#which is a huge part of why it's so compelling!

[pynkhues]

Why did rio finger Beth 💗😩

She's inside him, he wants to be inside her too </3

[samodivaa]

Bucky with an oral fixation due to his anxiety so you let him suck your big tits (smut)

Bucky’s heart may fail him in so many horrors—both in waking, from his nerves, and in sleep, from his nightmares, because the punishment of his disordered mind is its own disorder. A disorder nobody else has. There is no cure, but he is trying to master it, he is learning to live with it—just as he has learned to live with other storms of his mind. The impossibility of love? He has you now. The past can't be annihilated, it is a part of him. Regret, denial, sadness—it leads to anxiety and his habit of always chewing on something—gum, sweets. He holds his breath, a desperate attempt to slow down his heartbeat, a desperate attempt to get away. One second. Two seconds. The moment he chews on the pencil you gifted him for that purpose, he is feeling better. No amount of him trying to explain himself is doing any good, he doesn’t even know what is going on inside of him��but your observation is the first step of the inner unfolding, of finding a solution to every problem he has. You create so much love, compassion, equanimity and joy in his mind that he doesn’t feel ashamed or judged. But seeing him biting down on that pencil—once you've seen how broken he is, it's like seeing him naked. How can you help now? “Bucky, why don't you suck on my tits instead?”

His gaze, though almost improper, is the most sensual thing he could have done at the moment, and it jolts your heart into a strange rhythm, leaving you unable to speak. There is lust and then there is love. They are related, but still very different things—you surge forward, crossing the final, tiny gap and pressing your lips to his. It is desperate and frantic, but the feel of his mouth against yours sends a bolt of electricity straight down your spine. Bucky grips your waist and lifts you off the ground with ease, dropping you softly on the luxurious white linen bed. He gets on top and the gentle, erotic pressure of his mouth on yours, the compelling pleasure of his kiss—the world stops and all the silence, but for your hearts, trying to synchronize your crashing. It is all the thrill of these kisses, of your new naughty suggestion. It is the impatience of the way he tears your shirt from your body, that really turns you on—lust getting the better of him, Bucky is a gentle lover, but not today which makes a jolt of some foreign but not unwelcome sensation pierce you. He leans down, his breath hot against your ear as he mutters out: “I already love that idea, baby”

You let out an involuntary airy moan as he grabs them in his palms, his huge hands palming your tits, kneading gently at first before he rubs his palms in circles. He rolls one nipple between his fingers, humming in satisfaction as it hardens under his touch before he begins to suck on it while massaging your other tit. He's drooling, swirling his tongue over it before biting gently the nipple and he is thankful that your head is thrown back so you don't look how desperate he is. How fucked up he is. He fully embraces the deliciousness of this sin, the calmness that it brings to his mind and all you want to drown his worries. You want him to do something totally unlike himself and it is working—but this lust is something close to anguish, because he needs to stop eventually and he doesn't want to. He leans back a bit, searching for your eyes as he struggles to breathe, focusing on his lungs, on his ability to take deep breaths, to soothe with oxygen—the vast ocean of blue that is his eyes, remarkably focused and soft at the same time. “I love it, I love how big they are” he says thickly and completely without shame. He bites down on the curve of your breast, breathing softly on top of the skin “Can’t stop,” he says, the words coming out like a caress. He says it again, over and over. A litany. As your clothed cunt contracts at the friction against his pelvis, his words, you can feel him, hips bucking slowly up into you. He latches his mouth directly on your other nipple, making you cry out as he envelops a part of your breast into his mouth, a hand coming up to play with the other one. “Bucky—enough”  Your hands go to his hair as he sucks sharply on the breast, but you can’t pull him away. You can’t help the whimpers that escape you, the long drawn out sobs that punch out of your throat whenever he bites a little harder, giving your other nipple a harsher tug as a punishment every time you try to push him back. Sucking removes any daily existence from his mind, any anxiety, grounding Bucky firmly in the moment and dragging your body with it. Until he had enough. What a beautiful madness, he never felt so relaxed.

[r-2-peepoo]

I just saw a really stupid take from a Star Wars fan (I know, absolutely unheard of! (heavy sarcasm)) so here is a reminder:

People who ship clones with Jedi are more than aware of the power dynamic. That’s a huge part of what makes them interesting. If we were to to ship Cody with basically anyone else other than Obi Wan, it probably wouldn’t work as well because Obi Wan is precisely the last person who would ever want to pressure him or cross his boundaries.

The Jedi were totally screwed over and backed into a war that goes against so much of what they stand for and on top of that, now they have an entire army of brand new humans to lead. All of those brand new humans are totally unique and just experiencing the world for the first time, even though they’re all mature adults too. It’s a totally screwed up situation which puts so much added pressure onto the Order, so we throw romantic feelings on top of that and we’re not supposed to find that absurdly compelling?

Obi Wan is literally defined by his empathy and his kindness. The reason shipping him with Cody works so well is because there is no one who represents what the Jedi are meant to be better than him. Goodness is at the core of his character. There would never be a day that he didn’t value Cody’s wellbeing over his own feelings. Not to mention that they’re both so dedicated to their beliefs and responsibilities that a relationship is never even realistically an option while the war is going on.

Codywan is about the yearning. It’s about them both knowing they have feelings for each other and not being able to do anything about it because they are fighting for something much bigger than themselves. It’s about the infamous “after the war” conversation that they never got to have. It’s about them meeting again on Tatooine years later, finally on equal footing and completely alone in the galaxy, bonded together by their grief.

That’s why people love Codywan. The suggestion of anything otherwise is just an insult to the hard work all the artists and writers have put into making some of the most incredible fanfiction and fanart and fanon lore I’ve ever seen in any fandom ever.

P.S.— the portrayal of something in a piece of media doesn’t equal the condoning or promoting of that sort of behaviour. I thought we’d long since established that. Let’s use our brains here.

[astriiformes]

Okay as promised earlier, a post about Marty McFly and gender.

The reason I find a trans reading of Marty specifically so compelling beyond some of the superficial things--like the fact that he's smaller and wears a lot of layers and generally looks the way a lot of younger trans men do--is because if you interpret him as trans, there are other parts of his character that become extremely interesting.

Because, like, Marty is a decent guy. I am not the first to comment on the fact that, when compared to a lot of other young, male 80s protagonists especially, he comes across as much kinder & more empathetic, generally a lot more earnest, and less complicit in certain kinds of toxicity. But a huge huge aspect of that is that he is generally pretty respectful of the female characters in the series. Which is pretty noteworthy considering most of the other male characters have some pretty big blips in that department -- George spies on Lorraine, Doc is dismissive of Jennifer and treats women like a mystery to be solved, Biff is, well, Biff.

--And I will say that I could write a completely separate essay on masculinity in Back to the Future in general, because the other male protagonists, at least, do end up having whole character arcs about this (George coming to Lorraine's rescue at the dance and Doc realizing that he has a lot in common with Clara are both genuinely good examples of how men who have certain flaws courtesy of the patriarchy can learn to be better!) But Marty has a totally different arc related to masculinity, that stems from something else entirely, and it's a very interesting contrast!

Marty's problem is that he's insecure about being seen as weak or cowardly, which is why he's so easily goaded into doing dangerous, stupid things just because another guy dared him to (and it's very noteworthy, I think, that it's always other guys). His character arc revolves much more around accepting that it's okay to follow his conscience in those situations, and also learning to let go of other people's perception of him.

So like. You could very easily read him (as was intended) as a young cis man who has generally been raised to stand up for and treat women well but still has some very teenager insecurities. BUT. There is so, so much going with him on if you instead look at him through the lens of transmasculinity. Suddenly what you have instead is a character who probably has personal experiences with misogyny that make him sympathetic towards the women he knows, but who has very complicated, deep-seated insecurities around being seen as "enough" of a man. It explains why being a jerk to women is not only a line he won't cross, but something he actively calls other people out for, while still being deeply entrenched in other toxic ideas about what being a man looks like -- of course a trans Marty would be insecure about being seen weak or less masculine compared to other guys! He's had to fight to be seen as a man in the past, and doesn't know when and where to draw the line!

I just think it's a reading that has so much rich, interesting stuff going on--in part because the Back to the Future movies, as I said in my other post, are actually extremely full of Gender and so Marty is caught up in that already--and I am rotating him in my mind constantly. Do you understand.

[aarchengel]

Hey 😊 would you do a Damon Salvatore imagine where you’re dating but then you leave the house after a fight with him and get in a bad car crash. He feels this and searches for you, just to find you I’m time to save your life. Then he stays by your side, feeling guilty and when you wake up again he’s there taking care of you, apologizes and promises to never let any harm happen to you again? Just some lovely fluff and a bit angsty. Thank you so much 😊

Apology

Summary: Your boyfriend Damon has been acting very possessive and controlling and you get into a huge fight with him. You go out for a drive to clear your head but end up in an accident instead. Damon finds you and takes you home, making up for everything he had done.

ANGST, fluff

Damon being controlling, car crash, reader having a near-death experience

1.5K

A/N: Thank you @imagine-all-the-fandoms for being my first request! I'm so sorry it took forever (this is horrible). Do let me know if this is satisfactory. Happy reading!

Damon Salvatore X Human!Fem!Reader

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Your boyfriend of two years, Damon, was recently being very controlling and possessive. He started making your decisions for you without bothering to consult you, being unreasonably jealous of any male around you and demanding to be with you at all times, not understanding the healthy concept of giving 'space'.

But this time, it ran deep. He compelled your childhood best friend, Jake, to leave town and forget all about you. You caught him in nick of time otherwise you would've never even known about what happened to him!

Deeply hurt and driven mad with rage, you left the Boarding House for a drive after a few broken objects, wounding words and a heavy heart.

You didn't know how, perhaps you weren't in your right senses, you couldn't hit the brakes and crashed right into a tree. The car flipped over, and your arms twisted at an odd angle. Your limp and now-sore body was fastened with the seat belt, and you couldn't undo it. You were hit badly in the back of your head, and you could feel unbearable burn of a deep gash.

Your senses had perked up under the stillness of the night, and you heard a faint trickle. Then wetness across your back, your head, soon trickling down to your neck. It was a strange fluid --- coppery metallic smell, thick and red with a mud-brownish tinge. It was oddly enticing and familiar. A shiver ran down your spine when you realised it was your blood. Blood, so much blood --- your own. You were losing so much blood, and you could do nothing to stop it. You felt faint and suddenly, the hardest thing in the world was staying conscious.

You were terrified. If you were going to die, then it mustn't be like this. An accident. Your whole life snatched away just because of a mistake. God, you had so many things to do in life. Get a job, travel the world, adopt a cat --- ordinary things but they were your dreams, which now lay shattered. You didn't want your life --- and death --- so unremarkable and ordinary. And while all this time, there was a deep wound of regret in your heart --- perhaps greater than the gash on your head --- to part with Damon.

Sure, he could be such an asshole at times, but you knew that he loves you with all his heart. You didn't want your last words to him be an angry "I hate you". You had never really thought about it, what would be your last words to him. You couldn't breathe at the sheer grief that hit you at the moment. Unable to withstand the blow, you closed your eyes, succumbing to a world of endless darkness, getting lost in your way towards the blue-eyed vampire. And you couldn't do a damn thing about it...

Anger and frustration clouded Damon's mind. It was all hazy, and he was searching for a light. Ah, there it is! Remorse, regret, fear of having losing her. He knew what he did was wrong, but why couldn't she understand? He loved her so damn much, everything he did was tp protect her.

She lived her constant danger because he loved her, and he knew at times that he should let her go, but he couldn't. He needed her to function, she was his damn sanity, and without her, he lost it.

Suddenly, there was this intense urge to go find her, not to waste a single moment. He'll do anything to have her back, she can't leave him. He knew he was unreasonable, ill-tempered and sometimes too controlling, but he couldn't help himself.

He got behind the steering wheel and let his heart lead the way, for it was with her where it truly lay.

He was aghast, devastated, even. Finding her like this, so near to death, he suddenly came to his senses. He was crying, he realised. He never cried. But that's what she does to him --- make him into someone he never thought he could be.

"Y/N, no! No, no, no!" he wailed, feeling utterly helpless. He undid your seatbelt and somehow pulled you out of the overturned car. Without wasting a moment, he bit into his wrist and forced his blood into your mouth.

You drank for a moment then turned away, trying to sit up but immediately fell back and the sheer exhaustion and soreness you felt.

He was here. He was here, you realised.

"Oh Damon, I'm so sorry!" you sobbed into his chest. He wrapped his arms tightly around you and you knew he was crying into your shoulder.

You simply let things just be. In that dark night, the feeling of death heavy around you, the two of you embraced a new life. Of promises of forever, of understanding, of accepting --- and it was beautiful.

After what seemed like an eternity, he composed himself, giving you some strength, too. "Let's get you home, yeah?" he whispered and you nodded. He lifted you bridal style in his arms and helped you into his car. You leaned on him, as much as you could and he kissed the top of your head. "I'm so, so sorry..." he began but your shook your head. He understood. Not now.

You drove to the Boarding House in companionable silence. The silence was golden. The silence spoke it all. And all you needed was the silence.

With his help you went inside. The house that was so familiar --- it looked the same --- but it promised something different.

"You don't know how scared I was today," he whispered as he rubbed your feet.

"Me too... I didn't want to die like that. Not without saying goodbye, though I wonder if I ever will be able to say it-" he silenced you with a kiss. "I won't let anything happen to you. I want you all for myself, I know that's selfish. I am prick and I don't deserve you, but I do love you very much, so much that it's frustrating, and I won't be able to live with myself if something happens to you. I know I make bad decisions, I know I react impulsively, but I do it only for you. I am sorry for today. I had no reason to compel Jake, but I did it anyway because I was insecure. I realised my mistake, I have no reason to be. So, if you have it in you, please forgive me...". Tears were streaming down his face.

You wiped them away and hugged him close.

"I'm hungry," you said, trying to lighten up the atmosphere. It made him laugh. "Pasta?"

"Yes!"

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[batmanisagatewaydrug]

You seem like an incredibly well read person, plus someone with a lot of insight into intimacy because of your work. So, in light of your romance book reviews, which are an absolute highlight on your patreon, do you have any insight into what is needed/suggested for a good romance novel?

g o d this is so fucking hard and also really fun to chew on. I want to preface this by saying this is ENTIRELY subjective and based completely on what I *PERSONALLY* find that I enjoy in a romance. this isn't, like, an objective guide on how to write a romance that doesn't suck. that doesn't exist because people like different things, and I'm speaking from one perspective.

also I should say that my preferred flavor of romance novel is solidly contemporary. I haven't read many historicals, certainly not enough to opine well on them, I don't do those mafia dark romances or whatever the fuck, and I've barely dabbled at all in any kind of fantasy romance, whether they're full high fantasy or witchy urban fantasy stories. (although I'm about to do one of the latter next month, you can vote for a book on my patreon rn!)

having gotten all of those caveats out of the way, here's some shit I like and dislike:

there are exceptions to this but broadly, I prefer a POV for everyone involved in the relationship. to me a romance where we're only seeing events from the POV of one member of the relationship automatically makes it seem like one person matters more in a dynamic where everyone should be of equal importance. also, god, if the plot's really going to hinge on not knowing what's going on in one partner's head suggests that miscommunication is going to be a pretty critical part of the plot, and I hate that shit. TALK TO EACH OTHER. I'LL KILL YOU.

on that note, there needs to be an actual compelling reason why the characters can't be together, okay? the #1 driving tension of every romance is "why the fuck can't they be together yet" and you BETTER have a good answer. whether it's interpersonal or external forces, if there's a very easy solution to what's keeping them apart then your characters look dumb and I'm bored. one of the most frustrating romances I've ever read involved two characters who were mutually attracted to each from the JUMP, who refused to act on it because they were coworkers (neither of them in any position of authority of the other, nothing unprofessional or inappropriate about it) and they were "only" living in the same state for A YEAR. A FULL YEAR !!! shut up. get a grip and kiss each other.

now, having said that: whatever your bullshit reason is for these two characters to be interacting with each other, you need to COMMIT to that shit so hard that I, the reader, will feel silly for even questioning the logic. the worst offender I've ever seen on this front is D'Vaughn and Kris Plan a Wedding, which pulls its protagonists together via a reality TV competition and then just... promptly loses any interest in really dealing with the actual realities of being filmed 24/7? it's insanely distracting how little the book engages with its central hook, and was a huge point deduction for me. whereas you have, like, The Bride Test, a book with a premise that skirts dangerously close to a little bit of human trafficking but embraces the whole premise so wholeheartedly that you completely forget about the potentially horrific elements in there. who cares that Esme was bribed here with the promise of a green card if she seduces a man she's never met? there's whimsy happening! we've moved on! it's literally fine and she's in no danger except the danger of a BROKEN HEART.

this one is going to seem SO obvious but like. I need them to be actually like each other. I'm not saying they can't be mutually bitchy while they grow to like each other or anything, they don't have to always be NICE to each other, but there are so many M/F romances where the dude is just flat out fucking MEAN and condescending to the girl until he decides he wants to fuck her. and sometimes even after that! stop it! after a certain point I don't want her to fuck him I want her to run him over a car!!!! there's suuuuch a line between "guy I butt heads and exchange banter with but could fuck if we just got to know each other" and "man who hates me and is for real fucking bullying me."

"kisses only," "doors closed," whatever term they use for a romance novel without any sex scenes on page, I don't like it. listen: I know that they're not everybody's cup of tea, and I FULLY recognize that a lot of romance novel sex scenes are unfathomably cringe. and yet, I need them. partly because they're funny, but also because if this book wants me to be invested in the developing relationship between two adults who are supposed to be WILDLY sexually attracted to each other, then I want to see the damn sex. no matter how many bad similes or unfortunate adjectives it entails. and if you're not going to show me the sex, don't you dare have the characters gushing about how great it is. I'll be the judge of that, thank you very much. (I'm looking at you, Sorry, Bro.)

related: there's this thing that I call "Horny Wolf Syndrome," which is derived from this tweet:

initially I used it to refer to when previously sweet-tempered male romance protags inexplicably started talking like horny wovles during sex scenes - "LET ME SEE YOUR PRETTY CUNT ON MY COCK" and the like - but now I more generally use it to refer to scenarios in which characters of any gender completely dispense with their established personality while they fuck in order to fulfill a more broadly appealing, one-size-fits-all sexual fantasy. I hate that shit; if your characters act like completely unrecognizable people during sex, you didn't write very strong characters. one of my favorite things about writing sex scenes is that it's so SO interesting to see how their the characters' personal quirks translate into a setting that's very different from most other contexts, and it's deeply disappointing when authors take the easy route in favor of some pornhub dialogue.

one of the things that actually won my most recent read, Raiders of the Lost Heart, a HUGE amount of points with me was how frank the female lead was about initiating sex for the first time. it was completely in character for her and felt really different than any other book I've read, and honestly? it was a breath of fresh air.

[britney-j-christ]

Oh man, Curly really had no good options, huh?

I see a lot of people jumping to "Curly should have shot Jimmy", which is fine to say because he still should get to shoot Jimmy, but not a compelling argument.

Unless this is even more dystopian of a universe than it seems (Ala the villain being capitalism, not The State Shooting You Without Trial In Space style) there's no legal grounds to do that. That's vigilante justice and while it would solve a part of the Safety Concern Jimmy causes, it leads to too many problems on earth.

Also, you cannot just casually shoot a coworker or 1/5th of the locals. Daisuke and Swansea would have *very reasonable concerns* if their captain just shot someone, even if it was explained. And I don't think either would be down to do a cover up about it. And if they did...

Daisuke would Crack in seconds under interrogation or scrutiny.

We're also talking about Captain Curly pre, uh... "character developement" as it were, being able to see Jimmy's abusive nature first hand now that he's under his control. There's a pattern for trying very, very hard to see the good in Jimmy and enabling him. He'd never be in this position as copilot if Curly hadn't been there, trying to pull Jimmy out of whatever trouble he was at back on Earth. Curly is a big picture guy who doesn't see the dead pixel; he sees Jimmy climbing up and out of the muck with him and he ignores the red flags or, possibly, even prior offenses?

Captain Curly can be seen *trying* to be a good Captain, not unlike the way Jimmy as Captain is also "trying" to be a good Captain(for selfish ego driven and guilt-avoidant reasons). It really is a goal they share. Both of them fail at it, but it is both their motivations in those roles. Even stressed and overworked, jumping to killing his best friend three months into a year long voyage isn't rational.

So how about we downgrade to more reasonable option; jailing. Except the places where one can be locked in are the hold full of valuable unknown cargo, so a non option if they want to get paid (they desperately do), and the medical bay, which is much more viable if they could a) get that set up in a way that didn't jeprodise the health of everyone and b) didn't have a huge human sized vent that might kill you if you go through it. I understand why neither were chosen.

So, how about the cryopods? Seems pretty viable. Much like murdering Jimmy, you'd have to get everyone on board for this. So, confronting Anya's rapist in front of Daisuke and Swansea and hope they can sway them both in favor of Lawful Detainment.

It's not impossible. I think, if they tried, it would have worked in terms of grouping up together- if they could do it without Jimmy getting wind of it and doing something drastic beforehand.

But then there's no copilot. This is such a major issue for an eight month voyage where we see that the ship will see a problem approximately like 2-3 minutes before it happens and requires corrections. Curly cannot do this job for that long. No one else is appropriately trained. Swansea is busy, Daisuke is not reliable enough to handle this, and Anya... could probably do it tbh I have complete faith in her but that's a lot to put on her shoulders to not get paid appropriately for, just for her to be *safe* from Jimmy.

I struggle to blame Curly for the choice he did go with. I don't see any good options, especially without knowing what's going to happen. It's already a huge jump to go from Best Friend to Rapist; expecting Jimmy to go down to Murderer is a big leap. It seems like he thought he had eight months to work with Anya, to figure out what to do. "Talking with Jimmy" could have been anything from Boys Club protection racketing to clinical setting of boundaries for likely the first time in their relationship to a full on confrontation. We don't know. We only get to see the death spiral that came out of it after.

It's pretty clear that Curly failed as a captain to protect everyone, but the scenario was hopeless to begin with. The choices he made before they got on the ship doomed them: trusting and supporting Jimmy was the mistake and it happened well before they got on the freighter.

And in every single scenario, I find it leads back to Pony Express being the ones at fault. Every bit of the ship they are trapped in exists to funnel more money into a dying beast of a company at the crews expense. I think Curly and maybe Anya both thought they had 8 months to figure out what would happen off the boat. A looming unavoidable threat of consequences. Everything to do with getting the company involved would likely drive Anya and or Curly broke; they say straight up they fine the crew for problems arising. That it's flat out the captains duty to handle it and then get charged by the company $$$ about it. They will double the amount of responsibility back onto the Captain and crew. Imagine working a year in isolated space and getting NOTHING for it? Imagine slashing thenrest of the crews wages.

Curly wasn't able to predict what Jimmy would have done. I think his plan was to handle things Off Board. Too late in multiple ways, but I do think he would have genuinely back up Anya in however they go forwards once they've landed.

The option he chose didn't deal with the real problem though. It feels like he tried to problem solve to deal with the consequences and not the issue at hand; the safety of Anya, his crewmember. It's how he failed as a captain.

I'm proud of him rushing headlong unto danger to try and save them all. God. What a vicious cruelty to deny Curly the one thing he does deserve credit for.

Anyways I'm redressing him like a mummy so he's nice and cozy for his 20 year sleep. Poor guy tried to intervene, badly, into something that needed to be prevented instead by the company and by foresight he didn't have about a dangerous, narcissistic best friend. Doomed from the beginning because of your character flaws and unwinnable scenarios. You're such a good little horror character; if feel like he's a good parable about putting safety first. Thanks for your follies bro I hope it has impacted my personal decision making for the better so I don't become you if I'm in your position.

[writingquestionsanswered]

I'm tired of my ideas always being big. It's overwhelming. I like seeing others' WIPs and ideas because they're just so simple... Like, that comic about a mermaid living in the ocean in our modern time and dealing with plastic trash. So simple and my own brain is bursting with ideas. But my own WIPs... they just start huge. I'd like something smaller... but I don't know how.

Stories Always Get Too Big

Stories can get out of hand quickly when they sprout too many independent threads. There are three primary culprits that serve as sparks that create these threads:

1 - Setting 2 - Non-Protagonist Characters/Relationships 3 - Back Story

The thing to remember, though, is that no matter how interesting your setting is, no matter how compelling your other characters are, and how fascinating the back story is, those things are not your plot.

Plot is the sequence of events through which the protagonist (and potentially other main characters) attempt to resolve the story's conflict by overcoming obstacles and setbacks in pursuit of a goal.

In other words, focus on this:

the protagonist > their normal world > the event that introduces a problem they must resolve > the goal they formulate in order to resolve that problem > the events that occur as a result of their pursuit of this goal > their attempts to overcome obstacles and setbacks encountered along the way > their attempt to solve the problem once and for all > failure or success > life in a changed situation/world

Anything else doesn't need to be there unless it is critical in order for one of the above steps to make sense.

So, let's take your mermaid example... though I haven't read that comic so I'm winging it here:

the protagonist = mermaid normal world = doing mermaid stuff inciting incident = finding plastic trash in the water goal = clean up/find the culprit and teach them to do better events = cleaning up, learning about humans, tracking down culprit climax = mermaid appeals to humans to do better finale = mermaid is living in a cleaner ocean

Now, let's say your brain starts to go off on a tangent about a deep oceanic rift and an evil merman wizard who lives there... stop right there. It's a fun idea, but what does it have to do with this story? How does it relate to the trash, clean-up, finding the culprit, or appeal to humans to do better? It doesn't. Theoretically, you could make it make sense... like, maybe the merman wizard likes the trash and wants the ocean to be dirty and gross, so maybe he is opposing the mermaid's attempts to clean up and to appeal to the humans. Okay, that works, so you can keep it. But, let's say you also have this idea about these creatures that live around the hydrothermal vents, and the mermaid meets and falls in love with a scientist who's studying them. Okay, again, interesting idea, but this one is much harder to fit in with the rest of the story. Sure, you could say the scientist is studying marine pollution instead... that brings it back around to the main conflict, but still, what does this relationship add to the story? How does it help or harm the mermaid's mission? How does it help to explore the story's themes or help deliver the message? It doesn't really sound like it does, so this would be an example of a thread you can probably snip.

And the thing is, it would be okay to follow a thread like that while you're plotting or writing your first draft, just to see where it goes and see if you can make it work. Part of why we edit and revise is to snip out the threads and elements that aren't pulling their weight. But learning how to curb them as they occur to you will help save you work later on down the line. Try writing those ideas down in an ideas document, and maybe those can be worked into different stories, a sequel, or a companion story.

One final note: I am very much aware that there are some epic writers out there who let wild tangles of threads sprout as they write, and they follow them all without abandon, relevant or not. That's okay, too. These are writers for whom that works, who don't feel overwhelmed by all of those threads, who want to write something bigger and more unwieldy. Maybe in time as you get accustomed to writing smaller, tidier stories, you embrace the bigger stories your brain wants to tell. Or maybe you don't. Whatever works best for you is all that matters. :)

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[carlyraejepsans]

UTY!Flowey, "lore" and how to criticize a fan prequel without being an insufferable pedantic, a guide by Biscia.

(for my muskless fellows, here's a transcript of my thread on Undertale Yellow that I posted on Twitter. enjoy!)

There's this really frustrating attitude in fan spaces i like to call "lorepilling" where people are substantially more concerned with encyclopedic knowledge of details & minutiae (so called "lore") in place of full-text thematic/narrative analysis as if the two are mutually interchangeable.

It's especially common in large franchises and story heavy videogames, and it's like... Are You Treating This Piece Of Art Like A Trivia Battle Or Are You Treating It Like A Story

This is coming from a person who is also deeply autistic about UTDR trivia btw, I'm just saying that when it comes to transformative *stories*, depending on the impact it has on character, themes, and narrative structure... lore is expendable.

Ultimately this is why most of the UTY criticism i see (on twitter specifically) falls flat. What does it matter if "lore" means Flowey couldn't chronologically be there when the justice human fell, as long as the game narratively justified his presence in the story in a compelling way?

The real criticism, in the end, is that it didn't.

He's a plot central, main cast character from the canon returning in a cast of mostly OCs and what does he have to show for it? An admittedly sick boss battle in 1/3 endings, sure but... not much else. He has no significant "presence" in the story, no tie, interaction, or even just... an opinion on the rest of the cast. Which is a huge miss when Flowey's meta role is to be Thee completionist player mirror. He's the OG lorepilled UT fan! He's an opinionated little shit!

This isn't to say that UTY *didn't* engage w/ his metanarrative. When me and @a-town-called-hometown first started playing the game (we were both skeptical of Flowey's inclusion), he immediately said "It would be really cool if they made it so this has been going on for a while and Clover has no idea". Which is precisely what the game did in the neutral ending, and what I will openly say was the most well written & well executed part of this game's story...

...a part we almost didn't see, because the pacifist ending disappointed us so much we lost all will to replay.

To put it in the words of my friend Mel @clowwwnbytes, there's a deafening hollowness to UTY Flowey's motivations & core principles where his guilt towards Chara—and resulting black and white thinking—should be. You're telling me Mr Kill-or-be-killed, "sacrificing yourself to do the right thing is stupid", would stand there after 1000s of failed attempts to make Clover survive, look on as they make the same mistake Asriel he did, and fondly call them friend? Cue the guitar, roll the credits?

He would lose it. Oh my god he would lose his goddamn mind, he would throw the nastiest temper tantrum in the world. Are you serious? How dare you. How DARE you. All this effort, all my patience, and you just let yourself DIE for a few worthless idiots? I should've let you ROT!

*clears throat* sorry got a bit too into character. as i was saying.

I can understand a UT prequel wanting to distance itself from the canon Chara storyline in order to form its own identity, but then turning around and choosing Insane About Chara The Character™ for a sidekick is... far from optimal. In the end, Flowey comes across as underutilized and inconsistent, with a whole lot of wasted potential.

This is an issue I have with UTY's character writing (original AND returning) and story structure as a whole. Lots of inconsistent character arcs, tonal dissonance, overuse of situational sadness... it's an amateurish work, after all, and you can feel it. There's no shame in that.

(Though, there ARE some issues that i take more seriously with its writing, especially when it comes to its two main female characters—Ceroba's lack of narrative agency and depth borders on misogynistic writing imo. But that's a topic for another day)

Over all, UTY was an incredible piece of collaborative transformative work, with gorgeous art and a genuinely incredible OST, which... would have benefited from more experienced writers. But hey, you can only ever learn by trying!

For all it could've been a better story, it certainly did not fail to entertain: both when my friend was playing it, and after in our many discussions of its writing, its faults and how it could've been improved (royal scientist!ceroba character fix you will always be famous. to ME!)

I'm sure this project served as an incredible source of experience for the developers: as individual creators AND as a team. I look forward to their future projects!

but also if i have to see another person say UTY is better than Undertale i might turn into The Jonker.

end of the essay! really couldn't stand any of the pedantic ""criticism"" I'd seen of this fangame so far, so i had to say my piece as someone more versed in analysis. happy to elaborate on anything in the replies or in my inbox!

[lacevalentines]

(madoka magica / rebellion spoilers below. TW: suicide and controlling behavior)

I don't know the direction in which walpurgisnacht rising will take homura's character but I can say with confidence that from at least where rebellion left off that I truly believe that homura made the decision that she felt was the most correct one even if it meant she had to become a monster in the eyes of every person that loved her. she felt that if things were left in the way the law of the cycle was currently running things that it was inevitable that kyubey would eventually capture madoka in her goddess form, study her, and use her to as a source for mass amounts of energy at the suffering of herself, the others within the law of the cycle, and magical girls at large again. this is something he explains very clearly when talking to homura before her transformation into homulilly.

I get so exhausted when I see people try characterize homura as an actually evil person with completely selfish desires and no regard for others. all of her actions, while not explicitly explained outright, when looked at closely always indicate that she does things out of her care for the other girls but feels like she bears the burden of having to do it alone because she believes she's the only one who doesn't let her emotions get in the way of protecting madoka and the others from kyubey and sometimes each other.

I will always use the scenes of her interactions with mami and sayaka in rebellion as huge examples of this. she has no reason not to kill them if she's a completely selfish and unemphatic person that only cares about madoka and no one else when given many opportunities to do so. I also don't personally think she keeps them around JUST because of madoka's happiness either. she very easily could have suppressed their roles in madoka's life with the world rewrite and clearly choose not to. I believe her mocking sayaka and acting in a clearly "evil" manner is deliberate acting on her part to frame herself as a villain. she might believe this would her actions more palatable and will create distance between herself and everyone else to protect them as well as allow her to assert more control in this situation. it is further emphasized how she truly feels with imagery displayed in homura's new world around herself (shoes abandoned on the side of a building to potentially indicate suicidal ideation, a half moon alluding to homura feeling unfulfilled and unhappy with this decision, her dancing around happily before stopping and slowly falling off the cliff side with a similar implication as the shoes).

homura's relationship with the others is incredibly complicated but she cares for them deeply too as they are also people she considers friends, she just had a particularly strong attachment to madoka. we don't get to see as many instances of her interacting with them as we do them interacting with each other as we are unfortunately only really privy to homura's life after she began looping for the most part but we can see it in the way she has expresses concern and distress for them in moments where she believes they are in real, tangible danger of being hurt (she's winces and tries to turn away when aiming for mami's leg and screams out when she believes mami is about to be truly harmed after their gun fight, which neither ever had the real intention of hitting one another with any of those bullets in the first place). her entire witch's labyrinth is one where everyone is happy and gets the lives they desire. why would her labyrinth, which is meant to reflect in-part her inner feelings and desires, appear that way if she didn't truly want that for everyone?

rebellion is so compelling to me for all of this and so much more!! (I could write a whole other post on the way it presents it's freedom with danger vs control with safety question at the end of the film) she is a girl who has repeatedly suffered incredibly traumatizing events and longs for a world where the person she loves and the friends she considers dear are safe. homura is not really the devil, but she wants to appear to be because being the devil would be easier than being a human being in these circumstances.

[moe-broey]

YOUR MIND........ this is sooooo much more well thought out than what I was thinking LMFAO ESP. FACTORING IN. How long/where each Book lands after the other... it makes SO much more sense (esp I. Literally forgot Book 4 happened in 3 days 😭😭😭)

In all of this I also just. Forgot child soldiers exist. In Child Soldiers the Video Game Series LMFAOO (AND VERONICA IS RIGHT THERE. THE WHOLE REASON I WENT ON THIS HUGE TANGENT). But it makes SOOO much sense for Anna and Bruno both. Esp the way Bruno seemed to be well established/integrated into the Order, to the point where Anna beats herself up for it when she learns his secret. Like... not only is she the commander, this has been pretty much her entire life. Of course she would feel like she Should have known better, that this never should have gotten by her. She was trained to do the very same thing, the same exact way.

And also, changing Alfonse and Sharena's ages to be closer together and the maturity difference being a case of how vastly different they WERE treated... it adds so much to them, and also does make things flow better. With Gustav's reaction to Alfonse's choice (disapproval), and how Sharena managed to follow Alfonse anyway (surely also met w disapproval, but seemingly nothing was done to stop this).

Also, I DO love the idea of Kiran being older than Alfonse as well... it's just very funny to me. Another point to Alfonse growing up fast, but still being a fledgeling in many ways! MEANWHILE.... college grad Kiran....... I think it would be SO funny.

I have a hard time conceptualizing timelines tbh LMFAOO so like. All my thoughts are v ambiguous/sometimes subject to change! Might just eat yours instead 🫡

LMFAOOOO

It's very unclear! But Alfonse's "It's been at least 10 years since Sharena was a child" line is a rough estimate itself. I feel like it could place Sharena anywhere to 18 to 20 when she joined the Order of Heroes (this is just my headcanon though, based on what's typical irl -- there's also a possibility that in Askr, the age you're considered "an adult" is different, but that's also speculation)

But if Sharena was anywhere from 18 to 20 when she joined the Heroes, and granting that a few years have passed to get to Book 4. Maybe 22? 24? At oldest? If every book is a year. Which in that case!

Yeah she could be at this point actually 🤔 Or maybe 26.

And really you can throw any random number at Alfonse like. I kinda hc he's 3 years older than her, if not 4. They do seem close in age, but far enough that Alfonse has always felt more "grown up" to her (possibly by the way he was treated/raised, many possibilities). But going off those numbers, he could be 29 or 30ish current Book, if we're going w Sharena being 26 (makes me wonder if his Brave alt is gonna make him look "more mature"... like his portrait always read as young adult to me, but I wonder if he'll be a little less baby faced.)

[selkiesongss]

listen. when it comes to which manifestation of magic would choose sam, i'll admit that seegenpelater is the obvious answer. i get it, i do! like lou mentioned in today's AP, it's literally persuasion magic, obviously that meshes well with sam's magical strengths

HOWEVER !!! i am a firm believer that at her core, sam is more aligned with miskoro (alteration) than seegenpelater

lengthy and incoherent rambling below the cut

as @/wanderingsoftly noted in an earlier post of theirs on this topic, sam's very first spell was transmuting lint into a sundae. i'd like to point out that when given the reality-warping powers of magic, she doesn't think to just poof a sundae into existence - her first thought is to use the lint from her pocket as some kind of equivalent(ish) exchange.

i see this mindset of 'work with what you've got' as a huge part of sam's character, since in her interactions with both the pilot program and the world, she always meets people where they're at. she consistently matches people's energies in a way that neither diminishes nor amplifies, but in a way that illuminates. i think the clearest manifestation of that is in her local charm effect- she doesn't try to be likeable, her presence is just so warm and kind that you can't help but be disarmed. you bare your soul to her, and she responds with a compassionate and tender understanding that opens up an entirely new world of possibilities.

sam sheds light on the ugly, harsh edges of a person and embraces them as they are- not to be romanticized but not to be neglected either. she's an amazing friend when life is good and a safe haven when life gets rough; she was there for jammer when he took on alexis the dragon's curse, for k after they accidentally killed evan, and for evan when he was still a shadow haunting a pair of shoes. there is no aspect of humanity that sam butler/black/britain is too afraid to hold, because no burden is too great to be shared.

with that being said, i'll try to get to my actual argument.

sam is undeniably magnetic, able to compel demons into releasing their grip on evan's soul, and i'm not going to dismiss that at all! sam's ability to influence the people around her is a fundamental part of her character, but i think it's important to draw a distinction between being magically persuasive and being naturally persuasive, as sam usually falls into the latter category.

as for why that distinction is important, it's a matter of intention.

the magic of seegenpelater is inherently subjective, taking perceived reality and molding it into illusory shapes at the whims of its user. on the other hand, the magic of miskoro is inherently objective; its alterations are exactly what they present themselves to be. as we've seen on weugan, sam is deeply opposed to projecting her desires onto others and seegenpelater is entirely antithetical to that. in contrast, miskoro represents the honest potential to change- which sam has always kindled in those around her- and i think that perfectly aligns with who she is at her core.

sam has been helping people out since day one. she provides the warmth and safety they need to grow past their fixed ideas about who they should be and into who they could be. she's been a sailor moon fangirl, a twitch streamer, a scuppers player, a television host, a celebrity, the world's greatest wizard, and only the qohlye knows who she'll be next!

sam butler/black/britain is a woman who treats surnames like haute couture, a wizard perpetually moving forward, unbridled by the threat of stagnation, and i am deeply obsessed with her. somebody please sedate me.

anyway save my girl from cannibal island PLEASE !!!! drop by purble place and get some dope ass alchemy powers instead :3

LET SAM COMMIT CRIMES AGAINST THE NATURAL SCIENCES '24

[galacticlamps]

ok I have A Lot of thoughts about the staircase confession (well really about Edwin's whole character arc, but all roads lead to rome) but for now I just wanna say that, yes, I was bracing myself for something to go terribly wrong when I first watched it, and yes, part of me was initially worried its placement might be an uncharacteristically foolish choice made in the name of Drama or Pacing or Making a Compelling Episode of Television but at the expense of narrative sense--

But I wanna say that having taken all that into account, and watched it play out, and sat with it - and honestly become rather transfixed by it - I really think it's a beautifully crafted moment and truly the only way that arc could've arrived at such a satisfying conclusion.

And if I had to pinpoint why I not only buy it but also have come to really treasure it, I'd have to put it down to the fact that it genuinely is a confession, and nothing else.

That moment is an announcement of what Edwin has come to understand about himself, but because it takes the form of a character admitting romantic feelings for such a close friend, I think it can be very easy, when writing that kind of thing, to imbue it with other elements like a plea or a request or even the start of a new relationship that, intentionally or not, would change the shape of the moment and can quickly overshadow what a huge deal the telling is all on its own. But that's not the case here. Since it is only a confession, unaccompanied by anything else, and since we see afterward how it was enough, evidently, to fix the strangeness that had grown between him & Charles, we're forced to understand that it was never Edwin's feelings that were actually making things difficult for him - it was not being able to tell Charles about them. 'Terrified' as he's been of this, Edwin learns that his feelings don't need to either disappear completely or be totally reciprocated in order for him to be able to return to the peace, stability, and security of the relationship with which he defines his existence - and the scale of that relief a) tells us a hell of a lot about Edwin as a character and b) totally justifies the way his declaration just bursts out of him at what would otherwise be such a poorly chosen moment, in my opinion.

Whether or not they are or ever could be reciprocated, Edwin's feelings are definitively proven not to be the problem here - only his potential choice to bottle it up - his repression - is. And where that repression had once been mainly involuntary, a product of what he'd been through, now that he's got this new awareness of himself, if he still fails to admit what he's found either to himself or to the one person he's so unambiguously close with, then that repression will be by his own choice and actions.

And he won't do that. Among other things, he's coming into this scene having just (unknowingly) absolved the soul of his own school bully and accidental killer by pointing out a fact that is every bit as central to his self-discovery as anything about his sexuality or his attraction to Charles is: the idea that "If you punish yourself, everywhere becomes Hell"

So narratively speaking, of course it makes sense that Edwin literally cannot get out of Hell until he stops punishing himself - and right now, the thing that's torturing him is something he has control over. It's not who he is or what he feels, but what he chooses to do with those feelings that's hurting him, and he's even already made the conscious choice to tell Charles about them, he was just interrupted. But now that they're back together and he's literally in the middle of an attempt to escape Hell, there is absolutely no way he can so much as stop for breath without telling Charles the truth. Even the stopping for breath is so loaded - because they're ghosts, they don't need to breathe, but also they're in Hell, so the one thing they can feel is pain, however nonsensical. And Edwin certainly is in pain. But whether he knows what he's about to do or not when he says he 'just needs a tick,' a breather is absolutely not what's gonna give him enough relief to keep climbing - it's fixing that other hurt, though, that will.

Like everything else in that scene, there's a lot of layers to him promising Charles "You don't have to feel the same way, I just needed you to know" - but I don't think that means it isn't also true on a surface level. It's the act of telling Charles that matters so much more than whatever follows it, and while that might have gone unnoticed if anything else major had happened in the same conversation, now we're forced to acknowledge its staggering and singular importance for what it is. The moment is well-earned and properly built up to, but until we see it happen in all its wonderful simplicity, and we see the aftermath (or lack thereof, even), we couldn't properly anticipate how much of a weight off Edwin's shoulders merely getting to share the truth with Charles was going to be, why he couldn't wait for a better, safer opportunity before giving in to that desire, or how badly he needed to say it and nothing else - and I really, really love the weight that act of just being honest, seen, and known is given in their story/relationship.

[bardic-inspo]

There are SO many different ways to interpret Ascended Astarion and his relationship with Tav/Durge which is why I find myself so fascinated by that path. One angle I haven't seen talked about too much that I think is so compelling is a resist Durge who happily becomes his consort.

With the caveat that I haven't finished the Durge story in game (but have been spoiled for most of it), I think about a Durge who defeated their father, who is allegedly 'cured' of their urges from doing so, but probably still carries with them the trauma and terror of being controlled like that again. There's an argument that that would make a resist Durge less likely to let A!A turn them, but on the other side of it, what if it's a huge comfort to them?

They're handing control to someone they love and deeply trust as opposed to having the reins be held by some unknown force, or worse, by themselves, who they don't entirely trust, either.

Whether they should trust Astarion could have a hundred different answers depending on someone's HCs for the relationship, but lets roll with the angle that the love between them is genuine.

And Astarion knows that forgoing this control and handing it to him is a relief for Durge; they never have to worry about potentially succumbing to some rogue urge again, if they could theoretically be compelled or otherwise stopped from carrying it out. And I know the general consensus is an embraced Durge could eat A!A for breakfast, so I'm seeing this specifically for a resist Durge angle.

So Astarion hams it up in large part for Durge, because that display of dominance, even when it's somewhat theatrical, is part of that comfort. Reminds Durge they're in good hands, someone's looking out for them, they're not alone, in the sort of ways they need to be reminded of all of that. They never have to be afraid again; he did promise that, after all.

[eruanee]

On Round 7 and the utility of sacrifice

⚠️ ROUND 7 SPOILERS ⚠️

I wanted to use this post to respond to some criticism I've seen circulating about Round 7 — it mostly being about Till's death making Ivan's sacrifice useless.

To be fair, this post doesn't aim to dismiss anyone's feelings or criticisms about R7 or Till's (presumed) death, they're all incredibly valid! I even have my own that I will talk about later. This post's only goal is really just to start a conversation about the general narrative of ALNST and how to write a compelling narrative in general. No matter what I'll say, people resonate with stories differently and expect different things from them, and that's okay!

Personally, I truly didn't expect Till to die. Before R7 came out, I even texted a friend saying this:

– If one of them has to die, I think it'll be Luka. Till's protagonist syndrome is too strong and his death would be narratively flat, I believe. – Yeah.

And well, shot missed, unlike the one that shot through Till's neck.

Though, I really do believe Till might not be dead, not only because of the #copium but this isn't really the point of this post — I will assume he is so I can discuss what his death would actually mean to the narrative and how it would impact it.

I understand that no one (including myself) expected R7 to go that way. A lot of it had us realizing we might have gotten some elements of the story wrong — something I didn't take into consideration is that the round was probably rigged to make sure Luka would win, which makes sense because of course that Alien Stage isn't the fairest competition (and if Ivan's pictures on the billboards aren't part of Till's hallucinations, this is plainly evil).

R7 also had us wondering what the goal of the rebels truly is: did they even intend to save Till? If not, why did they save Mizi, what did they see in her? Unlike what I first thought, like many others, it seemingly wasn't a rescue mission.

When I watched R7 for the first time, I audibly gasped the moment I saw the "Luka wins" sign appears and Till being shot down. And I thought "Ah, so that's the kind of story VIVINOS wanted to make." I was already a huge fan of their work before ALNST began, mostly of their horror stuff. When I watched it, I knew I was about to sit in front of absolutely devastating content that would leave me sick. The tragedy was always cruel, often unrewarding, but I would always ask for more. Good thing ALNST now exists, uh!

I mention this to state I went into ALNST expecting roughly the same thing and it's essentially what I got. I didn't expect Till to die but his death, in a way, didn't surprise me. Did it make me sick though? It sure did!

I do agree R7 feels incomplete. I think it's interesting that I have not a single idea of what's going to happen next, but my biggest regret is indeed that Till's death doesn't seem to do justice to his character or characterization.

Till, the rebellious misfit, always breaking rules to the point he has to be physically restrained, completely beaten by despair and trauma once again, dying on stage after he got a slight glimpse of hope he can never actually reach.

This is peak tragedy, and a beautifully animated one at that, but it doesn't feel like a compelling character development. If Till is truly dead, then he dies with the potential of being so much more. And this is truly sad and disappointing.

And this is why his death would make me sadder than Sua's or Ivan's. They got to choose their deaths and what it would mean for them, Till didn't. He was suffering and overwhelmed. He only accepted his fate because he got to know Mizi was still alive before his final moments. He got to die in her embrace, which is probably the only thing he could've asked for if that were to happen.

Sua's death got to introduce us to the reality of Alien Stage.

Ivan's death was an emotional climax. It conclused his character arc in a devastating way, but gave him a meaningful ending nonetheless.

Their deaths let us understand what kind of world Alien Stage takes place in : a cruel world where humans are pets to aliens, if not simple disposal. A world where feelings are never reciprocated until it's too late, where you long for something impossible until you realize you should've paid attention to what was right in front of your eyes, too.

Alien Stage is a show where the candidates' suffering are seen and consumed as mere entertainment.

In this system, I believe Sua's and Ivan's meaningful deaths are anomalies. Till's death is the standard. An extremely unfair event, result of an extremely unfair competition. This isn't about who deserves to survive, but about who manages to. If anything, I think the aliens are relieved Till is dead, as he was mostly a bother to them. Luka is beloved and accommodating.

A world where death is the easy escape, if not almost a selfish one. Sacrifice is an act of love, but also an act of egocentricity. The sacrifice aims to be remembered as selfless and generous, but in the end, they only "run away without any sense of responsibility". The gift sounds beautiful when actually, it might only be rotten.

In such a world, how can a sacrifice ever be useful? I guess Ivan's wasn't. A sacrifice only happens to create a possibility, a chance, a what if.

Another very frustrating part of Till's death to me is that I thought he had the power to be a protagonist. I still stand by it but he was robbed of this agency. Him being used as a narrative device for Mizi's protagonist plotline (at least that's what I believe) feels a bit cruel, even narratively.

Alien Stage can be a frustrating story because it seems there is no way out, which is ultimately not something people are seeking for very often in a story. I still hope there's a way out somewhere, maybe not for Till, but that would already be something.

As for now, it seems Mizi's role is to manage to make Sua's sacrifice, as well as all of these deaths, worth something. This is the 50th season of Alien Stage. The pile of corpses is leaking red.

I do wonder where the story is going to head.

At the very least, Till wasn't unknown till the end. You could say that being loved, even for a blink, makes one's life worthy to be lived.

[decepti-thots]

What I can't get my head around is, why didn't Dominus Ambus tell Rewind that he was secretly a turbofox? Like, that's your conjunx, presumably the person you trust most in the whole universe, and you won't even share your secret with him? IDK if you've already done an analysis post on this but if you haven't I'd love to hear your thoughts.

Okay, so. Putting aside any non-diagetic explanations entirely for a moment (that is, my suspicion that the concept was conceived of some way into the comic's run and just proved a really good way to explain Rewind not recognising the Pet once it was settled on)… in-universe explanations, let's go.

Something I do wanna point out here is a thing I rarely see mentioned: in my opinion, Minimus does not act as though Rewind doesn't know. I think he expects that Rewind does, which is honestly sort of wild? In DotL, Minimus isn't like 'oh shit, now you know I guess' when he's making remarks about Dominus being even more insecure about his height than Minimus is (irreducible style), or whatever. I… guess you could argue he thinks Rewind has inferred it logically (Minimus has revealed he was wearing an armour > Minimus and Dominus are spark twins > therefore…) but tbh, he's just. SO casual about it. I absolutely feel like Minimus assumed Dominus had told Rewind! Which. THEY WERE MARRIED LMAO. IT'S A REASONABLE… ASSUMPTION……..

Which definitely suggests there's no reason externally that is all that compelling for Dominus to not have done so. If there was, presumably Minimus would have anticipated it! Realistically, if Dominus couldn't trust Rewind to keep it secret for the sake of public access and ease, why the hell were they married. (Anyway, Rewind is in a far more precarious situation than Dominus is, when they meet; Rewind isn't able to hide and is formally subject to being classified as 'disposable'. I mean!) That's definitely not compelling.

Personally I think the easiest way to reconcile it is to think that Dominus had a personal hangup around his alt, and genuinely wanted people not to know this about him- because he himself was personally ashamed of it, no matter how much effort he put into public work that seems to contradict that. This actually reconciles something else, I think. Why would the sentience test Dominus seemingly designed in part or full be so biased against beastformers? He is one! What! But if that's something he was unable to get over the way he e.g. was able to overcome prejudice of the kind Rewind was facing, it perhaps makes sense to think of it as a kind of 'harder when it's personal' thing. Right? Internal feelings of self-loathing are sometimes paradoxically the more difficult kind to unlearn, compared to changing how you think about other people. Hell, maybe Dominus convinced himself wearing an armour 24/7 meant he wasn't one any more. Maybe he didn't tell Rewind because as far as he was concerned, that was no longer true.

I think this would potentially be interesting in terms of adding actual characterization to Dominus against which you can a) effectively compare and contrast Minimus (since a looot of what we know about Dominus is more or less 'he was made in a lab to induce an inferority complex in Minimus', lmao) and b) open up avenues to question the very idealized view Rewind has of their marriage that don't necessarily require leaning into the trope of 'he was an Evil Liar All Along on purpose!!!', which adds a lot of interesting stuff to that element of Rewind's arc that I'm sad canon never really managed to deliver completely, IMO.

I have actually thought about Dominus in relation to both Minimus and Rewind a LOOOOOT haha. He's such a cipher in the comic; a huge motivating character for two otherwise-unconnected leads AND a cornerstone of our introduction to the Functionist Universe… and yet a character we know very little about the thought processes or feelings of. He's like a void of a character you can reconstruct by looking at what surrounds him. It's very fun to me.