collector mad NOW...

It's possible most of this was born out of a misunderstanding. Collector interpreted the game as having "lots of players" as puppets, the whole Isles as King put it, and King was too scared to tell him that wasn't it. No wonder Collector lashes out when told not to do so, to him it makes no sense because this is how the game is played in his view.

If he's getting tired of this game though, it also explains why he suggested not turning Eda into a puppet first, why he wanted to play something that would keep people free from such a spell, and even why he seemed slightly disappointed that he ended up turning Terra into a puppet too by the end, which is another sentient playmate lost, even if she made him angry.

So... if all of this could have been avoided if King had told Collector that this game shouldn't entail turning people into puppets, I think I have a hunch of the narrative purpose of all this.

It's telling the truth. King has to tell the truth. That there was no Owl House game, that he made it all up, that he was a scared kid desperate to save the people he loved and the Isles and that yes, he did use Collector.

King wasn't in the wrong for lying of course, because it was this or losing everything he loves. But things have been regardless severely more complicated because of this lie.

And I suspect he knows this, as he says he wants to talk to Collector to solve things. Maybe this talking is him telling the truth after all. He does say this directly after communicating that he's losing his fear of making Collector mad. Maybe he's finally gotten courage to confess the truth.

It's also worth noting again that Collector... doesn't care that King is lying about some things? He barely reacts with anger or shock at him talking to Eda and Lilith and seeing that they're keeping this as secret from him, he only cares when it sounds like King might want to hurt him.

It sounds silly when you put it this way, but the biggest obstacle keeping their relationship from fully realizing and them resolving things is just a misunderstanding. King wrongfully believing Collector might hurt him and Collector wrongfully believing King is happy playing pretend with him.

Once they actually talk this out, they can finally resolve things.

... the only problem is that I think if King approaches Collector saying he wants to tell him something now...

Collector might just think it has to do with King getting rid of him, and things might turn for the worst.

[popatochisssp]

If u haven’t answer this already

How do your boys react to strangers in general?

Externally, as in how they act around someone new?

Friendly: Sans (Undertale), Papyrus (Undertale), Sky (Underswap Sans), Jasper (Underfell Sans), Mal (Swapfell Sans), Papy (Horrortale Papyrus), Yrus (Undergloom Papyrus), Merc (Horrorswap Sans), Pitch (Horrorswapfell Sans), Sunny (Gastertale Sans), Aster (Gastertale Papyrus), PapAIrus (Transcendtale Papyrus), Xanth (Ascendswap Sans), Piper (Ascendswap Papyrus), Carmine (Underfell Fruition Sans), Hunter (Swapfell Fruition Papyrus), Bram (Descendtale Papyrus)

Wary: Paps (Underswap Papyrus), Pyre (Underfell Papyrus), Rus (Swapfell Papyrus), Slate (Horrortale Sans), Brick (Horrorfell Sans), Ell (Horrorswap Papyrus), Nemo (Horrorswapfell Papyrus), Vi (Swapfell Fruition Sans), Kohl (Descendtale  Sans)

Neutral: Ash (Undergloom Sans), King (Horrorfell Papyrus), Spectr (Transcendtale Sans), Tank (Underfell Fruition Papyrus)

As for some of the internal…

Sans (Undertale): He’s a friendly guy, definitely not wearing his heart on his sleeve or getting super deep with anybody right away (…or possibly ever…), but he likes getting to know people and figuring out what they’re all about, and that does involve some amount of being approachable.

Papyrus (Undertale): He’s often been a little lacking in the friends department, so he always puts his best foot forward with new people—that way, they know from the jump they’ve just met a fun, cool guy who’s prime friend-material, and whatever they decide after that, they at least have the facts!

Sky (Underswap Sans): Perhaps surprisingly he’s not inclined to be open or intimate with people right from the start, but he fully believes in getting back what you put out into the universe, so of course he’s friendly and polite with everyone as a matter of course, unless given a reason otherwise.

Paps (Underswap Papyrus): He doesn’t have a whole lot of ingrained, well-developed social skills, and he’s had some not-so-great experiences with friendship in the past, so while he’s never rude if he can help it, he does hold himself back a fair bit and instinctively ducks the attention of new people…

Jasper (Underfell Sans): He’s a pretty social guy and prefers not to have enemies if he can help it, so he’s the ‘funny guy, seems decent, nothing to worry about’ wherever possible, rarely vulnerable or openly real with people, especially strangers—but is that really so egregious?

Pyre (Underfell Papyrus): He’s vigilant to potential threats, he’s been burned (or rather scarred) one too many times trusting people just because they seem harmless or nice, so while he won’t be cruel to someone new without cause, neither will he be all that open to them until they’ve earned it.

Mal (Swapfell Sans): He trusts basically no one and expects everyone he meets may someday stab him in the back if it might benefit them—but one of the best ways he’s found to combat that is by being charming and friendly and helpful, so that people at least think twice about it first.

Rus (Swapfell Papyrus): People are terrifying, he has no idea how to talk to them and usually ends up putting his foot in his mouth…especially when he’s nervous, which is most of the time he’s in a social situation—and that’s presuming they’re even nice people, which is not always the case in his experience, so…yeah…

Slate (Horrortale Sans): He never entirely knows what reaction he’s gonna get, with his size and how he looks, so he tends to hedge his bets around new people, steer a little clear and leave room to be avoided if it’s the more comfortable option…better for preventing explicitly negative reactions that aren’t great for his self-esteem.

Papy (Horrortale Papyrus): Kill them with kindness, he always says…except he doesn’t ever say that, but it’s a good saying, he should say it more because everyone deserves to be treated with kindness and respect as the default—or at least the benefit of the doubt until they prove otherwise!

Ash (Undergloom Sans): He’s a bit of a social lurker, likes to be around groups but he’s pretty quiet so he reads as shy or a loner to new people. It just takes him a bit to get comfortable chatting and quipping since he likes to pick his moments, and that's less about the stranger(s) and more just about how he rolls.

Yrus (Undergloom Papyrus): He loves to meet new people and always does his best to make a good first impression, very friendly and full of offers to be a helping hand right from the start. While he won’t bend over backwards for a relative stranger, he will go pretty far out of his way in the name of good will��to say nothing of how he is once he actually gets to know someone!

Brick (Horrorfell Sans): It’s less that he doesn’t want to socialize than it is him not trusting himself to, certain things set him off and it’s not a pretty scene when that happens, so until he knows what kind of people he’s dealing with, it’s generally better that he keep a little distance—at least initially.

King (Horrorfell Papyrus): He’s largely uninterested in other people and explicitly not looking for any friends, so the attitude he has approaching those kinds of interactions is usually curt and aloof—in most cases, he has nothing to fear and nothing he’s interested in gaining, so basic acknowledgment is most of what he gives.

Merc (Horrorswap Sans): He’s a little less approachable-looking than he used to be, but still definitely wants to talk to people and make some friends, so he puts a little extra effort in to be kind and express interest. His general aim is to cast a wide net and see if he can't catch somebody longer term.

Ell (Horrorswap Papyrus): He’s selective about the kinds of people he wants around him, not inclined to go out of his way to be a dick to strangers, but he’s not really putting his best foot forward with everybody—and frankly, he’s got limited ‘don’t say something thoughtless and/or rude’ energy, he just can’t be spending it all on randos…

Pitch (Horrorswapfell Sans): He’s using his charm for evil for personal reasons these days, he likes making connections and having a good time, and being friendly and gregarious (even with strangers) is a great way to facilitate that—which isn’t to say he really trusts any of those people, or wants them around a lot, but why make enemies unless it’s fun?

Nemo (Horrorswapfell Papyrus): He’s got trust issues, it’s nothing personal, just hard for him to figure out how safe any given stranger is…and from there, to convince himself of it, because logic says one thing and anxiety says another and who really knows which one is right. He’s not rude, but definitely quiet and standoffish, slow to engage.

Sunny (Gastertale Sans): Strangers won’t be strangers for long, he has a habit of making friends out of people most anywhere he goes. He can come back from even the most random places with a new bud to introduce—it could almost be terrifying if it wasn’t just kinda bizarre, but he loves people! That's all it is!

Aster (Gastertale Papyrus): He’s very charming and sociable, always interested in meeting someone new and making a connection, hearing all about their lives and interests… A lot of it is, admittedly, very calculated as he actively chameleons to try and get a good grade in Normal Person, but it’s still genuine in intention if not something he naturally comes by.

Spectr (Transcendtale Sans): He’s not really looking to make friends, but he doesn’t have an especially strong aversion to people either. He kind of just accepts it as an inevitability that he’ll encounter them, do the bare minimum of whatever social contract the situation requires, and then be on his way. Not much else to it.

PapAIrus (Transcendtale Papyrus): He loves meeting people and being social and showing off, receiving the praise and adulation of the masses on occasion, but he rarely makes any kind of effort to cultivate or even leave room for anything further. He’s fun and kind to most everyone, just not often interested in investing any more than surface-level.

Xanth (Ascendswap Sans): He’ll happily talk to and try to befriend strangers all day long, he sees something beautiful and interesting in everyone—and that can get him into trouble sometimes with people who are put off by his enthusiastic interest, or with those who catch on that he’s a huge people-pleaser and would give the shirt off his back if asked, but…it’s just how he is.

Piper (Ascendswap Papyrus): He’s a self-made Prince Charming down to his marrow, he’s great with new people and loves to chat and charm and network wherever possible. …He does hold a lot back and keep his guard up, only really getting comfortable with people after a long while, but that doesn’t stop him from being warm and polite in the meantime.

Carmine (Underfell Fruition Sans): Strangers are just buddies he hasn’t met yet, he’s been locked up in solitary so long that any opportunity to run his mouth is more than welcome—though occasionally, he will get a gut feeling about somebody, usually if they’re real bad news, and he doesn’t listen to a lot of things, but hey, his gut’s never wrong.

Tank (Underfell Fruition Papyrus): Meeting people and socializing with them was decidedly not part of his training, but while he doesn’t have a lot of familiarity or skill built up for it, neither is it especially distressing to him. He may be spoken to, he will respond as necessary, and otherwise…? Just monitor the situation and act if appropriate.

Vi (Swapfell Fruition Sans): Not very fond of people in general but especially not strangers, he doesn’t like to be the subject of any special notice, so around new people he tends avoid being central to any conversation and does his best to just blend into the background…or to escape entirely, if that’s feasible…

Hunter (Swapfell Fruition Papyrus): He’s good with strangers, anything and anyone new is cool and he likes scoping ‘em out, seeing if they might be fun. At least early on, any investment on his part is selfish and generally centered around what he might be able to get out of it, but that doesn’t make him seem any less mischievously fun to the people he charms.

Kohl (Descendtale Sans): He does not like strangers at all, no matter how friendly and harmless they may seem to be. He mostly keeps his distance but tries to stay aware of what anybody he doesn’t know is doing, sizing them up and—if their character allows for it—gradually becoming accustomed to them until he’s willing to count them as something other than threat/nuisance/inconvenience.

Bram (Descendtale Papyrus): If he ever learned the phrase ‘stranger danger,’ he’s willfully forgotten it, everyone is a friend unless they prove otherwise and he will engage them as such! He definitely has a tendency to come on a little strong, which can sometimes be off-putting, but he’s immediately ready to go above and beyond for anyone willing to match his energy.

[elismor]

I see a lot of posts going by about comments and kudos and hits and...well... I've been thinking about the three quite a lot lately--as both a fic author and someone who spends a lot of my professional life looking at web metrics and determining which are actually important/accurate measures of user engagement.

Mileage varies, of course. And this is all just MY opinion, so do feel free to ignore it wholesale.

What I think when I see someone say that sorting by a hits to to kudos ratio is a good way to find "good" fic:

Hits are a measure of quantity (how many times your story or art has been viewed), but without knowing how AO3 defines a hit, it's actually kind of a meaningless number.  We know that our own views of our work do not count toward hits, but...if my BFF looks at my story 7 times in one day because she keeps trying to read it but getting interrupted...is that one hit, or seven? And if it's seven, then the numbers are artificially inflated because it's really just Bestie trying to get her Codex fix. And...if Bestie looks at it three times today and four tomorrow...is that 7 hits total, or two? 

Some transparency on the part of AO3 could clear this up handily, but until we get that...shrug. All it is is a number that may or may not be an accurate reflection of how many actual people looked at the page your fic is on.  Did they READ it? Or did they nope out?  No way to know.

Kudos are intended to be slightly more qualitative, but there is no way of knowing why the reader gave them. (Similar to likes here on tumblr.) It might be that they loved the piece. It might be a simple acknowledgement that the reader was there. It might even be a pity kudo. We have no way of knowing. It's, again, just a number.

Obviously, everyone is free to interpret both hits and kudos as positive reaction/interaction. I might do that myself if I didn't spend my workdays explaining to people that 50,000 "hits" to the website could be 50K people who came to learn about us or...simply the result of the computer labs on campus having the university homepage set to default.

Bigger numbers are just that....bigger numbers.

Comments are the only objective way to judge how someone is reacting to your fic or art.

So, what then? Sort by number of comments?

You can do that, sure. (I think. I confess I have never once gotten the AO3 search to work as well as people rave about.) But do keep in mind that many authors answer their comments. So, something with, say, 20 comments may be 20 people telling the author they loved it. Or it might be ten people and ten author-replies. OR, it might be three people having a conversation in the comments. You have to look and see.  

Bigger numbers are just bigger numbers.

Okay, fine Elis. What am I supposed to do then?

Look, I'm not your mother or your therapist and you are free to assign whatever meanings you like to these things. I, personally, find "good" fic through a combination of things including: recs, the fandom grapevine, dumb luck, events, and just...reading some of it and not feeling guilty if I nope out for some reason.

This all sounds a little depressing when laid out like this, huh? Especially when you take into account the downward trends in interacting and the rise of folks treating fic and art as content to be consumed. 

Here's what I have learned from writing fic for 30 years (well, 28 and counting):

As an author (and an artist, I would presume), you have absolutely no way of predicting which of your work will land and take hold and which will not. It's alchemy and luck and the weird (and not actual) algorithm of fandom. Sometimes, the piece you whipped out in 30 minutes and posted on the fly will land in the right person's inbox and they will share it and their friends will share it and it will get big.  Sometimes, the piece you slaved over for weeks and weeks will do that...sometimes it won't.  Sometimes your genius manifests and resonates, sometimes it does not.

My personal favorite fic of my own--the one I think is probably the best thing I have done in SW fandom-- has like 8 kudos and 4 comments (2 of which are my responses). Is it disappointing? Yes. Is it an indication that the fic is objectively "bad"? No.

The mercenary in me suggests that if you want to get lots of comments and kudos, you should pick the pairing that is THE pairing in the fandom and write for that--because that's where the eyeballs are, because that's where the connections are.  But that is not why I write, so it's just that--a very mercenary way of looking at things. Not that there is anything WRONG with doing it that way. Supply and demand run the world. If the people want Codywan and you want the people....give them Codywan. No shame in that.

And there is no shame in wanting or seeking validation for your work, either.

But it breaks my heart to see authors (and artists) give up on themselves when they do not receive piles of kudos and comments. It's not you. It's...the luck of the draw. It's...fandom. It's...an artificial and murky set of measurements that have almost no basis in anything meaningful.

Keep writing. Keep drawing. Keep sharing. You are what you make, not how people respond to it.

[wannaeatramyeon]

hello good afternoon, english is not my first language so sorry for the mistakes😔❤️

I would like to request a hc from the htf guys, How would they react to a very flirtatious reader?

I mean- imagine them bending down to tie their shoelaces and suddenly the reader points at them or tells them that they have a nice butt JUST IMAGINE IT BRO😭

Anon! AND EVERYONE. Please stop apologising for your English. I am a native english speaker, and mine is dogshit. You should also listen to me irl, my vocab is infinitely worse.

HTF Boys responding to "NICE BUTT!"

Taehoon: Oh yeah? Pervert. Why don't you come closer.

This will end in one of three ways

Ignoring you. What? You think you're the first person that has ogled his butt? He knows he has a nice body. Dream on, dipshit.

A harsh kick to the face. Why? Why not. Because you deserve it for being a perv and Taehoon is in one of his moods.

Headlock and a rough kiss, with his hands wandering to pinch your butt.

Wangguk: [blushing]

Not one for being in front of the camera and has a reserved and standoffish nature.

All in all, not used to people simping over him or complimenting him outright.

Doesn't really know what to say, but will take it to heart.

Every time he bends over in front of you (which happens more often that you think for some reason), he will blush and think of your compliment.

It's also sort of hard to miss given that whenever he even thrusts his ass out slightly, you are staring so hard, you're boring holes into it (boring more assholes, if you will).

Munseong: [brain breaks] Th-thanks. I squat 300lbs. I do lower body 3 times a week.

Much like Wangguk, he doesn't really know what to say.

Although he is used to people admiring him from his time in the spotlight with UFC matches.

You telling him he has a nice butt breaks his brain. Breaks it so hard he can't really comprehend what you're saying. He can't even blush.

Defaults to talking about fitness. "Thanks bro, I rep 300lbs. Whats your max?"

Well no, he doesn't call you bro or tell you his max but will ramble a little about his workout routine and then he just...

Trails off and stares at you with soft eyes.

Yeonwoo: *also blushing* thanks Y/N. I squat 350lbs and do hill sprints for fun 🤓

Definitely knows you're flirting with him.

He gets a lot of attention in school and from his old Study channel. Knows the vibe you're putting out.

His first love though is Kyokushin Karate and he WILL use it as an excuse to tell you about his routine.

So passionate about it, eyes sparkling and vibrating with excitement that you can't bring yourself to shut him up.

Better yet. You think he has a nice butt? "Would you like to join me on my hill sprints?"

Hobin: T-thanks! I've been upping my training.

[Internally] SENPAI NOTICED ME!

Jinho: Thank you.

What did you honestly expect from this psychopath?

Gratitude? Blushing? Stammering? Absolutely not. He stays aloof and cool.

You're lucky he didn't just ignore you and remembered his manners.

Seongjun: [does a little booty shake]

Idk man

I'm not even sure he would do that but imagine him with his partner being all goofy.

If you compliment his ass, he would do something silly to make you laugh.

OOC, but isn't the visual too cute to pass up?

Snapper: sorry, you talking to me?

Huh?? Someone is paying Snapper attention? The camera guy?

Freezes when you nod and tell him: "YES. YOU, JIHYEOK. YOU HAVE A NICE BUTT."

Poor guy, so confused. Tilts his head like a lil puppy, unable to understand the words.

(Completely rizzless so no-one has told him that at all.)

Replays it over and over in his head until it hits him that "Oh shit, does Y/N like me?"

Still not sure and thinks it's a mistake until he bends over again and you shout the same thing.

Mangi: Thank you! [blushing furiously] Y-your butt is nice too!🥺

Duh? Of course Mangi has a cute butt. He's adorable and cute all over.

Will return your compliment even if he doesn't think you have a nice butt too because that's just Mangi.

Besides, have you seen Ssireum wrestlers? Built like a TANK. Mangi has got CAKE.

Haesu: ?

"Wake me up when there's food."

[goes back to napping]

[yukidragon]

I love to hear more of your headcanons on Bo in Mafia AU! Also what would happen if Bo's puppy doesn't want to be his in that AU?

It's been a while since I touched on the Mafia AU hasn't it? And that was before I created my version of Bo's puppy, Barbie too. This ask does make me wonder how their interaction might go in this AU.

In the main universe, Barbie's attraction towards Bo, at least at the start, was pretty shallow, all things considered. He was more like a fun adult toy that she grew fond of until eventually that fondness grew into genuine love. It's hard to blame her though, since he quite literally is a toy. She pretty much treated him like many people treat AI bots - a fun diversion, but nothing to take seriously. It was only when he forced her to realize that his feelings are just as real as hers that she truly saw him as a person.

Barbie is a self-proclaimed misanthrope. She's not fond of humanity in general. She can't stand noisy places or being in crowds. It takes a while for her to warm up to people, which leaves her with few people she cares about outside of her immediate family. It's also why she's very fierce if someone hurts her family. Fictional relationships were the closest thing she was interested in when it came to romantic or sexual pursuits.

In the Mafia AU, Bo is an actual human being, even if he's got some pretty distinct canine features. More than that, he's a wise guy working for a mafia boss (Jack); not really someone who is safe for normal people to get involved with. Add in Barbie's default mistrust of people, and Bo in this universe is going to have a steep uphill battle to overcome in order to win his puppy's heart.

Since I've started fleshing out the King family more, it would be good to reexamine their roles in this Aphrodesia-influenced AU, don't you think? It'll be especially interesting to consider how they'll react to Alice being kidnapped by a human trafficking ring, and the scars that incident left behind on her when she finally sees them again.

Content warnings: this post will contain mentions of violence, torture, human trafficking, SA, drugs, and sex. Overall I'll try to keep any uncomfortable descriptions to a minimum, and ramp up the spice where I can. Remember, Something's Wrong with Sunny Day Jack, DachaBo, and Aphrodesia are all stories for Adults Only. NSFW elements will be touched on!

Traffic Stop

The broad strokes of the AU are basically the same as from the first post. Alice and her family originally lived a normal, happy life, far and away from the crime-invested city of St. Valen's. She and Ian grew up as childhood friends. Things seemed to be going down the same route it did in the regular universe, with puppy love developing between them that might turn into something more.

The divergence happened when they were both still in high school. There was a person going around their school, looking for acting talent. It was somewhat shady. Alice wasn't sure about going, but Ian wanted, no, needed to seize the opportunity to achieve his dream. The talent scout remarked that he had a nice face, both of them did. They would go far. They just had to audition.

It was flattery that Ian couldn't resist.

Of course Ian's mom wasn't going to let him do such a thing, so they had to sneak out. Ian didn't want to risk his mom finding out from her parents, so he convinced Alice to lie to her parents that they'd be out with friends.

As you might suspect already, this audition was a trap sprung by human traffickers. They pick young and vulnerable people who look like they can't fight back, lure them someplace isolated, nab them, and ship them off someplace to be sold for, well, less than savory purposes. While initially both of them were caught in the trap, Alice managed to help Ian escape.

Ian's greatest regret was that he ran away, that he didn't stay to rescue Alice like she did him. Even though she told him to run, to get help, Ian still felt like a coward. It was made worse when by the time he returned with authorities, the traffickers were already gone.

Needless to say, this incident still haunts Ian to the present day, crushing him under the weight of his guilt.

This incident replaces the cheating Ian does in the main universe, and Alice being trafficked replaces the SA incident she went through. While Alice mercifully didn't get SA'd during the trafficking, she was a victim of a "red room" after being taken and sold in St. Valen's. A "red room," for those unaware, is a type of livestream on the dark web, where innocent victims are tortured according to an audience's bids.

I won't go into detail about all the horrors Alice experienced, since the scars speak for themselves. Fortunately, she managed to be clever and lucky enough to escape. Luckier still, she managed to stumble into a member of the Sunny Family, and said family just happened to have a vendetta against the gang that was behind the trafficking.

St. Valens is full of people who showed up out of nowhere, and others who don't ask or care where they came from. There's plenty of corruption, people looking the other way, and shady deals going on. The Sunny Family might be relatively better than most crime families, but at the end of the day, they're pretty shady. They helped her out by rescuing her, even paying her hospital bills and taking her under their wing, so now she owed them.

Alice could contact her family, have them pay back her hefty debt... or she, now an 18 year old adult, could do some favors for the family. Her medical bills were insane - St. Valen's isn't exactly kind to the less fortunate when it comes to medical care - it would bankrupt her family.

It was a classic hustle, presenting a vulnerable person like Alice with potentially devastating consequences, or an out by someone who is wearing a kind and smiling face. I'm inclined to have that representative of kindness from the family be Mama Shine, who was so kind and empathetic, just wanting to help Alice after she went through so much. Working for them wouldn't be that big a deal, especially since they were the ones who rescued her and all the other trafficking victims...

That's the classic Sunny Family con. They smile, act kind, extend their gloved hands to help, offering salvation to poor souls down on their luck. They are then indebted to the family. They need the family. Alice needed a prescription of drugs that they could give to her regularly for all her pain, far cheaper than the healthcare system would.

Shine had taken an interest in Alice, helping her while she was rehabilitated in the hospital. She could've been the one who Alice ran into that night when bloody and desperate for help. Shine is so caring, just like Alice's mother, having that same warm motherly aura. So trustworthy and kind...

It was a far less violent trap that ensnared Alice a second time into this world of crime, but this time she didn't realize the cage was around her, or that she couldn't leave it, until she was in far, far too deep. Her vulnerability was exploited, and she signed a contract that she shouldn't.

The King family were so relieved when Alice finally contacted them... but confused when she told them she couldn't go home. She was receiving medical treatment and needed to stay in the city, and she had debts to pay...

Naturally, her family isn't going to take this without a fight. The King family immediately took a road trip to St. Valen's to see Alice at the hospital.

Lycoris is a fierce mama bear, and she was enraged when Alice was kidnapped, doing everything in her power to find her baby. So despite Shine acting kind and friendly, she was ready to throw down from the word go. Lycoris is a small lady, but she can be very scary, though, sadly, not as scary as an entire crime family.

None of the King family were happy with what had happened to Alice, the debt she had to repay, or that she had already signed a deceptively scary contract. However, the Sunny Family is the most dangerous crime family in the city for a reason, and the King family were in over their heads.

Not that the King family knew they were facing a crime family. The Sunny Family has a reputation to uphold after all. They're a family-run business. Many details were left out or unspoken, all to hide what was really going on behind their squeaky clean image.

The King family did involve the legal system, but that was a failure. The Sunny Family owns the police in St. Valen's. The police just informed them that everything was legal, Alice is an adult who can make her own choices, and there's no better family to work for than the Sunny Family. Plus, Alice was going to need the drug they provided for the rest of her life, so wasn't this a sweet deal anyway? They should just feel grateful that she was rescued. Not a lot of trafficked teens are...

In the end, the King family was powerless, and Alice became a member of the Sunny Family with a debt that seemed never ending.

Barbie vs the World

Needless to say, Barbie was pretty much spitting nails about the whole thing. Even if the Sunny Family was putting on a smiling face and rescued her older sister, so generously providing Alice with needed medical treatment for the foreseeable future, she raged against the entire situation. Unfortunately, being a teen younger than 18 at the time, she was left with a feeling helpless and frustrated. She raged at her parents for "giving up" on bringing Alice home safely even though they didn't have a choice.

Naturally, with Barbie not being the biggest fan of the Sunny Family, she's going to be wary of anyone working for them. Bo has quite the reputation in the city of St. Valens as their enforcer, so he's got quite a steep uphill climb to take if he wants to earn his puppy's love.

Barbie was already the type to play fast and loose with laws, and this entire affair killed all faith she had in the justice system. In the main universe, she's a programmer and hacker. In this universe, she focused more on the hacking aspect. She snuck behind her parents' back, doing very illegal things online to get more money to pay back the debt to the Sunny Family and free her big sister.

So, years later, while Alice gained experience in the Sunny Family as a sniper, Barbie became a skilled hacker, going by many aliases online. By her early/mid-twenties, she used a particular handle when making things difficult for the Sunny Family - Clown Killer. She became quite notorious among the Sunny Family, and a thorn in their side online.

Of course, Barbie had to prioritize not getting caught above any victory. If the Sunny Family knew that she was the one making things hard for them, it would put Alice in danger. Her primary focus with her hacking and other shady dealings online was to get money to repay the debt, but whenever they would just miss repaying the full amount, or something else tacked onto it to keep Alice in that debt, Barbie couldn't help but want to vent her frustrations as Clown Killer.

Barbie has learned quite a lot about the members of the Sunny Family, but could never quite gather enough evidence that would convict any of its bigger members. Their reputation was so squeaky clean. She especially had an axe to grind against Shine, who never once lost that "sweet and gentle" motherly aura while making it clear to her all those years ago that Alice wouldn't be coming home. She knew behind that sweet smile was a ruthless criminal, but she could never peel back that smiling mask to expose the truth.

The King parents are trying all they can to help Alice, saving up money on their side. They visit the city as often as they can to see her and offer support. If one of them could've taken her place, they would, but with Alice needing regular medical treatment from the city, and Shine taking a shine to her in particular... she was going to be stuck in the city no matter what.

Plus, there are other children in the King family who needed their parents too, Coraline especially. She also needed medical treatments... treatment that the Sunny Family offered to provide. In spite of the protests of her parents about adding to the debt, Alice wanted to help her little sister. Besides, the Sunny Family were treating her well... right?

Well, Alice insisted they did. Her family was already worried enough without knowing how how her job's "duties" slowly became a bit more involved over time, a bit more violent, and a lot more bloody.

Barbie did learn of some of the things Alice was hiding from them because of her hacking, and it infuriated her that her big sis was hiding secrets now too. Their parents told her to not worry about the debt, that it wasn't her responsibility, but fuck that! It's not Alice's responsibility either! She was the victim in all of this! The Sunny Family aren't a wholesome family running businesses, they're manipulative criminals, and Barbie is going to destroy them!

Although Barbie spends much of her time as a recluse, she does visit Alice in St. Valen's from time to time. It's how she crossed paths with a certain dog that the Sunny Family keeps on a tight leash.

The Sunny Family's Hunting Dog

As mentioned before, Bo is working for the Sunny Family as Jack's right hand man. He's an enforcer who enjoys his job. He especially enjoys the thrill of the chase, hunting down a target before brutalizing them up close and personal with his fists and fangs. Of course, he also knows how to handle a gun as well as a few other weapons. He also knows some unconventional means to torture someone if need be.

Bo has excellent hacking skills of his own, as a nod to his AI counterpart in the main universe, but he prefers to get hands on with his target whenever possible. He's aware of the hacker Clown Killer that's giving the Sunny Family some headaches, but they always evade his attempts to catch them in cyberspace, much to his frustration. They become something of a rival, his white whale that he's eager to conquer once and for all.

Not only does Bo have a lust for violence, he's also a very, very horny dog. He has slept around quite a lot, though his relationships never last. He never quite connects with anyone. He gets mistaken for only having a talent for senseless violence, the dumb muscle of the gang who is also is some good eye candy, when he's a lot smarter than his wild behavior might imply. There's a reason why he's Jack's second in command after all...

Alice intrigues Bo, simply because of how Jack is practically obsessed with her. In many ways, Jack is a rival of Bo's, being his "master" who he wants to one day be free of. Seeing Jack bend over backwards to win the heart of just some random sucker who got sweet talked into debt confuses the hell out of him. He wants to know what it is about Alice that draws Jack in... and if he can use that to his advantage.

Alice isn't a fan of Bo's constant teasing, and she hates the nickname of "squeaky toy" that he uses for her. It's in reference to how he loves to sneak up on her and startle her, causing her to squeak in surprise. Bo is really good at sneaking up on his prey, so her reaction is pretty fun.

Still, no matter how many times Bo pops in on Alice unexpectedly, he doesn't quite see what draws Jack in. Sure, she's surprisingly soft despite this hard life of crime, which is a novelty, but it's not something special. She's attractive, sure, but there's plenty just as attractive as her, if not more. He wants to dig deeper, interrogate her more, maybe even seduce her, but whenever he pushes just a little too far, Jack pulls on his metaphorical leash. Hard.

The intrigue keeps Bo coming back to ruffle Alice's feathers despite the risk. It's also why he suddenly pops up at Alice's place while Barbie is visiting one day.

Barbie is surprisingly tall compared to Alice, but Bo can see and smell the family blood between them. She's got these eyes that stand out - both of them blue and brown at the same time. She also has this cutting stare like she wants to carve open his guts. It's actually hilarious that a powderpuff from the suburbs could think she has a chance at even leaving a scratch on an alpha like him. It intrigues him enough to have a little fun teasing her as well.

Barbie shuts down Bo's flirting instantly. It trips him up a bit, as Bo knows he's a good looking guy. He's not used to being turned down in such a harsh manner, especially by someone as powerless as a puppy. He'd be offended if it wasn't so ridiculous.

When Barbie learns that Bo works with Alice, and as such is part of the Sunny Family, her dislike turns into outright hostility. She's not even hiding it either, though Alice rushes in to keep the conversation more or less civil.

After leaving the apartment, Bo decided to case the place until Barbie left. He wanted to tease her a little, scare this spoiled little pampered suburban pet before she barks at someone big and nasty who is more than ready to bite back. Despite his attempts to intimidate her, Barbie didn't even flinch, even when he made a subtle threat, just to see how she would react. Not even that shook her resolve. In fact, she warned him that if he hurt Alice, hell would feel like a sunny vacation spot compared to what she would do to Bo and the rest of the damned Sunny Family.

The threat tickled Bo instead of intimidating him, and Barbie fumed at the way he laughed her off.

It was in that exchange that Bo found himself a new toy to tease. He called Barbie puppy whenever he encountered her. She barked big, but she had no idea just how tiny and helpless she really was compared to him in his eyes. It was cute really, and he found great delight in teasing her.

However, though Bo was amused by their banter, Barbie was anything but. His teasing just made her hate him all the more.

A Hungry Dog

Over time Bo's attraction towards Barbie grows. He stops flirting with Alice, though he still teases her, mostly to learn more about Barbie and how he might win Barbie over. He feels less satisfied with the people he sleeps around with, thinking of Barbie more. He even starts imagining that it's her he's sleeping with, which kills the moment for him and leaves him feeling unfulfilled and horny.

At some point during this, Bo finds out the identity of the infamous Clown Killer. It's surprising, but so fitting that he can't help but laugh when he realizes it's none other than his puppy. My, my, such a naughty puppy too, getting up to so much mischief. It'd be a shame to let anyone else know. Then he wouldn't be able to play with her more.

It's that realization that his greatest rival is the woman who has been intriguing him that turns his attraction into downright obsession. Bo wants to conquer Barbie in every sense of the word, tame this wild puppy and make her whimper and beg for his loving touch.

Bo has obscene fantasies about the various ways he can conquer and tame Barbie. It's the more extreme side of the lines from the game, where he wants her on his leash, to be at his beck and call, ready for him whenever he wants her. (Which quickly becomes all the time, really. The man is so horny he makes Jack seem reserved.) He wants her always by his side, in his lap, hot and whining for him, begging him to take her in every one of her pretty little holes like the dirty puppy he knows that she really is. He wants to make her see that she's powerless before him and beg him to take her, to protect her. Only he can have her.

Unfortunately for Bo, Barbie isn't someone who is turned on by a self-proclaimed alpha asshole who teases her just because he's good looking and desires her. Every time he tries to proposition her or seduce her, he gets rejected, much to his increasing frustration.

It brings out Bo's yandere side more and more. He tries different schemes to win Barbie over. He would use his power and influence to impress her, make her see how much he can provide for her. He tries to show off how good looking he is, entice her to at least want his body if nothing else.

Barbie doesn't want any of it. She knows there are strings attached to anything Bo offers her. The only thing she wants is for the Sunny Family to let Alice go and never, ever bother her or the rest of their family ever again.

Sadly, that's the one thing Bo can't influence with his pull, even if he was willing to let Barbie go. Jack isn't ever going to let Alice go. Worse, he can't even pretend he's going to try and separate them, not when Alice starts dating Jack.

Barbie doesn't buy that Alice is happy with Jack. She doesn't buy Jack's super nice and generous millionaire sweetheart from a sappy romance novel schtick. After everything she's gone through to save her sister from that damn Sunny Family, there's no way Barbie is just letting Alice stay with them.

Jack is just another smiling liar, just like his mother Shine who talked Alice into signing that contract in the first place.

Bo can use this hatred for Jack though. He can try to show Barbie that he's on her side, that while he works for Jack, that doesn't mean he wants to stay a part of the Sunny Family.

In spite of Barbie's hatred, she did have encounters with Bo where he showed his softer side. St. Valen's is a dangerous place, especially for someone who has never killed before. Barbie resents being in Bo's debt even as she's grateful when he saves her life. Bo had Barbie squares away this debt with dates, which she very reluctantly accepted with the stipulation that he never touches her unless she explicitly gives him permission.

On these dates, Bo tries taking a play from Jack's book and acting more polite, more gentle with Barbie. It doesn't win her over, since she doesn't trust it, but she's not as openly hostile. Barbie also uses these dates as an attempt to sneak info on the sly that she could use against the family. It's kind of cute to Bo, that she thinks she's so slick, but she's a lot better at hiding her real motives online than she is in person. She has such a lousy poker face.

But it's cute too that she doesn't hide her real feelings. The more time Bo spends with Barbie, the more he wants her. Her scent is so appealing, so delicious. He wants to nibble on her skin, or at least get just a little lick. It's almost like she was made to drive him crazy. She's so fierce, so loyal to her family, and so in over his head. The small moments that he gets in past her walls where she softens to him, just a little, oh that makes his hope burn brighter, hotter.

Still, for every step closer he takes, something seems to pull them apart again. Usually that something is Bo and the criminal life he lives with the Sunny Family.

Puppy Love

Before Bo realizes it, he is helplessly in love, completely obsessed. It's Jack who infuriatingly points out to him that Barbie has become his weakness. Despite Bo insistence on being a lone wolf that doesn't need anybody, he is desperate to make Barbie, that grumpy barking puppy, his mate.

Which works in Jack's favor. After all, if Alice's family gets closer to his family, then she won't ever want to leave. He can also have Bo indebted to him for helping Bo win over the untamed heart of Barbie.

Barbie isn't going to make it easy for Bo, even with Jack's help. Like Alice, Barbie is on the aroace spectrum. She has to trust Bo in order to start developing real feelings for him, and it's going to take a lot of effort to get her to trust him.

Also, Barbie is the type to take charge. In the main universe, she's the one who holds Bo's leash. He might be the alpha dog, but he bows down at her feet. I imagine until she can feel secure in her dominance over Bo and trust that his love for her is stronger than his allegiance to the Sunny Family, she's not going to feel anything remotely close to attraction when it comes to him.

Still, Barbie and Bo are one of my ships, and it'd be a shame if they didn't eventually sail, even in this darker AU. It's just going to be a very slow burn.

It'll burn even slower if Bo gives in to his frustration and yandere impulses to force his puppy to stay with him. Only by rolling over and showing his soft belly will he stand a chance of seeing Barbie's softer side as well.

A bad end to their storyline would no doubt be Bo forcing Barbie to be his, through blackmail, debt, or both. Even in that situation, she wouldn't simply just submit. Trying to overpower her isn't going to win Barbie's love. Instead it'll just make her bear her fangs and fight back even more. The harder he forces her, the more desperately she fights, and the closer he pushes them both to their mutual destruction.

Of course, I'm a sucker for happy endings. So while Barbie isn't going to make it easy for Bo, I do like the idea that in spite of everything, Bo manages to slowly show her there's more to him than a blood-thirsty, horny killer. He's someone who loves deeply, is loyal, and would do anything to please her. His love for her is more real and pure than anything else he found in the city of St. Valen's, and despite all his dreams of becoming top dog, there's nothing he wants more than to be loved by his puppy.

Bo might hate to be on a leash, but he'll find it's not so bad when Barbie is the one holding onto it instead of Jack. In fact, when she's confidently in charge, she'll be a lot more inclined to reward her big bad alpha dog with some treats.

Oh, and naturally, Bo wouldn't be Bo without his breeding/seeding fetish. Once he and Barbie finally get together, he's going to want to knock her up immediately with his pups. He never gave serious thought about having kids before, but that's only because he never found someone he wanted as his mate before. He really hopes the pups his puppy gives him will have her pretty heterochromatic eyes.

I think we can wrap things up there for now. I hope you enjoyed another visit to this multi-crossover mafia AU. Let me know if you want to hear even more about this AU or any of my other story ideas and characters.

@channydraws @earthgirlaesthetic @sai-of-the-7-stars @cheriihoney @illary-kore @okamiliqueur @kurokrisps

[olderthannetfic]

Just spitballing a bit here.

Could it be that Poc on Poc, authos vs readers drama might come from the fact that the Poc readers feel like they're owed a certain story? JUST IN SOME CASES. Not always.When Poc authors advertise to Poc readers it often has a vibe of expecting that Poc readers should read your book in solidarity by default. Most of the focus lies on the story being Poc, the plot might come secondary, just so you know that the Poc aspect is front and center, and you, especially as a Poc, should support that Poc visibility.

There's a lot of that in the way of guilt tripping/it's your responsibility that a Poc author doesn't fail, and the pressure is bigger the more you and the author share that trait.

Just looking at Booktok, some advertise like: "Publishers said nobody would buy a (Poc) book. Prove them wrong." or "Support your Poc debut author, show publishers you want Poc written books." There are also some that advertise using a #Us-against-the-world rhetoric to put extra pressure on the Poc readers, moreso than white readers. It does come across as a bit of subtle blame shifting, that if the book fails, it's the fault of people not buying it, but especially if you're Poc, you're betraying your fellow Poc. Like you can't expect white people to care, but how could you, a fellow Poc, not support another Poc? Don't you want Poc authors to succeed? Especially when it's paired with certain lingo.

And then the readers feel like they're owed more in return, because you put all that pressure of them through the advertising, and you're selling them The Poc experience!! So of course when the book not only isn't what floats their boat to begin with, but now it has other things the Poc readers don't like, care for, or is otherwise one their DNW list, even in regards to Poc life, they're also going to be a lot less enthusiastic, and might be more likely to be negative about it.

I see a lot less drama in book spaces, especially Poc, where the Poc aspect is just there, and the plot is the main draw in the advertising. The advertising is cetered mainly around what the plot is, what the characters are like, and how that plays out. I'm guessing that is because people want to read something specific, and the culture is then just a nice bonus. Maybe it's also because older and experienced writers advertise more like that as well?

Like. If your fave books are murder mystery. Then you buy a psychological romance thriller because "You must support Poc authors, don't you want them to succeed?" is being washed into your algorithm, vs buying a "Here's a murder mystery AND it's by a Poc writer." from your fave bookstore, the latter is probably going to be altogether better experience than the former. Maybe you might even be annoyed enough to give a bad review because you're unhappy the book didn't fit your tastes to begin with, and then it maybe didn't deliver what you expected a Poc book to deliver in terms of Poc life either.

Conclusion: Don't make authors advertise their own books. And try not to advertise based on an expectation of solidarity, instead of really pushing the actual body of the story, maybe mention on the side it's also Poc written as a #bonus♥

--

Sure, but a lot of it is probably simpler than this: things hit closer to home, so people have higher standards and react more.

[kobbers]

Hey there! Since you are a Leo fan I wanted to ask. What’s your opinion on Raph? I mean in general but I will say for 12 07 and 03 since those ass my favs.

In general? I love Raph. His archetypal role tends to be one of my least favorites in ensemble casts: impulsive, moody bad boys tend to get on my nerves. I simply don't find their angst and lack of self control Cool or Relatable, no matter how tragic their past is to justify their antisocial behavior.

Raph's frustration, however, comes from a place I can easily sympathize with - his family is on their own and in constant danger. You often get the feeling that he'd like to be part of society in some way, but he can't and that's stifling! The result is a core drive to protect the small circle of family and friends he does have, no matter the cost.

Though the human world is too dangerous to interact with openly, Raph still sees humans as fellow People, and will readily intervene on their behalf. He leaps boldly into action in part because he worries that indecision and delay will give the enemy more time to cause harm (of course, he also finds combat fun and fulfilling, which may occasionally get him into trouble). He may grumble and complain, but at his core Raph is a helper.

My favorite versions of Raph are the ones where he and Leo are almost too similar underneath their wildly different demeanors. Their conflicts usually come down to how they want to approach their goal, not on which goal to approach.

In fact, there's an argument to be made that in D&D terms, my ideal Raph and Leo could both be cast as paladins, with Leo as Oath of Devotion (focused on honor and protecting the innocent) and Raph as Oath of Vengeance (focused on justice and punishing the wicked). Mirage Raph, on the other hand, is 100% a barbarian. So I mean, there's a range of viable interpretations, and the character can be well-written anywhere within it. It's just that the more selfish Raph is, the less I will connect with him.

2003

I thought Blue Swords Guy was the coolest turtle as a toddler, and when I started watching 2k3 as a teenager, my general preference for straightforward paragon types led me quickly back to Leo. I liked Raph the least almost instinctively, purely based on role. But the show won me over on every single brother, and I couldn't even begin to rank a least favorite anymore. Even at his worst early in the show, Raph is just struggling with impulse control rather than relishing violence or being contrary for its own sake. Sometimes he might enter a fight too early or resist retreat, but he rarely enters a fight unnecessarily. He might hide his squishier emotions, but he clearly still feels them. It lays down that core of Raph-as-protector that softens him from his more troubled, bloodthirsty Mirage counterpart. A good bean, 10/10 favorite Raph, heavily influences what I want to see from the character in general.

2007

The general vibes of this movie are similar to 2k3, which is why it sometimes surprises people that it's supposed to be in the live action film continuity as a sort of TMNT 4.

It's weird as a whole though, because Raph was the director's favorite turtle and it shows - Leo makes a poor foil because he is simply written to be wrong (I HATE his "I'm better than you" line for many reasons, heheh). But in terms of how Raph reacts to everything the story throws at him, it all rings true to character. He's my favorite character in this movie kind of by default, because Leo and Splinter are ~off~ and Mike and Don are mostly just on quip duty. But that doesn't change that Raph's still legitimately solid.

2012

Honestly can't say much about this version - I only made it a season into this show due to general annoyances I had with the writing. I remember liking Sean Astin's vocal performance, at least. And I remember digging the premise of that one episode where Raph tries to be the leader and finds that he's way more comfortable acting on plans than making them.

[thatgirl4815]

Sand & Ep11

I keep remembering this ask I got a while back, and I think it's important now more than ever.

If I was Sand, I personally would not give Boeing the time of day for what he did to me. I would be livid. I would never speak to him again.

But Sand is not me. Sand is more forgiving than is probably healthy for him. Even though it is something I hope he works on for his own benefit, it doesn't change the fact that for the moment, that is who he is. That's his flaw just as much as it his strength.

Caring for people is generally regarded as a positive trait because it is, but there's a such thing as caring too much for people who do not show that same care back to you. That is the position Sand seems to find himself in continuously. I believe Ray does care about Sand, but it took so long for that to be communicated to Sand in the way he deserves. The reason their relationship has lasted is because Sand does not demand that reassurance the way many people would, even though he might want it. Words of affirmation are not at the top of Sand's love language list.

Abandonment

I don't want to prescribe any definitive long-term childhood response to Sand from what little information we have, but given the emphasis on Sand's absent father, I think it's safe to say that Sand faces some abandonment issues. Growing up, he only ever had his mom; of course he was bound to cling to her very tightly. That is where I imagine his caring behavior has stemmed from most. Additionally, having so few people on his life that he could rely on, he learned to be a support system for others and learn not to complain for what he has.

I think Sand is in a position where he objectively understands that he is mistreated. He admits as much to both Ray and Nick. But he can’t break out of this cycle because there’s a deep-seated fear in him. A fear of being alone? A fear of being abandoned? A fear of not being good enough or “special” to anyone?

I have been wrestling with myself over the past day about Sand’s behavior in Ep11. And I’ve realized that a reason why I feel so ambivalent about it—a reason I don’t like to admit—is because it’s related to Boeing, not Ray.

Sand has received the same criticism he’s facing in Ep11 in past episodes: i.e., “He needs to know his worth and tell off Ray for what he’s doing to him.” A very similar situation has now arisen with Boeing. Sand is once again trapped in the cycle. He is nice to Boeing because even after what Boeing does to him, he cannot handle the thought of banishing him from his life for good—not when Boeing is still here and willing to engage with him. Again, we see the conflict between what he knows he should do and what he defaults to.

I empathize with Sand’s plight here, and I understand that it is difficult for him to react to Boeing and Ray. Where my frustrations arise are in the way he reacts to Ray’s reaction.

Ray is insanely passive aggressive at the end of Ep11. Sand has seen this all before; Ray lingers at the bar after being told to go home, he invites Boeing over without really wanting to invite him over, and he invites Sand to get naked in the pool with them. Each time, Boeing eggs him on by agreeing, playing up the guise of “we’re all friends here!” while simultaneously making both pointed and subtle jabs at his previous relationship with Sand (the most obvious being the “we’ve already seen every part of each other” line).

I’m of the belief that Sand is very aware of how Ray feels, especially in that ending shot when he looks between Ray and Boeing. But he does not ever confront Boeing or disengage from the situation. He’s playing into Boeing’s guise, and both he and Ray know it.

In virtually every part of Part 4, we see Sand caught in this same perpetual cycle where he lets people walk all over him. While I empathize with his struggles, as I said, there's a part of me that believes his boyfriend’s discomfort with the situation should supersede that. He committed to Ray, not Boeing, and this situation with Boeing is posing a threat to that.

This is not me saying that Sand needs to scream at Boeing and cuss him out for what he did to him. But I do think Sand needs to acknowledge much more firmly that he is Ray’s boyfriend. Sand can be nice to Boeing and offer him friendship, but he cannot allow Boeing to make advances on him and hang around with them when Boeing so clearly has other intentions. (There’s an argument that maybe Boeing does genuinely want a friendship with Sand, but after the way he talks with Sand and how he handled the TopMew situation, I don’t believe that for a second).

This isn’t easy for Sand, but when Ray is right there, he has to be more direct. Boeing was his past but Ray is his present. Much like how Sand encouraged Ray to go to rehab, I think Ray will encourage Sand to stand up for himself against Boeing.

[katherinakaina]

Being bullied for knowing another language is a real thing. Think of all the animosity people feel towards the Bachelor for saying, what, 3-4 phrases in Latin.

Storytime.

Every Russian feminist remembers how Nixelpixel was bullied and I presume is still being bullied. It really was Russian gamer gate and Nixelpixel is Russian Anita Sarkeesian. Both were tormented for being feminists, that's the base of it. But Anita was also a target of antisemitism and anti Armenian rhetoric. Nixelpixel is a skinny white Russian, very little to add on top. So she was bullied for speaking English.

She is bilingual and as many of us bilinguals do, she mixed languages in her speech in the way that I do and feels natural to me and all my friends.

The Russian Internet was not having it, not even a little bit. Unanimous consensus was that she is doing it only to appear smarter.

For English speaking people in the first world it maybe hard to comprehend. English is just the default language. But remember how conservatives react when some nonbinary teenager makes a video about cultural appropriation or any other academic topic and suddenly they all feel like they don't know certain words?! And they have to google words to understand someone's complex speech?! This is unheard of! And what right does this "beneath me in social hierarchy" have to know something that I don't?!! Outrageous!

The core of this emotion is envy. Knowing English good enough so you become legitimately bilingual is a privilege in Russia. Knowing a lot of stuff about society and understanding complex topics is a privilege. You have time and money for education. Or you got lucky and had educated parents. Envy becomes even more venomous when the person you envy is supposed to be beneath you.

Like, I don't really get it. But that's how I make sense of other people hating me all my life for being... eloquent. As if they anticipate me being hostile because they are less eloquent than me and attack me preventively.

This is made worse by me being autistic and forgetting all the time that you must make all humble song and dance around your every achievement so not to trigger neurotypical rage. I genuinely forget which words are too smart and which are fine. The idea that I'm trying to sound smarter on purpose is so laughable to me.

Returning to the Bachelor. He's a doctor, he studied at university. Do you hate him when he uses medical jargon? What's the deal with Latin then? They study Latin in med school. It is a mandatory course. For me this trait of his always meant to signify that he took his education very seriously and knows everything that he studied very well.

When people just assume that someone, a character or a person, does anything just to look smart I'm a little triggered. I know I'm not safe in that company.

And I know that all of it is incredibly whiny. Knowledge is a privilege, as I said. Dankovsky is a privileged man. I'm not blaming those who feel uncomfortable around learned people. I'm not blaming those who are not into such characters.

But Dankovsky is not gatekeeping knowledge though! He looks like a man who would nerd out about Latin to you, if you only asked. He gives his degree away for free! It's not the same as rich people hoarding wealth. He's eager to share his knowledge! But now he is a coloniser imposing his western ideas onto indigenous society.

Oh well, damned if you do, damned if you don't.

Maybe it's not envy then? Maybe they want a smart sounding person but the one who would agree with them all the time? Like, Peterson uses a lot of long words and they love him. Hm...

[radioiaci]

|| @cannibalxroses || Hello, I would like to chime in on this since it seems to be a matter of uhhh public concern now and I think it's time I said something! Putting it under a read-more because it'll be a little lengthy. Know that I want this to be as respectful as possible and that I am not upset or mad or anything about anything that's been going on! I just have some opinions and context to provide.

I have not made it a secret that I feel as though my portrayal of Alastor is veering more steadily towards MLM/gay relationships. This is just something I've discovered over the course of writing him. Now, when I initially posted about it, I made it clear that this does not mean that I wanted to outright dissolve or otherwise write off ships with female characters!

But in a similar vein to how literally every interaction with him is under the veil of his aro/ace experience, so too would every interaction be colored by the fact that he is starting to prefer men. This can lead to some VERY interesting conflict and nuance as these are all topics that I LOVE to explore via his inner monologue. And he is NOT ALWAYS going to make SMART or FAIR decisions to his partners as a result; both men and women. And I think that's a perfectly great way to explore lots of pathways for a ship. (All of his ships in general are never going to be 100% healthy. Alastor is a jealous, possessive, violent, and often emotionally DEAD individual.)

In this verse in particular, he cares about Rosie and does love her. He has explored sexual relations with her on a few occasions and he didn't dislike them (he, in fact, enjoyed them, given the context) - but I will say that outright, he is hard pressed to consider himself attracted to her as a default. This is ALSO coupled with the fact that Alastor - IN ALL of his relationships - has a very hard time getting his libido to react. It requires some specific parameters that can sometimes be a lot of work. And sexual interactions may not always be reciprocated or go as planned.

WITH THAT CONTEXT IN MIND:

Prior to the Unholy Crusade event, I was of an understanding that we could absolutely continue having he and Rosie be together and be married. I think that is an interesting plot point for him to have to cope with his sexuality (as well as the torch he still holds for Vox) in a married/committed relationship with a woman; particularly a woman who he very much cherishes still.

BUT - I know that when I get into those topics, I get VERY WORDY. I get VERY NOVELLA in my responses and that is not everyone's cup of tea. It was my understanding that, over time, some of Xixi's interest in those types of posts began to wane or she otherwise started to prefer short, sillier interactions with other characters, WHICH IS 100% OKAY AND FINE AND I HARBOR NO ILL WILL TOWARDS ANYONE INVOLVED, XIXI INCLUDED. Everyone is allowed to cater their experience in the way that makes sense to them and their character! But that is the impression I received.

However, in all honesty, when my long para replies are met with much shorter responses, I do get a little sad. And I know that not everyone gets as wordy as me, so really, it's just my bad for assuming that people WANTED to read/respond to that kind of thing in kind (I should have asked probably) but because of that, I started to draw back a bit because the effort and interest didn't quite seem to be on the same page.

So when Xixi proposed the death of Rosie and the end to the ship as a whole I was a bit taken aback, especially since we had spoken at least once after I made the initial post about Al's MLM sexuality and it seemed like it would be an okay thing to continue with. BUT I also know that Rosie's character does really like romance, affection, etc. and things that Alastor is not always fantastic at showing. So even though I was a little bit down about that being the inevitable conclusion (and it did, admittedly, make my participation in the event feel a bit moot which it was already sort of scant because I've been busy and can't always keep up with those quick timed events, as I've expressed before), I understood that it was what Xixi wanted for the character and for the ship and I do not fault her for it!

I did wish, at the time, that maybe it had been brought up to me beforehand, but I know events move quick, things can come up and happen, and I'm not gonna fault someone for that either.

Ultimately, I decided I was okay with it. I chatted with a pal and decided that with a little bit of their input I could write a nice little ending to Alastor's story in that verse so that I still felt like I had a bit of agency in how he continues on after that, even if we weren't necessarily going to play in that verse anymore. I like to have control of my characters and their eventual fates, so it made me feel better in an otherwise unfortunate situation.

But now that the plan B is being proposed, I really don't want it to seem as though I hate the ship/wanted it to end/am committed to ruining it out of spite. I think I'd just like to commit to what was proposed to me because I've already planned out how I would like to end that story and I don't want to put pressure on Xixi (or myself) to try and match up our writing styles or interest levels when it does not seem as though we're able to provide what we're each looking for in a ship between Rosie/Alastor.

All that to say that I am sort of sold on completing that story for Alastor in one way or another, but that does not mean that I hate radiorose, nor that I harbor any sore feelings towards Xixi. Nor do I have any disdain for her writing style whatsoever! I think it's great and if there is any future indication that our styles can jive together again, I'd be open to it.

But at this time, it just seems like it's better for the ship to meet a conclusion.

I HOPE THAT PROVIDES CONTEXT AND INSIGHT as to my decision making here. I really do not want it to seem as though I'm purposefully sabotaging their ship when I just sort of want to commit to what was initially proposed.

I hope that makes sense. I don't often go at length about these kinds of things, but since people were concerned, I wanted to make myself clear.

ANYWAY.