#which is why i have so many characters that can do this

[evelhak]

Hi, a published author here, I write fic BECAUSE it doesn't need to be as polished or have the same level of technical skill as professional writing, and that makes me a 100 times more creative, because the pressure is off. I discover stuff I love the most when I write fic because it's not as "good".

So please, continue to read and write fic!! Don't take away from yourself or others what's the best thing about it! Anyone can do it and people will love it for the ideas, not the technical skill level!

In fanfic I can do things like write a 10 000 word chapter about characters getting to know each other through 20 questions, which my publisher would NEVER print, and yet it's consistently that type of chapters that people have told me are their favourites, because they, too, are just as obsessed as I am about just letting the dorks talk more.

I can also leave out basically all description and write just dialogue, and people have still told me they could see it right before their eyes, because they already know the relevant settings, they already love the characters and can imagine exactly how they would act and what kind of expressions they would make in that situation. That's a beautiful connection between fans.

Please, appreciate fanfic for what it is! It has so many things that just would not work in professional writing, and a lot of those things are why fanfiction is good.

I get that people want fanfic to be recognised as just as good a hobby as reading or writing other types of things, but the way to do it is not to turn it into something it isn't.

At some point "fanfic can be as good as professional writing" became "fanfic should be as good as professional writing" and that's caused major damage to fandom spaces.

[amastarxoxo]

ㅤ        ㅤ            ⠀ꕀ⠀𝆹⠀⠀ׄ⠀⠀ִ⠀ worthless talking ⠀ּ ּ    ✧

Arguments with various characters

S1! jinx , S2! vi , S2! caitlyn , and ekko x fem! reader

arguing , mention of having a crush ( vi ) , hurt/no comfort , cursing , mentions of marriage ( caitlyn ) , drinking ( vi ) , mention of reader working in the brothel ( not prostitute ( vi ) ) , suspected cheating ( caitlyn ) , injured reader ( ekko )

not proofread or requested

JINX

arguments with her are usually light and can easily be dismissed or solved quickly but this is very different. silco has been pressuring her as of late about her weapon for the hex gemstone; which has been stressing her out and getting more irritated by everything little thing. “jinx baby?” you spoke softly, trying to not make her anymore irritated. “yes toots?” she frantically looking back and forth at her parts and blueprints for her fishbones, “are you doing okay? do you eat?”

she shrugged her shoulders, continuing to screw the screws in. you silently gulped and walked closer to her. “listen baby…can you take a break or something? i don’t remember the last time you slept or even eat and—” “shut up.” you immediately looked her way like you misheard her. “i-im sorry what..?” she kissed her teeth, “ i said shut up! all you ever do is nag and nag around me! do ever shut up? i’m trying to work so i can hurry up and finish this project, but no you just can’t seem to leave me alone while you’re—” she stops mid sentence, looking to see where you were last standing, “y/n?” she asked to absolutely nothing. she rolled her eyes, not bothering to think about you anymore, too focused on the hexgem project.

walking through the streets of Zaun, tears blurring your vision as you do your best to wipe them away but if anything you made your mind clear as day in Piltover; she doesn’t need you there anymore. continuing to walk through the lanes until you reached your home.

VI

pitfights. you hate no—loath them. so imagine your reaction to hearing that your crush becamea pitfighter after that massive fall out with the stupid top side girl. you watched as a friend of hers drag her up the stairs then she starts pushing him off and telling him to fuck off. you watch as the friend just walked away; already tired of her bullshit.

you breathe, mentally preparing yourself and your lecture of what you want to say as you head up the stairs slowly until you reached the door. out of curiosity, you reached for the doorknob, and its unlocked. ‘of course this idiot wouldn’t lock the door.’ you thought, twisting it and slowly pushing the door, seeing vi collapsed on the bed but still awake. you clear your throat loudly, catching her attention as you stand close to the now closed door. “vi.” your voice cautious but fed up. watching her destroy herself over a top side is so pathetic, even jinx powder would laugh in her face. vi groaned tiredly, “can’t seem to catch a fucking break anymore.”

“fuck a break! what do you think you’re doing?!” you wave your hand around, as you often talk with your hands. “what the hell are you talking about…!?” vi retorted back. “look around you vi, and your hair! your outfit! you’re a damn pitfighter.” you pointed at everything you mentioned, “why?! is it because of that fall out you had with that stupid top side girl..?!” vi abruptly gets up and stands in front of you. the smell of strong beer and whiskey clog your nose, in her breath, her clothes, everywhere, “don’t you dare bring her up.” you scoffed, “why not? she treats you like shit but now you’re a floor licking puppy for her..?” you stare at her, raised eyebrow, “at least she was better than you in many ways than one.” “excuse me?” “get the fuck out y/n. go back to being a fucking prostitute or something.” “i’m not a prosti—” she punched the wall next to your head, you flinch, hard. “out.” her voice threatening. your hands and feet quickly move as you open the door and fumble out of the apartment was vi was was.

CAITLYN

a lot has happened in a short amount of time, well, caitlyn proposed to you, then jinx blew up the council and killed her mother, then your fiancée became a damn Dictator and has been worked and training nonstop with Ambessa, and you’re starting to worry. she has been looking burned out a lot more and tired to even notice you sitting next to her on her desk as she stresses over paperwork.

“dear?” you twirled your finger around her loose hair. she jumps a bit, snapping out her thoughts and looking up to see her fiancée, you, “sorry darling, do you need something?” she fidgets with her pen and fingers, you smile at her weakly, “your dinner is cold.” you point to the cold dinner plate, nothing eaten on the side table next to her. caitlyn sighs heavily. “right, i apologize my dear, ill…make sure to eat.” “this is the fourth time dear. you can’t be a commander with zero energy.” you cross your arms over your chest, “i know know i’m just” “i’m starting to think ambessa was a bad idea again. i worried about all this pressure and process. like especially after your mother died, this isn’t good..” caitlyn’s fist banged against the desk, stopping you mid sentence.

“i don’t need your pity or concerns right now.” you stare at her, confused. “what are you talking about right now dear?” “i’m saying you talk too damn much.” she stood up, the chair scratches against the floor and walks away from the desk, “where are you going?” you asked while sliding off the desk, “out. i need some fresh air.” you tilt your head to the side and keep your arms crossed, “fresh air? or maddie?” the blued hair commander stopped dead in her tracks, “what…what did you just say?” you scoffed, as you walked past her, bumping her shoulder. you open the door, revealing maddie with paper works in her hands, “i’ll take my leave.”

EKKO

patrolling the area around the safe area, but your mind consumed with the thoughts of your boyfriend, he’s starting to overworking again. and that’s pissing you off. months of you guys dating and he still doesn’t get the memo. you sat on top of the tunnel entrance towards the hideout. staring up at the stars, wishing ekko was here with you.

suddenly, you feel a long cold metal jabbed into your side. you immediately clutch it to stop it from entering further until the culprit kicked you in the back, causing you to roll off the top and your body thudding against the cold concrete then you saw black. you wake up, the knife removed and you’re wrapped in bandages around your stomach and your arm is in a cast. your eyes adjust to the light shining down upon you, you wince as a headache rises and you hear muffled sounds of someone screaming your name. once your mind finally adjusts to everything, you hear ekko,

“hey hey hey! firebug! what happened?” his hands placing everywhere patting you down. you wince again, “ekko…that hurts..” you fully open your eyes. “what happened? why did someone find you outside of the base, bleeding out?” he raised his voice, not scary but scared. “i…i was patrolling around the entrance and—” “patrolling? didn’t i say you’re not allowed to patrol unless i’m there?” his voice switch to low. “i can take care of myself ekko.” he gritted his teeth, “well clearly you can not! look at you now! you don’t ever listen huh?” he started pacing back and forth, “it’s like you’re deaf or something, i said no! and you do the entire fucking opposite!” he grabs his mask and hoverboard, stops to say something but rejected that idea and just left.

ekko was so hard to do ngl cause what has he done for to cause an argument🧍‍♀️and you notice how short-ish jinx is? yea cause i can never actually be mad at jinx.

©︎ A M A T E R A S U. all rights reserved. please don't plazarize, copy, or steal any of my works without my permission, thank you !

[dykedvonte]

I hate the stretch lines in the front of Curly's uniform because that means the devs rushed to make a model in like a month or so and thought "They gotta at least know he has huge knockers, gotta know he's got back pain." Cause like what is the thematic importance of his tits having overhang?

What responsibility is that representing? Breast reduction? It shows an inherent greed in his character due to the excess and heshouldletmeholdone and that he clearly is blinded cause if he tries to look down his damn ladder all he's seeing is his own cleavage.

[local-lamppost]

Act 3 Thoughts

Watched Wicked, came home, waited 20 minutes, binged Act 3. I do not recommend this lifestyle. Anyway...

I was so satisfied with where we ended up, but I would have also appreciated about 20 minutes to an hour more. It felt like some beats were skipped over, they wanted to get to specific endings and didn't have the time to wrap them up as neatly as I would've liked.

Maddie is a good example. She's a plant for Ambessa, okay but when and why did she become one? She couldn't have been one before Cait being named commander and when we next see her she's pushing for Cait to take power back from Ambessa. Did Ambessa just message her right after Cait and Vi started working together again as like a "the woman you love's actual love is back in the picture, you can either wallow or get revenge with me", but also made a smarmy remark about Cait 'at least being warm' or something. We didn't need to absolve Cait or villainize Maddie for their 'relationship' because they didn't even have a relationship-just a coping mechanism for Cait, similar to Vi's drinking. At best it was all unnecessary and at worst a waste of time.

Away from that, I want to focus on some good.

I am officially a JayVik shipper now. Them disappearing into a void together, encircled with each other, after Viktor spend however long within timelines/multiverses in hopes of finding a Jayce able to bring him back to his humanity? Come on, they needed to kiss. Especially after Jayce and Mel's low key break up. Honestly we were denied the three of them working together, because they would have been unstoppable.

Speaking of Mel, I love her. I love her design, her powers, her matricide, her taking command of Ambessa's armies, etc. I wish we could have seen more of her adapting to her new powers, finding peace with what she now is. There could have been a cool interaction with Viktor over how Arcane power has changed them both for better and worse.

I don't think Mel's story is done. With other characters, I can see them coming in for future story arcs as like, cameos or background details, but if the next LoL story is in Noxus I fully expect Mel to be a major player again.

Back to Jayce. I like Jayce, that could be my Arcane hot take, and I definitely want to write something more in depth on him. On all the characters really. For now, I'll just say that his determination to destroy everything he has built, because the only creation worth saving is his relationship with Viktor is just... glorious.

Viktor was amazing. I love Viktor in the lore, and they took his traits from the lore and amped them up to eleven. His body being destroyed and rebuilt, the process of which has chipped away his humanity and mutilated his dreams. He lives up to his own quote: "In the pursuit of great, we failed to do good. We have to make it right."

Ekko is a character I never realize I miss. That sounds mean, it probably is, but I am never the less so happy to see him every time. It's like finding the missing piece you didn't even know was lost: that is Ekko to me. His mini adventure in the parallel universe was adorable. Us getting to see what could've been alongside learning what matters most to Ekko, him getting a taste of a near perfect life and still choosing to return to his own time. That's why Ekko is the true hero of this story.

In terms of Jinx, I'll just say I'm not a hundred percent sure she's dead. The airship leaving at the end followed by her scribbled sign off, plus not getting a dead body shot. It was definitely left open ended. Her looking to do something good, to not mess up, alongside her fear of not wanting to try again because she is just tired of failure, of being a Jinx, was too real in many ways. I will go in depth on her at a later date.

Caitlyn's arc is going to be argued about, no question. It needed more time (see the start of this long post) to make her point of her anger burning away, of it not being sustainable, hit harder. I would have made her realize what her anger was doing to Vi, have Jinx point out that they really are acting the same in their treatment of Vi, and use the whole Ambessa was literally stoking the fires of her hatred to help fit what time they had left. Honestly just have Cait learn Ambessa was the one behind the memorial attack, that would be a much better way to explain her anger diminishing enough to look beyond her own hurt to realize and take account of her mistakes.

Vi, as usual, needed more screen time. Not necessarily because her story would've been helped by it like in act two, but just because I wanted her to have more time to enjoy her life. I went into act three with the sole hope that Vi would have a nice day, only for her to loose everything again. The only people she has left are Cait and Ekko, and god help anyone who tries something against those too now. Her ending being the chance to finally rest, to lean on someone else, was beautiful. She is my favorite character and please let her have only good things in the future, she was traumatized in almost every scene this season please-

Nobody tell Vi that in a universe where she died young everyone else ended up living. It would destroy her.

Vi and Cait relationship was great. I wouldn't say it was rushed in act three, because it felt like it was where it should be for a final batch of episodes, if that makes sense. It felt like the set up was Cait being genuinely remorseful and Vi just wanting someone in her life who wanted her in return. It helps that they have great chemistry and that when given the chance they fit so neatly together. I think Jinx encouraging Vi to be with Cait is what sold it to me. Jinx realizing how much Vi has given/sacrificed and giving her blessing for her sister to be happy with someone she disapproves of; not to mention Cait pulling the guards from their posts to give Vi the chance to actually meet Jinx in order to have that conversation. All in all, it comes down to Vi's "I don't care" because that's really all there is too it for them. Vi is done being miserable and Cait makes her happy, vice versa. Cait is someone Vi can rely on, Vi is someone Cait can find strength in.

Spitfire round:

Sevika being made a councilor

Every single one of Mel, Cait, and Jayce's designs were 10/10s

Vi not being given an actual uniform, just armor and the gloves

Jinx cutting her hair further to match Vi

Ekko getting his crystal sword/bats

Heimerdinger dying after living a life where he could make his city something to be proud of

I was fully expecting Vander and Silco to kiss in that one shot

Everything with Benzo

Loris' name being said

Vi humming the song and the song being their mother's lullaby

Viktor being held within the Herald

Sky leaving so Viktor was free to bring Jayce to his space mind palace

Caitlyn's rifle never surviving

Fishman McBlue being the only one of Cait's soldiers to stick to his guns and stay loyal

Sevika and Shoola side eyeing each other

Vander and little Vi and Powder with the bunny

The bunny being a passenger on Jinx's balloon

Singed's messed up family getting a happy ending

[animezinglife]

I understand it, too.

I genuinely do find Solas attractive, albeit in a different way. I would love to romance him with a different character someday---I just wish we got Solas for who he truly was from the start of that romance or that the truth had come out earlier. I'm good at avoiding spoilers, and I hadn't known he would betray the Inquisitor, nor had I even known you couldn't romance him as a human. I had actually gone in fully expecting Mira to flirt with him a little (I knew nothing about Cullen's romance at the time and had always heard Solas was the way to go), but that's simply not how their dynamic played out anyway.

I have no doubt his and Lavellan's is an enthralling story in DA:I, and I would at some point like to experience it. I fully understand the appeal. I would fully be there myself with the right character and mindset.

Solas is captivating. He's someone you could talk with for hours on end about the most abstract concepts, but there's always that small sense of him keeping his distance (even before the topic ever comes up). Even I knew there was more he wasn't saying by the way he dodged questions and some of the dialogue between him and other companions. Though for someone who didn't know better, that could've simply meant he was far more powerful than he let on, knew more than he let on, likely older than he seemed, and wanted to protect himself. The whole, "elven god of lies" thing was a bit more of a twist than I'd anticipated. A secret, ancient elf hiding some things I can do, especially if those layers get peeled back over time. I'm less sure about elven Loki.

I think it truly would've been interesting had it gone a bit more in the direction of Children of Fallen Gods/Mother of Death and Dawn (which, some have noticed, draws some considerable parallels to Solavellan in ways that can't be considered coincidence). Without bringing too many spoilers to the forefront of the conversation, there is some...mutual awareness and corruption that occurs between Totally-Not-Solas and Totally-Not-Lavellan. The power dynamic's more balanced and decision making more...comparable to some degree.

(I am not, by the way, blaming Solas or pointing any fingers at anyone regarding their power dynamics in DA:I).

Solas is the guy whose beauty (if you lean that way at all) isn't quite as noticeable until you get into a really deep discussion with him and realize your heart's beating a little too quickly and you're definitely sitting closer to him now than you were before. He draws you in. He piques your curiosity a bit too much.

I truly do not factor in looks at all (within reason---I'm blatantly partial to humans, elves, fae, vampires, etc.) when I play games with romance options. Solas (in theory; I played as a human, which negates the option) would've been every bit as high up on my to-romance list as Cullen. In truth, he was higher just because he was the one I knew so many were obsessed with. Just because Cullen caught my eye faster didn't mean he and my Inquisitor would've been a good match.

But wow, were they.

I easily lean more towards the "Solas-is-attractive" camp in general. Honestly, I love the fact that the romance options in DA:I were so different and unique from each other. Any players who chose to pursue a romance could find one that suited their characters perfectly. I like that there are a range of personalities, dynamics, and looks, and that there's good variety.

For me personally, nothing in that particular game will ever top Cullen's just because it's so incredibly hyper-specific to every little thing I love and value most even in real life. It's perfect for Mira's story; she is, admittedly, a lot like me. I couldn't believe a romance like that even existed in a game (and you already know why/the many layers I'm referring to).

Yet I also know there are plenty who wouldn't like his romance at all and vastly prefer Solas (or someone else in general).

That's the beauty of it, though.

But, yeah..."ugly?" That's not even a word I'd consider for Solas at all.

Dragon Age: The Veilguard | ▶ dev. Bioware

[yuurei20]

Hello! Do you know anything about the rumours of yana not being involved in the development of twst anime? Read somewhere that she tweeted she was "pleasantly surprised by the news" but couldn't find the tweet anywhere…

Hello hello! Thank you for this question! I believe this is maybe the tweet? ^^

And it seems the part that surprised her was that the anime is going to be based on the manga!

Much like many fans have been wondering in what direction an adaptation would go in, it seems that Yana had been wondering, too ^^

As for "Yana not being involved," this rumor likely comes from the original announcement--it credits Yana as the creator of the game, but does not list her as a member of the team behind the anime:

Animation production for Disney Twisted Wonderland: The Animation is being handled by Yumeta Company × Graphinica, the team behind the globally successful Record of Ragnarok II. The overall director is Takahiro Natori, known for works like ARIA The BENEDIZIONE and Tokyo Mew Mew New♡. The director is Shin Katagai, who worked on The Newbie Old Man Adventurer: Trained to Death by the Strongest Party and Became Invincible and CUE!. The script is by Yoichi Katou, renowned for handling a wide range of genres, from Space Brothers to Aikatsu! and The Idolmaster Million Live!, with a proven track record of managing works with many characters. This team has gathered to faithfully recreate the game's originality while fully bringing out the charm of the characters in the animation.

Yana has spoken before, at length, about the struggles faced by mangaka whom fans feel do not have enough involvement in adaptations of their work: Post 1 - Post 2

She explains,

For works outside of Black Butler I am often not the copyright holder, so oftentimes I will not know what kind of adaptations are being planned. When something comes up I will do my best if I am asked to participate, but if I am not approached, I leave it to them.

So does this mean that Yana is not being consulted on the anime adaptation of Twst? Is that why she was surprised that it is being based on the manga--that wasn't her decision?

We do not know--there is no official confirmation!

And we will maybe never know ^^ There are likely many complex contractural rules bound up in this situation! Yana coming forward and saying that she has no hand in the anime could have negative consequences, as fans of her work may turn away from it, but she also cannot take credit for something in which she was not involved--it is a delicate line to walk!

Until such a time as there is an official announcement of how much Yana was or was not involved, all we can do is speculate ^^

[harmonysanreads]

hi! i love the way you write aventurine, could you give me some tips on writing for him bc im struggling her to grasp his character :(

if you don’t have the time then that’s alright!

Hello, nonnie. Thank you so much :') Since you didn't mention whether this was in the Yandere context or not, I'll list some general tips. I hope you find these helpful!

— FOR BASIC CHARACTERIZATION

One of the most important aspects of Aventurine is that he's insanely smart, but they always sign it off with luck at the other side of the equation. This is intentional of course and whether or not luck really is the ultimate deciding factor isn't really the question we should be pondering about for a video game. Everything Aventurine does is through careful strategizing, scheming and calculating. What you need to remember is that ‘luck’ is more like a protective layer on top of it all. When deciding upon a plot, try your best to keep Aventurine's intelligence in mind. Then you can seal it off by using ‘luck’ in classic Aventurine style, or use dramatic irony with this point.

I think, for Aventurine, having a reader who surprises him is very convenient. It doesn't need to be a head-on challenge, sometimes the strongest impressions are made through silence and passivity. Remember, Aventurine is an incredibly observant character. For example : when he offers the Trailblazer ten thousand Credits after their first encounter, if you refuse politely, he becomes extremely pleased, as opposed to his somewhat miffed reaction if you pick the other option.

As you know, he's often partial to extremes. His ‘all or nothing’ motto can be useful to stir inner conflict.

Body language is very important for building his character. Instead of writing a whole paragraph about how beneath his bravado, he's always scared of losing, they conveyed much more through revealing the fact that he hides his left hand behind his back during all daring gambles. Aventurine isn't the type to be upfront about emotions that can make him vulnerable — that's detrimental to survival. So I think you can reveal those emotions through body language.

He's a very... unconventional gambler. His tendency to pose things as gambles and bets is more like a shield than anything. In any case, it makes for a great tool in adding drama.

— FOR DIALOGUE

Aventurine is a pretty complex character so I often forget certain things if I don't stay in practice, listening to his voicelines really helps me get a quick refresh in those cases. There's this channel on YouTube that compiles the characters' scenes individually, it's very helpful.

I think we all can agree one of Aventurine's greatest strengths is how he weaponizes words against others. There's more to this though. Be mindful to the upward and downward inflections in his sentences, the pauses between phrases and which words he's putting emphasis on.

He's also an interesting mix of straight-forward and roundabout. He says he prefers people to be direct and he often is direct himself. But with his ‘insults’ in particular, he's very roundabout. By the time you realize what he just said, it's already too late to shoot a comeback and he has you exactly where he wants.

— MISC. TIPS

Keep his backstory in mind and be respectful to it, but don't let it stop you from experimenting.

He has religious trauma, survivor's guilt, trust and commitment issues, as well as a complicated attachment style. Do you research on how these things affect people in relationships.

Aventurine's arc hasn't ended, which is why many things about him aren't definite. Consider how you might use it to your advantage.

[alloftheimaginesblog]

ready (klaus mikaelson)

plot: klaus always knew that one day you'd take him up on his offer.

character: female vampire reader x klaus mikaelson

inspired by something similar he says to caroline

"One day, love, you'll come to me. Might be in two years, might be two hundred but mark my words, you'll realise I was right along. I am the only one who can fulfil your wildest desires and your largest dreams. When you realise that, you'll come knocking on my door and then... well, love, then I'll give you the world."

It had been three and a half years since Klaus Mikaelson had said this to you. Three long years. He'd came into your life as a villain, you were supposed to hate him. He had killed, harmed and tortured so many of your friends (and his sister had tortured you a fair few times) and yet, he was always so delicate and gentle with you. He'd been interested in you pretty much ever since he came to Mystic Falls. You'd hated him... or at least, you tried.

He had gotten under your skin all of those years ago. He'd saved you too many times to count. He had shown you kindness and compassion, had recognised you for who you were; Klaus had seen you. You'd gotten to see a glimpse of the human side to him, not the scary big bad wolf, you'd started to see him. And when he left, with an invite extended your way, it took everything in you to say no.

Klaus hadn't stepped foot in Mystic Falls since he left and yet, every few months or so, he would write to you. Seldom did you respond but you enjoyed reading about his travels. Each time he wrote, he would send photos of the new place he was visiting usually with a list of reasons as to why you'd love it there with drawings he'd done and every single time he wrote, he attached a plane ticket to whatever destination with your name on it. You never used them, instead they gathered dust in a drawer which was full of his old letters. Klaus also always wrote exactly where he was staying at the end of the letter so you knew exactly how to get to him. Periodically, you'd go through and read some of them. They always smelled like him and had the same send off each time.

'Unequivocally yours, Klaus'

You knew that if you needed him, he would be there immediately. He had promised you as such. And the one time you called for help when Caroline got bit by a werewolf, Klaus couldn't be there in person but he sent Elijah with a few vials of his blood (extras for any future emergencies). He would do anything for you and all he wanted was the chance to show you as such.

So when this month's letter arrived with details of his new adventure complete with a plane ticket to Italy, you decided to take the chance you'd regretted not taking three and a half years prior. Your friends were oddly supportive which surprised you but Bonnie had told you she wanted you to be happy and if he's what made you happy then so be it. Damon wasn't impressed but he rarely ever was. Stefan urged you to your happy ending. Caroline approved, she'd seen the way Klaus would've done anything for you so even though she didn't like him, she knew that he was the real deal. Elena was supportive, she'd gone for the 'bad guy' in Damon so she understood the inner conflict and told you that it was okay to let yourself be happy.

So, you packed a bag and headed to Italy.

Getting there was the easy bit; the hard bit was finding the courage to knock on the front door. Your heart hammered in your chest as you stood on the grounds of what you could only describe as a small castle. It was beautiful, with glorious gardens and fragrant flowers. You swallowed hard before taking a breath, this is what you came for, and you knocked three times.

After a few seconds, you could hear someone's voice approaching. Klaus.

"-I didn't ask you to go to such lengths, brother, though I have to say I do appreciate it-"

He opened the door and his expression turned from one of mild annoyance to complete shock.

"Elijah, more important matters have emerged, I'll speak to you later." He hung up, pocketing his phone quickly. He looked good. The Italian sun suited him, turning his hair a shade blonder and making his blue eyes pop, "(y/n)..." A slow, wide smile spread onto his face.

You swallowed hard, "Hi, Klaus."

He stepped aside, silently inviting you into his castle, and with a small smile you breezed past him. He closed the door and led you through to a grand room with various couches and paintings. You looked around incredulously, "This place... it's incredible."

Klaus smiled, "I told you that you'd like this one."

You looked at him and felt nerves bubble in your stomach. You'd came all this way and now... you didn't know what to do. Klaus eyed you curiously, trying to gauge how you were feeling, "Do you need something?" Oh, how he hoped that you were here for him but he had to be sure.

You shook your head, finding words too hard to find, and instead looked back to the paintings, "These are beautiful, did you do these?"

Klaus appeared at your side, making you jump slightly, "Sorry, love," he smirked. He was so close to you, so near that you could smell his cologne. Your heart raced. His hand reached out past you to touch the painting, "I painted all of these, yes. This one is my favourite."

"The colours are lovely," you nodded.

Klaus smiled, quickly vanishing and then returning to your side, "Here, look in the mirror and then look at the painting."

You frowned at him but complied regardless of your confusion. He handed you a small hand mirror which you looked into and then at the painting, "I don't get it," you said to which he urged you to look again and then you realised, "my eyes."

Klaus grinned, "There we go, love," he beamed proudly, "my favourite colours and shades to use. They crop up a lot in my paintings. Go, look," he encouraged you forwards, "take a look and you'll see how often you feature in my paintings."

For a moment, you walked around the room, soaking in the subtle (and sometimes not so subtle) hints of your eye colour in every single one of his paintings. It touched you causing you to feel warm inside and you couldn't understand why. You looked at him. He stood on the other side of the room watching you with awe filled eyes, "But why?" You asked softly with tears filling your eyes, "Why me?"

In an instant, he was in front of you, chest touching yours, with his eyes locked with yours, "Oh, love," he whispered, hand reaching out to graze your cheek softly, "It's always been you."

You looked up at him, "You asked me if I needed something earlier." Klaus's brow furrowed and his hand stilled - fear; fear that you weren't here for him, fear that you needed something and then you'd disappear again. "I do need something, Klaus."

"Anything."

"I want... I need you." Your admission was quiet but he heard you loud and clear, "For years, I've regretted saying no to your offer to come with you. I want to live, Klaus. I want to be free. I want to be happy and that means letting myself be happy with... you."

"Me?" Klaus asked.

You nodded as your own hand found its way to rest on his chest, "I'm ready to fall in love with you, Klaus. I just hope I'm not too late."

He grinned, wider than you'd ever seen him smile, "You're right on time, love," he said before his lips crashed to yours. And for the first time ever, you let yourself give in.

[3hks]

How to Write Emotional Dialogue Without Being "Cringy"

Did you ever want to write an emotional scene between characters but suddenly felt so conflicted because you're worried it might seem cringe? I, for one, have (and still do) worried about this! So today, I'll share some tips on how to make your dialogue LESS cringy and MORE emotional!

But for starters, what exactly makes something "cringe"?

Our media actually plays a big part in shaping what we find to be cringe, so certain words or phrases tend to stick out to us as "cringe". But when it comes to writing, it depends mainly on the context given.

So, with that being said, something that's meant to be emotional might seem cringy and awkward because the scene falls flat. Now that you understand the base cause of this, let's explore some ways to avoid it!

>>> OMIT, DON'T SAY

If you ever found yourself writing out a line that, no matter what, still seems awkward, then the problem may lie in the line itself. Sometimes it's unnecessary to say everything; your readers are smarter than you might think! There's a lot you can omit in dialogue while still maintaining a natural feel, whether it be through body language or hidden meanings behind certain words!

EX:

Prompt: "You're so fake, you think you can hide from the world, but you can't. What if someone finds out the real you?"

"I'll just put on another mask."

V.S

"What do you think?"

Regardless of whether you find the first response cringe or not, you can also see that the alternative response hints at a similar answer despite not confirming or denying anything!

>>> BE BRIEF

Unless your character is ranting or you're strategically elongating their dialogue, try to keep their lines concise. Many people will speak briefer as a result of uncomfortableness, sadness, and/or anger.

If a piece of longer dialogue looks odd to you in a certain situation, that might be because your character seems to be trying to explain something too much when it wasn't your intention to create that effect. Filler words (uh, um, oh,) are fine because they're a part of natural speech, but sometimes it's better to get straight to the point!

>>> FILLERS

Speaking of filler words, they can become really useful when writing emotional dialogue because they can portray a variety of emotions! (They can depict feelings of anxiousness, sadness, and more.) Additionally, stutters and ellipsis are helpful for the same reason! Overall, these incorporations really spice things up! Unnaturalness can be a cause for cringiness, and fillers assist in making dialogue feel more natural!

>>> ITALICS FOR RANTS

Okay, but what about rants and purposefully long dialogue? How do we make these more meaningful when essentially, we're just talking about big blobs of text?

Here, it's important to add dynamic to catch the reader's attention. When we read, it's like a voice is talking in our heads, and the voice is ultimately determined by subtleties like italics!

So, with that being said, use italics (I suggest incorporating them regularly, actually) when writing LONG texts! It creates a flow and rhythm for our reading, and most importantly, adds emotional weight to certain words/phrases, which highlights what your character prioritizes and cares about most!

EX: "I-I thought we promised! You said you wouldn't leave--so why are you leaving now? Was it my mistake? I'll change, I swear! (etc...)"

V.S

"I-I thought we promised! You said you wouldn't leave--so why are you leaving now? Was it my mistake? I'll change, I swear! (etc...)"

See? With just a few italicizes here and there (although you do want to be strategic about which ones you italicize), the simple dialogue quickly grew more weighted!

>>> DON'T RE-READ TOO SOON

In the end, the most effective way to tell whether something is cringy or not is to have someone else read it and tell you! But if you don't like the sound of that and prefer to check on your own, I suggest to not re-read your dialogue over and over. Instead, give it some time!

When we re-read our work too soon, we already know what to expect, which influences our decision making and opinions. By approaching it after you refreshed your brain, it'll feel more like you're reading it for the first time; and therefore, you'll form more effective ideas!

***

Still, it's also important to keep in mind that something that's cringe to you won't be cringe to someone else and vice versa! It's ultimately based on the readers, which we have no choice but to accept. However, if you were concerned about your writing because of such reasons, I hope this has helped!

Happy writing~

3hks <3

[riddles-n-games]

Hey guys, I've been seeing another rift going on in the fandom regarding TGG and TIG characters, so I've decided to make a statement that can hopefully make things more cohesive.

I understand that not everyone likes the new spin-off and honestly, I'm considering just stopping after GU. Personally, I don't have anything against the characters of TGG but my problem is that they sound too much like our old mains. However, that's not their fault. It's the author's. There's nothing wrong with JLB wanting to expand the TIG universe but it is problematic when you are repeating the same character arcs of the old characters that are also present and interacting with these new mains. The problem that we face is the fact while even in The Naturals there are similar characters, they are divided by different series. However, that is not going on here with TIG and TGG. TGG is a continuation of TIG and our TIG characters are still present. Heck, one of our old mains is a player and a love interest here to one of the new mains. And therein lies the issue. When you have a connected series, it's important to have distinguished characters with different voices, not carbon copies.

What I expected for TGG characters was that she would move from the character tropes we've seen already in the series and come up with new ones. I mean, come on, she's a psychology major, we bring that up so often but what's the point when she keeps going in circles and never brings up anything new? I pointed a lot of this out pre-read because I already correctly guessed where this was going within just a few pages of reveal. Don't get me wrong, if she wanted to, she could do it but it doesn't feel like she has new plans or plots. Be honest with yourselves and don't just praise because she's your favorite author. You can be a reader, a fan, and a respectful critic all at the same time. Don't lower your expectations just because they can't deliver every time.

The trouble is that when you go back to TFG, in the acknowledgments, she herself wrote she wasn't sure there was going to be a third book. And now look, suddenly two books were announced a month or two after she released the last book of the trilogy which introduced our mains and not the most fashionably. I do believe she had ideas but I don't think they were the best fleshed out. You have to realize that just reading TGG, how many of you recognized the obvious plots, the romantic subplots, the character arcs, and even the semi-hidden plots just getting to the halfway point? And how many of you said, hey, wait a minute, we've had this plotline before? You did, didn't you? I want to give Jennifer the benefit of the doubt but I truly think she is in over her head because I don't believe she quite thought that this is how long the series would go.

In fact, I think that she is making more trouble for herself in trying multi POV for this new series when really I think it should have just been Gray taking over. It would have allowed us to see how he's grown especially after the heartache and mental health issues he's had to go through to get here. It felt like the obvious next step, even the summary for TGG made it sound like that. However, the only thing that seems new to me is the hypersexual atmosphere which also makes no sense to me because teens may go through attraction but that doesn't mean they're horny all the time and anyone who's gone through puberty can attest to that. So I ask again, like one reviewer on Goodreads put, were the romantic moments in the room with us? 12 hours is not love or romance, it's lust, that's it. Couldn't summarize it clearer. If she wanted to make it better, it could have been that she made the book stretch over a series of weeks which is why I wonder what the heck will happen to any character development if this book series is done in like 3 days?

As I said, a lot of things feel very repetitive, the plot, word choice, thought processes, quotes and sayings, etc. We are in a loop. She's in a loop. I think that the best thing JLB could have done is leave TIG alone for a few years after TFG, make a new series or whatever works outside this series she wanted to, give herself time to truly see if she has new stories to tell for TIG by writing a spin-off and then come back to give us that content. Because it's really telling how forced things have been in the last two books, even here with GU and I really think this empire is toppling. As they say, quality over quantity and thoughtful than full of thoughts that are just a variation of one another. That's what makes me think more and more she should have left it at TFG.

Thank you for reading and I hope this gives a new perspective that can help you see some things more clearly.

[sapphicslaylist]

I am in agreement with the above, but do want to add an additional perspective: people often forget that Smitten is, and always has been, a very accurate and in many ways tragic depiction of codependency.

He is extremely untethered, obsessed with the classic “bleeding out for your love” romantization, and is completely not ready for a relationship. He is actively drawn to characters who hurt him (Proto/Damsel, and Witch/Thorn, both of who does so in self defense, and Razor, MoC, and Burned Grey, where he presumes she hurts him out of love). His understanding of love is a false and fucked-up notion that he has to suffer to be worthy of her, that he needs to be hurt, and he needs to tend to her and ignore himself. This is how lines like “don’t mind my sacrifice” come up; he believes he is helping. He really does. Is it manipulative? ABSOLUTELY! But he is unaware of this in his own crusade.

Does this in any way justify his actions? NO. IT DOES. NOT. Smitten needs to stay the FUCK AWAY from Damsel, and reevaluate himself before being prepared to romance. The only reason that Thorn works is because that is someone so worn down and exhausted that she does need someone to trust and love her despite the past; she, much like him, is also not relationship-ready (note the fact she is still LITERALLY BLEEDING OUT with fresh wounds/needs to psychologically & physically heal first) but gravitates towards that spark regardless due to her own conflict and the belief that she’s in the wrong for it. Thorn herself was stabbed in the back first, fought back, and once again took the dagger in fear it’d be used against her in Witch’s cycle. When this wasn’t the case, she blames herself entirely for not reading LQ’s behavior correctly; something which is common in victims of abuse and domestic violence when they gain the upper hand over their captor. It feels wrong to them because they’ve been trained to be subservient. Thorn has no clue who she is anymore due to breaking out of the rubric, and can only revert to the past if harmed or step forward very muted alongside him. This is part of why I prefer the abandonment & Slay attempt routes for her characterization; she needs time to rediscover herself. They both need time.

So how does this link back to codependency?

Smitten is a caretaker. He believes it is his responsibility to take care of women he does not know very well, because he is under the assumption he needs to “save” those who are hurt. He sees the hurt, but not the reasons why; he presumes in Damsel that rejection is a judgement of his character opposed to lack of connection. He just so happens to judge Thorn correctly because their desires match up. Given the context of the situation, he is also convinced that his inaction will cause the death of The Princess, and that would be blood on his hands SPECIFICALLY. He is a traumatized, unstable, and dangerous man at times driven by a misled desire to help, and often hurts instead.

This is a very common pattern with people within these relationships: believing serving one (or several) people is their job, to white knight, and to rescue. He is the deconstruction of Prince Charming and aptly points out the masculine side of fairytale expectation in ways it’s not often explored. It is gender roles depicted as something which can destroy a good heart and warp them into something which counters their beliefs.

In essence: is Smitten healthy? NO. Man needs some serious therapy.

Is Smitten malicious? Quite the opposite. He desires not to have the Princess harmed and take her pain away, but forgets that pain is part of being alive. By taking her ability to feel pain unto himself, he removes her agency in her own grief.

Now, the big one: is Smitten EVIL?

This isn’t ABOUT good or evil, is my answer. He is flawed, he is absent, and he is the bloody, brutal truth of how codependency trap both people. These relationships are not talked about enough and are often mischaracterized by lacking information. The game does it beautifully, and I wish that more folks would consider this.

Tl;dr Smitten is not defendable. But to characterize him as willfully malicious and harmful goes against the grain of his entire gimmick and frankly needs to stop.

SLAY THE PRINCESS PRISTINE CUT SPOILERS)

Hey so I’m not the only one who played this route absent mindedly and came back to really think about it and get very concerned right?

One of the things I wanted to say is how UNCOMFORTABLE this line from smitten is

I CANNOT defend you anymore 🙏

On a real note, reexamining this. It’s very on-brand for him. Even if it is a VERY concerning thing to say. I love the smitten but gee golly gosh times like these make me remember this guy is not mentally ok.

Like, telling a girl you will “give her everything she doesn’t know she wants” after she said she doesn’t want to live in a cabin with an actual stranger feels very. Interesting. I don’t have any nice words to say about him in this chapter. I feel like more or less it was so jarring to me. It is in character tho wether I like it or not

I also did this, I didn’t know we could do that

[pomefioredove]

@hxney-lemcn said more cater fics and I am here 2 deliver ✌️✌️

*ੈ✩‧₊˚ friends kiss, too

type of post: short fic characters: cater additional info: romantic, reader is gender neutral, reader is yuu, friends 2 lovers ON TOP! a little making out

Every time Cater drags you through one of these things, you ask yourself why you let him, and every time, the answer is the same: he's your best friend, and you love him.

It's the very same reason you let him spam you with texts and annoy you with surprise selfies. It's the reason you rarely hang out with anyone else, because you know it makes him jealous, though he'd never admit that.

It's the reason you're here, now, awake in your room well past curfew.

Despite the threat of a Housewarden who would flay you alive if he caught you and Cater sneaking around in the dead hours of the night, your bestie was absolutely insistent on this all-nighter.

It's a trend on Magicam, he said, and he had, of course, pouted and whined like a sad puppy until you agreed to "support him" by keeping him awake.

By two in the morning, you were more bored than tired.

"Pass. Pass," Cater says, swiping through dating profiles on his phone. "Hm... no, pass."

You sigh and slump against the headboard of your bed. "You've said that word so many times, it doesn't sound real anymore,"

"Ughhhh. Is Sage's Island where hotties go to die? I just want a cute holiday romance!" he exclaims. "Think of the pics!"

You roll your eyes. You'd heard that exact string of words probably ten times in the past few days.

"You can't date someone just for couple photo ops,"

Cater pouts. "Oh, yes I can. I specify "nothing serious" on my profile! It's not like I'm lying!"

Another eye-roll. He's technically right, as always, which just makes you even more annoyed.

But you don't want to get into an argument about the morality of flings right now.

"And it's cold out. Who am I gonna hold when it gets even colder? It's cuffing season, hon,"

Something about the way he says that bothers you. You try not to think about it so much.

"Well, you'll always have me," you tease.

Cater giggles, and sets his phone down on the bed, a subtle way of showing you that you have his full attention now. "Oh? What's this? Sounds like you're offering,"

"Not what I meant," you counter. "I'm your bestie, not your bae."

"Boooo. What are you, a nun? Friends cuddle all the time,"

Again, he's right. He likes being right, and you can see that on him now, too. He has that competitive glow on his face.

You smile. "Sure, sure, but we all know that cuddling isn't what you're looking for,"

Cater gasps, feigning offense with a hand placed delicately over his heart. "I am not that easy! I'm starting to think you really do want me all to yourself,"

If anything, it's the other way around. Since befriending him at the start of the school year, you'd always had the feeling that he took up all your time on purpose. But you don't say that.

"Besides," he goes on. "There are a lot of things that besties can do that are perfectly friend-like. The segregation of romantic and platonic is a totally oppressive amatonormative structure, anyway."

You roll your eyes. "You have got to stop reading those infographics. Do you even know what any of those words mean?"

"Not the point! I'm saying that there's lots of cute stuff we can do while remaining besties,"

He's very enthusiastic about this. You can't tell if it's his penchant for being right, or something more.

"Pfft. Okay. So, what, friends can kiss?"

"Obviously," Cater crosses his arms over his chest, giving you that smug look of his. "Friends kiss, too."

"Then prove it,"

The words that had you had been holding in the back of your mouth for the past few minutes escape before your brain can stop them.

Even Cater, who's never surprised, pales a little.

Your mouth opens, then closes, then opens, again without your thoughts offering any support.

"I didn't mean-"

"Okay,"

You blink. Something hot and cold at the same time runs through your body- adrenaline, anxiety, maybe it's just your own blood heating up at the way Cater leans closer, cupping your face in his hand, his fingers curled under your jaw and thumb gently brushing against your cheek.

His hands are kinda sweaty. You don't really mind, and even if you did, it wouldn't have mattered, because his lips are now sweetly pressing against yours.

You fit together quite nicely. As if he was just meant to kiss you.

It's hard not to think about everything all at once; his warm hand moving to cup your chin and hold you close to him, his hair brushing against your face, the way his lips still linger with spice from whatever he'd eaten earlier...

It's not perfect. But it's him, which is close enough.

Cater pulls away, his breath dancing across your lips, but he gives you no time to recover before he's closer, kissing you again with a sort of heat that matched the taste of his mouth.

He holds your face in both hands, shamelessly pinning you against the headboard and sitting in your lap as if he belonged there, always.

Minutes go by. Maybe hours. You wouldn't have noticed, or cared, either way. When you finally part from one another, it's felt like years.

You feel like an entirely different person. As if the world had ended and begun again in the six minutes you had been kissing him.

Cater sits atop your thighs, panting, his face redder than his Housewarden's hair, that of which would have flayed you both if he were to catch you like this.

Luckily, it's just the two of you.

"See?" Cater finally mumbles, dismounting you and scooting back to where he left his phone. "Platonic."

You're too breathless to argue.

You suppose you'll let him be right again.

[mythalism]

There’s a theory going around (what with DATV shut out of the game awards) that the writing sucks so hard because EA or BioWare forced an AI rewrite after firing a chunk of the writing staff. I won’t say I fully beleive it, but I will admit that quite a lot of the dialogue in Veilguard feels…off. It’s hard to really describe.

I know EA had mentioned wanting to use AI writing in their games, but I figured that meant future games. Any thoughts on this?

this is devastating to me but i hate to say... i can see it. and feel it, more importantly, which i think is the key with AI. a few things that make this seem plausible to me are that bluesky post from epler that has since been deleted talking about how he agreed with the biggest criticism of veilguard (without specifying what he was referencing) was something he agreed with, and trick and another dev chimed in and added that not only did they all agree, but they tried to fight it and lost. we are never going to know exactly what this was referencing, but i think it does allow us to infer that there was a significant amount of friction between EA and bioware. the kotaku article on vg's development from 2019 also has a rather telling couple of lines: "I kept hearing one interesting sentiment from current and former BioWare staff: They felt like the weirdos in EA’s portfolio, the guys and gals who made nerdy role-playing games as opposed to explosive shooters and big sports franchises. BioWare games never sold quite as well as the FIFAs and Battlefields of the world, so it never felt like they could get quite as many resources as their colleagues at other studios. High-ranking BioWare staff openly wondered: Did EA’s executives really care about narrative? Did they really care about RPGs? Those questions have always lingered, and still do today." so... yeah. that feels relevant to me with this.

the second is the datamined dialogue people have been finding that reveal what is frankly a far better written game and more in-depth dialogue. some of it is still cheesy and marvel-esque, but theres so much MORE of it that shows a much more coherent vision for the plot that for some reason is just.... gone? and i have no clue why. idk if we will ever know this for sure, and it is genuinely difficult to pick out AI from any other kind of profit-focused corporate writing other than just.... intuition. you can often feel the lack of humanity within it. and considering we know what bioware writing feels like and its the reason so many of us are here on this website yapping about their stories and characters... and how veilguard feels like something is just missing... yeah. i dont think its outside of the realm of possibility

[ysaona]

— Spoilers. Season 2, act 3 arcane. ⟡ ݁₊ .

First of all, Jinx is alive, and nobody can tell me different—end of story. I’ll post why after this (or before). Second, I CHEERED when Maddie, you know, because who does she think she is for real? Like, she actually had me heated.

Next up, I’m so happy Caitlyn and Vi are happy and safe and are living a sweet little life. It actually makes me so happy I could CRY. I can’t even explain it, but getting FREAKY in a jail cell? Oh, y’all are SLUTS—. Like, I had to click off to understand what I had just watched. I was literally in fricking shock, bro.

I’m also so sorry this is like thrown everywhere, but guys, I just am feeling so many emotions. I literally just finished this, so it’s raw emotions, like oh my god, the way Viktor and Jayce went out. They are literally so FRICKING GAY; like holy HECK! You homosexuals are so dramatic. Mel was so COOL this season; like I’m glad we got to see more of her being a Badass other than her just being a warrior's daughter. I think she deserved that title.

Arcane, the animation, to the art palettes, to the fricking characters, to the top and fricking bottom, holy heck, it was beautifully written. It was illustrated amazingly; it was gorgeous, it was heartbreaking, it was everything. This show deserves every award they could possibly earn. It was so beautiful, and I am just so honored to have even watched it.

Also, at the end, Caitlyn says something that gives off the vibe that’s like, “Our story is not over; this is just the beginning.” I have hope that they will continue Arcane, even if it’s a spinoff or a movie. I just think it’s not finished, and there are so many questions left unanswered, and they did that on purpose for only one reason, which is to somehow continue it. I pray they do because the storyline, the characters—it’s all so beautiful.

So I have HOPE! That we will somehow get a continuation very, very later lol okay ily thank you all for almost 1000 you guys are my babes. ALSO, COMMENT I WANNA HEARRRR ALL THE THEORIES AND ALL THE THOUGHTS!

— @juptology !! <3

[cripplecharacters]

so with a OC in a pokemon universe, who uses a wheelchair, I'm thinking they would have a psychic type service pokemon that helps them with things such as using telekinesis to reach things on high shelves, or to levitate them in their wheelchair upstairs, would this be something bad?

Hello!

The concept could be a possibility but there are a few things that have me concerned. We've discussed the concept of "disability-negating magic" on this blog before and this can apply to magical forces outside of the character's own abilities such as a magical artifact or -- in this case -- the abilities of a Pokémon.

While having the Pokémon use their abilities to reach objects on higher shelves, open doors, or retrieve dropped objects from the ground is fine, having the Pokémon use their abilities to carry them -- with or without their wheelchair -- is veering into the territory of erasing their disability.

Given the limits and the vast possibilities of the Pokémon universe, it can be a difficult line to walk to give your character a support Pokémon while also taking care not to erase their disability.

The tasks I outlined above -- retrieving objects, opening doors, etc. -- are all tasks that can be done by real service animals. The only difference is how they're doing it.

While a service dog may pick up an object in their mouth or use their nose to press a button to open a door, the psychic Pokémon may use telepathy to do these tasks.

Although it could be okay to have the Pokémon help them navigate inaccessible buildings every so often, it shouldn't be something that happens all the time. Instead, maybe consider other ways that your OC could get around.

Do the buildings have an elevator or a ramp? If not, why? Do they have another way to get around?

If their Pokémon is always the one carrying them up the stairs, what does that say for the accessibility standards in the world? What happens to disabled people who don't have psychic Pokémon?

If you do decide to have their Pokémon do this on occasion (For example, having a meeting in an inaccessible building), I'd suggest showing how it affects both your OC and their Pokémon. Does it take a toll on their Pokémon? Is your OC at all unnerved/disoriented by being floated up? I'd imagine it'd be an odd feeling.

There's also other alternatives with service Pokémon. For example, using a dog-like Pokémon -- like Growlithe, Lillipup, or Rockruff -- as a "normal" service animal. Or using a machinery-type Pokémon in combination with assistive technology or other forms of accessibility devices. For example, a chair lift that's powered by a Klink (In a mechanical gear sense) or an electric Pokémon (In an electricity sense).

Even with the psychic Pokémon, it could be interesting to explore how that interacts with technology for accessibility.

Maybe they have a slightly steep ramp to get into their home and their Pokémon gives them a bit of an extra boost with their telepathy? Or maybe they push them up the ramp, like a friend or family member may push somebody in a wheelchair?

In both these situations, your OC would still retain the control and their Pokémon would be assisting them, not taking over for them.

When it comes to the mixing of magic and disability, I find it's best to refer back to what's possible in reality and find ways to play with that. It's a good way to ensure that you're not overstepping and accidentally erasing your character's disability while still allowing you to worldbuild and explore the possibilities -- which, given the Pokémon world, are so many!

Cheers,

~ Mod Icarus

[oriley42]

Serious question but no need to answer if you don’t want to

I see a lot of talk about Amber’s portrayal being sexist in the show, but I’m not quite sure why? To me her motives always seemed really well-defined (high pressure = “I’m only worthy when I’m successful”) so she puts on this sharky mask with a feminine facade so she is feminine enough to get a certain amount of approval but never shows how much she cares (which could be used against her but also could be used to undermine her “oh you’re too soft”). I thought the show did an excellent job of showing a mask for her

But a lot of people talk about 00s sexism and how it impacts her characterization. The sexism… Is it that she gets called a cutthroat bitch? Or how her story revolves around a man after she leaves House’s team? Is it the fridging?

Any of those could be it I guess but it just sounds like you and others are talking about something a little more fundamental to her personhood so I thought I’d ask if I’m missing anything.

Very interesting question! I think you're getting at exactly the trickiness of the issue, which is that sexism always operates systemically. It's not that any key aspect of Amber's character "is" misogynist, it's that every aspect of her character is automatically filtered through a lens of sexism.

In today's world where "bitch" has been very de-clawed, turned into a more casual and way less gendered insult that's used without cruel intention in queer slang, I think it's hard to understand just how violent the term was--and was meant to be--in the aughts. House in canon is not calling Amber a bitch in a cute, almost self-deprecating, friendly way (though I think it's valid to re-write it that way in fic to defuse the term!). He is calling her a bitch to contain and belittle and dehumanize her. We see the term mobilized this way against Cuddy in 5 to 9 as well: calling a woman a bitch was an extremely powerful rhetorical tool to turn any dangerously competent, brilliant, threateningly accomplished woman back into a harmless, debased, controllable object. So, "CB" reflects how easily the fact that Amber is the "female House" gets turned against her--it doesn't mean she's an eccentric genius like him, it means she's an evil copycat who needs to be put down. And this kind of structural logic applies to her whole characterization--it doesn't matter that House does it all more frequently and worse, if she does it, it's unacceptable because she's a woman. (There are parallels here with how racism means that when Foreman acts like House, he also gets the axe instead of the narrative bending over backwards to make what he did alright.) That's why she was fired, after all!

And her death. Woof. Classic case of killing a woman for man-pain. Everything supposedly about her death is actually about how her violent destruction can be used to fuel Wilson and House's character arcs. The narrative is occasionally conscious of this, for example, Wilson saying "none of you even liked Amber" is an almost metatextual reminder of how cruelly she was disenfranchised in every way (including the sexism of her trying to "defect" to the men's team early on, having no female friends, because unlike House who has so many people orbiting him, she is truly alone). Comparing her death to Kutner's is instructive: Kutner gets a whole episode that's about characters desperately trying to know him better. They trace their relationships towards him. Amber, on the other hand, is nearly absent from her own death. The characters trace away from her and towards the way male characters feel (Wilson's loss, House's guilt). Amber becomes just an imagined figure of House's guilt. Even her ghost is not her own. (Though I think many fans do a more feminist read and reclaim the way she haunts the narrative--but imho that would be a negotiated if not fully oppositional reading, to use Stuart Hall's decoding/encoding terms.)

One easy way to see that gendered difference is in how the show refers to these characters after death. Kutner is always "Kutner," never just "House's dead fellow" or rarely "our dead colleague." Amber is often referred to as "Wilson's dead girlfriend." Kutner is his own person, Amber rhetorically gets reduced to an object belonging to a man.

In conclusion: sexism operates structurally, which can make it hard to identify! And one of the funny effects of contemporary fandom doing so much good work to un-fridge women and give marginalized female characters richer personalities and more chances to grow is that canon's intended message of sexism gets obscured. Which, is awesome? Keep up the good work! Let's make misogyny unintelligible 🎉