#which tends to be more about a good story

[thewizardingpost]

When the Finch Tries to Shout

poly!marauders x fem!reader

note ⌇ the Marauders’ playful teasing about your quietness makes you insecure, leading you to try becoming more extroverted and loud. warnings ⌇word count  3.2k, established relationship, misunderstanding, shy/introverted!reader, hurt/comfort, r feels insecure, r’s Hogwarts house is unstated

You sit in the dining hall alongside them. It’s the weekend, a time when the dining hall was a place to hangout, study, or wait a few hours until you had to leave for your train ride. They’re chatting amongst themselves while you listen and observe, occasionally adding a comment or two. All was well, this was how the dynamic between the four of you played out.

It was a good dynamic. With James being the most extroverted, then Sirius, then Remus–and then you. You all respected each other’s personalities, learning how to shift your day around one another’s social battery. You all also tend to comment on each other’s personalities, making jokes and teasing one another. It’s lighthearted, laced with an intent to bring a smile to your face.

But today? It felt different.

As they continued to joke around, something in the air seemed to shift. The teasing, which usually made you smile, felt sharper than usual, like a little poke at your ribs that didn’t feel playful anymore. Sirius was in the middle of a story, gesturing wildly with his hands as he talked, and then his eyes flicked over to you with a mischievous grin.

“Oi, Finch,” he said with a wink, “You know, if you smiled more often, you wouldn’t look like you’ve got your own personal mystery going on. You’re like a bloody riddle wrapped in a frown.”

The words were meant to be playful, but they stung more than they should have. You blinked, forcing a smile that didn’t quite feel genuine. The teasing used to make you laugh, but now it just made you feel... small. You shifted uncomfortably in your seat, suddenly aware of how your quietness seemed to fill the space in a way that wasn’t as welcome as it used to be.

James, picking up on the slight shift in your mood–though not fully understanding it– leaned forward with a grin. “What’s the matter, love? You’ve gone all quiet on us. Don’t tell me you’ve gone shy again.”

You swallowed, the lump in your throat feeling heavier than usual. The comment was meant to lighten the mood, but instead, it felt like an expectation. Like your silence wasn’t something they were used to anymore—like it was something they were beginning to outgrow.

You didn’t respond right away, letting the words hang in the air. The silence stretched between you all, but it felt different this time. You weren’t sure if it was your own insecurities talking, or if their teasing really had changed, but it left you with a sense of unease. Maybe they didn’t mean to hurt you, but... maybe they were tired of you being quiet.

Nevertheless you gave them a smile and the night went on. 

The words lingered in your mind long after you’d returned to your dorm. You lay in bed, staring at the ceiling, overthinking every little moment. Have they outgrown your quietness? Did they secretly wish you were louder, more energetic, more like them? A knot twisted in your stomach, your heart growing heavier the more you thought about it.

Your quietness had never bothered you before. It was simply who you were. But now? Now it felt like it was something you had to change, something you had to fix. You rolled over onto your side, pulling the blanket closer around you, but the ache in your chest didn’t go away. You could almost hear their voices in your head again, the teasing that used to be so playful now feeling like a subtle jab at your identity. Maybe they didn’t mean it, but maybe that didn’t matter. It hurt all the same.

By the time the morning light filtered through the windows, you’d made up your mind. You didn’t want to disappoint them. You didn’t want to be the quiet one anymore.

The next morning, when you greeted them, you were all smiles. You waved enthusiastically, laughing at jokes that didn’t quite land as hard as they used to. You talked—a lot. Far more than you usually would, your words tumbling out, faster than you could stop them. You were cheerful, a little too cheerful, acting like everything was just fine. But inside, your heart was burning. You were doing it. You were being louder. You were being more open.

You noticed James raise an eyebrow at your sudden burst of energy, and Sirius gave you a curious glance. But Remus? Remus was the one who watched you closely, his gaze a little too gentle, a little too knowing.

You kept talking, though. You had to. The more you talked, the less time you had to think about it. And the more you smiled, the more you could pretend everything was fine. You could, you could try to pretend it was all fine. 

You all wandered through Hogsmeade, the chilly winter air nipping at your cheeks as you led the way. Your steps were light, your voice a little too loud, a little too eager, but you couldn’t stop. You had to keep the act up. You had to keep the energy high, even if it felt like it was slowly draining you from the inside out.

James and Sirius were leading the pack, as usual, their laughter echoing through the streets as they spotted a new magical gadget in one of the nearby shops. They’d be distracted for a while, no doubt. Meanwhile, you found yourself pulling Remus along, a wide grin plastered on your face.

"Oh, look at that!" You pointed to a shop window, bouncing on your toes. "We should go in here, I heard their chocolate frogs have a special edition!" You kept the chatter going, trying to fill the space with noise, hoping the others wouldn’t notice how loud you were talking.

Remus, however, was quiet, his usual calm presence hovering at your side as the others got farther ahead. You could feel his gaze on you, the gentle pressure of his quiet observation weighing on you. After a beat, he leaned toward you, his voice barely audible over the noise of the bustling village.

"You know, you don’t have to do this. We love you as you are, dove." His tone was soft, concerned, his words carrying a quiet weight you weren’t ready to hear.

You laughed a little too loudly, trying to mask the sudden rush of nervous energy that had flooded your chest. "Whatever do you mean?" You flashed him a smile that felt like a mask, wide and bright but not quite reaching your eyes. "I’m just excited, that’s all! Isn’t it a great day?"

You kept walking, forcing the words to tumble out, your gaze darting from one shop to the next, looking anywhere but at him. Remus didn’t move, though. He kept pace beside you, his hand casually brushing against yours as if offering comfort, but you weren’t sure if you could let him in just yet. Not with the way your heart was pounding, the way you were desperately trying to fill the space with something—anything—to make it seem like you were okay.

Remus sighed quietly, but you didn’t give him a chance to say anything more. "I’ve been here before, you know," you added, forcing a playful tone, "Hogsmeade’s not exactly new to me." You laughed again, the sound coming out more hollow than you intended. "I think I’m getting pretty good at this tour guide thing, don’t you?"

Remus didn’t respond immediately. Instead, his eyes lingered on you, soft and knowing. He wasn’t fooled by your act. But still, he didn’t push, just walked silently by your side, letting the others enjoy their candy-filled distractions.

You could hear James and Sirius in the distance, their voices rising as they discovered some new magical candy that they were already arguing over. But despite the noise around you, it felt like there was a quiet tension between you and Remus that hadn’t been there before. The pressure of trying to be something you weren’t... trying to be someone else.

You told yourself you could handle it. You could keep the smile up, but you’re not sure how much longer. How long could you keep it up? How long should you? Until they’ve accepted you as being ‘one of them?’

The Gryffindor common room was full of life, laughter spilling out from every corner. The fire crackled cheerfully in the hearth, and students were sprawled out on couches, some chatting about the latest gossip, others buried in their books or playing games. You, of course, were doing your best to engage, even though your social battery was drained beyond belief. The effort of keeping up with everything was wearing on you, but you didn’t want to seem like the odd one out. You didn’t want to be the quiet one in the corner, especially with your partners—James, Sirius, and Remus—sitting nearby.

They were laughing and teasing each other, as usual, their energy contagious. James and Sirius were as loud and energetic as always, while Remus sat back, watching, offering quiet commentary here and there. You found comfort in their presence, even if it made you more acutely aware of your own lack of energy.

Your attempts to match their enthusiasm were wearing thin. Every time you laughed a little too loudly or tried to jump into the conversation, it felt forced. You could feel the weight of exhaustion creeping in, but you shoved it aside, determined to keep up the appearance of being just as talkative, just as carefree. You didn’t want them to think you were being distant or boring.

As you sat with the group, chatting with a couple of Gryffindor girls you had started to bond with, the conversation turned to teasing—just lighthearted fun, nothing new. But when one of the girls, Iris, leaned in with a mischievous grin, you had no idea that it was about to spiral.

“Alright, Finch,” Iris said, nudging you with her elbow, “I dare you to ask one of your boyfriends a question. Something... interesting.”

Your eyes widened as the attention of the group immediately shifted to you. You knew she meant well, but your heart raced at the thought. James, Sirius, and Remus were right there, their attention now on you, waiting for your response. You didn’t want to be shy or boring in front of them—especially when they were all so full of life. You had to keep up the act.

“Come on, you’ve been so chatty tonight,” Iris pressed, her eyes twinkling with excitement. “Ask something… interesting.”

You glanced at the Marauders. James and Sirius were grinning, egging you on, clearly amused by the dare-like request. Remus, always the more reserved one, watched you with a small smile, but there was an unreadable expression in his eyes.

You had to do this. You couldn’t back down now. If you did, it would look like you were too quiet, too shy, too... boring. You had to show them that you were capable of this, that you could play along.

Without thinking too much, you stood up, trying to look casual as you walked over to where James was lounging on the couch, his usual grin plastered on his face. Sirius leaned against the wall nearby, watching you curiously.

“Alright,” you said, the words coming out a little louder than intended. You tried to smile, but it felt tight. “James, if you could only eat one thing for the rest of your life, what would it be?”

James blinked, clearly surprised by the question. He looked at you for a moment, then broke into laughter.

“What kind of question is that?” He chuckled, leaning back against the armrest. “I don’t know, I’d probably go with butterbeer or something stupid like that.”

The group laughed along with him, but there was an awkwardness in the air. You forced a chuckle, hoping it didn’t show that you were feeling a little embarrassed by the whole thing. It wasn’t a bad question—it just wasn’t the one you had intended to ask. You were trying to be funny, trying to fit in, but it felt like the whole room was watching, and you could feel every eye on you, waiting for the punchline, waiting for you to get it right. 

You smiled again, though it didn’t feel as genuine this time. The laughter faded quickly, and you could sense the shift in the atmosphere. It wasn’t that they were laughing at you, but the attention felt uncomfortable now. You had forced the moment, and you couldn’t shake the feeling that you’d made it weird.

You glanced at Remus, hoping for a familiar, comforting smile—but all you saw was a concerned look on his face. He wasn’t laughing like James and Sirius were. He was watching you, his brow furrowed just slightly, as though he was trying to figure something out.

“You okay, love?” he asked softly, but the words felt too loud, too much in the quiet that had fallen around you.

You cleared your throat and nodded quickly, but your smile didn’t quite reach your eyes.

“Yeah, I’m fine..” You laughed, but it was full of exhaustion. You could feel the walls of the common room closing in on you, the weight of everyone’s attention suddenly too much to bear.

Before anyone could say anything else, you turned away and walked briskly toward the door, your pulse racing. The chatter around you faded into background noise as your mind spiraled.

James called after you, but you didn’t stop. Sirius’s voice followed, but it was distant now, as you pushed through the door and into the hallway. You needed air. You needed to be alone. You had to escape the eyes, the whispers. The room had been too much, everything was too much. 

You didn’t hear Remus’s footsteps behind you until they were just a few paces away. You could feel him catching up, but you didn’t want to stop. You couldn’t face him now—not when your chest felt like it was going to burst.

“Finch, wait.” His voice was soft, but firm.

You didn’t look back, your eyes fixed ahead as you continued walking, your breath shaky. You tried to ignore the burn in your throat, the tightness in your chest. You couldn’t hold up the act anymore. You couldn’t pretend to be someone you weren’t.

But you heard him behind you, his footsteps echoing in the silence.

“You don’t have to keep pretending,” Remus said quietly, his voice full of concern. “You don’t have to act extroverted if it’s not you. We love you the way you are.”

You froze. You could hear the sincerity in his voice, and it made your heart ache. You didn’t want them to see you this way—weak, insecure, struggling to fit into a mold that didn’t suit you.

But Remus was right. You didn’t need to prove anything.

You turned to face him, your smile forced once more. “I know. I’m fine.”

But the words didn’t sound convincing, even to yourself. Remus didn’t buy it. He took a step closer, placing a gentle hand on your arm.

“But you’re not. Finch, it’s okay to be quiet. It’s okay to not always be the loud one. We love you just the way you are.”

You bit your lip, and a tear threatened to spill, but you quickly blinked it away. You hadn’t realized how much you needed to hear that until now. You were trying so hard to keep up, but they loved you quiet, too.

You took a deep breath, trying to calm your racing heart. Remus offered a small, reassuring smile.

“Let’s get you back to the dorm,” he said softly. “You don’t need to keep up the silly little act anymore.”

You nodded, allowing him to lead you back toward the warmth of the common room, hoping that you could start to relax, even if just a little bit. As you walked side by side, the exhaustion of the night started to catch up with you, the effort to be someone you weren’t suddenly feeling pointless. You had been trying to be louder, more outgoing, all because you thought the teasing about being quiet and shy meant you weren’t enough. You had overthought it, convinced yourself that your quietness was something to change. Then Remus’s words, his understanding, grounded you yet again. 

When you reached the door to the dorm, James and Sirius appeared in the hallway, glancing between the two of you. They didn’t need to say anything right away—just their presence made you feel a little lighter.

James broke the silence, his usual grin replaced by something more serious, softer. “Everything okay?”

Sirius, too, was watching you, his arms crossed but his expression warm, full of concern. You offered them both a small, honest smile.

“I’m fine,” you replied. “Just needed a minute.” You didn’t want to hide it, the fact that you’d been struggling all night, trying to act like someone you weren’t. You couldn’t hold the facade anymore.

James’s eyes softened, and he gave you a gentle squeeze on the shoulder. “You know you don’t have to act different around us, right? We love you as you are. Quiet or loud, doesn’t matter.”

Sirius nodded, his voice carrying the usual teasing edge but with sincerity underneath. “Exactly. We’re not expecting you to be loud to make us like you. You don’t have to be anything other than you.”

Your chest tightened, but it was in a good way, like a weight was lifting. The insecurity that had been gnawing at you all night, the thought that you had to be louder to belong—finally started to fade. You hadn’t realized how deeply it had affected you until now. The teasing, the joking about your quietness... it made you feel like you weren’t enough. You’d overthought it, thinking your silence was something to fix, something that would push them away.

But standing here with the three of them, their words washing over you, you knew they meant it. You didn’t need to pretend to be anything else.

You looked up at them, the weight on your shoulders finally easing.

“I know,” you said softly, your voice steady now. “I just... I kept thinking that because I was quieter, I wasn’t enough.”

Remus gave you a soft smile, one full of understanding. James grinned at you, ruffling your hair in that familiar, affectionate way. Sirius, ever the mischief-maker, leaned in with a wink.

“Well, we love you the way you are, Finch,” Sirius said, teasing but gentle. “You’re not boring, not by a long shot. You don’t need to be loud to make us like you.”

James nodded in agreement. “You’re perfect just as you are. So no more pretending. We’ve got you, yeah love?”You felt your chest finally release the breath it had been holding. You didn’t need to prove anything. You didn’t need to be louder, or more outgoing. The way you were—quiet, thoughtful, and you—was enough. They loved you exactly as you were, and that was all that mattered.

[jennamoran]

If a strategist from Glitch were to try and go about killing a god (maybe they’ve backslided, maybe the god is just really annoying or trying to kill their friends), how would they go about doing it. What would be the best way to use Eide, Flore, Lore, or Wyrd?

-

Jenna, my readers are always asking me, how do you kill a god? But there is no one size fits all answer to killing gods.

You have to look within yourself.

You have to find the unique way of killing gods that expresses you.

-

Glitch is a game where you tell stories, and an important feature of stories about killing gods is that they are not all the same.

Some are long. Some short.

Some put their protagonists through heck. Some let them just glide through.

Stories can have very different ideas about what it takes, and what it means, to kill a god.

Gods, too, can differ.

-

If you're frustrated, looking at Glitch, trying to find the thing you're supposed to do to accomplish task X, you're misunderstanding the intended flow of play:

To kill a god, decide how you want to kill a god.

Then, express it in the form of actions.

Optionally, discover that you're misaligned with the group zeitgeist on how god-killing stories work, and adjust.

Then, the god dies, or doesn't.

If you're having trouble figuring out how you want to kill a god, then you might need to stick it on a back burner. Over time, you'll have a better understanding not just of the game options the traits provide but of how your character uses them, and some things your character might want to try will gain more dramatic weight in the group zeitgeist.

-

Decide you want to kill a god by shoving it out of your way into the street. Declare that as an everyday Ability action.

Decide you want to kill a god in a complicated flower rite. Declare that as a quest or planning miracle.

Chain it down in a place of sorrow with a Greater Invocation. Erase it with a handwave and your Wyrd. Give in to the wicked voice of your god-killing knife, that whispers to you always, and draw the curtain on the scene, and expect that when the next scene starts it will be dead.

Declare that gods aren't real, and let it poof away.

In every last case, perhaps the group goes, "Yeah, that's a satisfying answer!" Perhaps they don't. If they don't, then your action still "works," in that it happens unless in direct conflict with a stronger action, but it likely doesn't kill the god.

-

A secret is that this is not just how Glitch works.

In almost every RPG, the way you make something happen is get the group on board with that thing happening. All rules can do is help that happen.

If the rules of Glitch could make that happen then you wouldn't even have to read them, you wouldn't even have to know you were playing Glitch, you could think you were playing D&D and accidentally play Glitch instead and the rules would sort that out for you.

They can't.

-

When it comes to killing gods, the game of Glitch bestows a certain implicit authority on higher-level miracles, particularly epic miracles; miracles that take time to play out; miracles that imply in their description that they're on the right power level for killing gods.

Strategy and Greater Strategy are good ones when they apply, because you can get the players on board during the planning process, spend a while playing it out gathering narrative momentum, and then have it feel well-grounded when it works.

If you have a Talent for killing gods, then that probably works well, but also tends to reframe the game as one where you're killing a bunch of gods and more story time gets spent on the ones where there's a twist that makes it difficult. Think of the Traveller in Black; as competent as the traveller is, they still spend most of their time "in play" dealing with entities that are difficult even for them.

Greater Invocation is well-built for attacking gods.

Destruction and Greater Destruction can be good, though honestly they kind of push the GM to make a complex conflict out of it, which in turn means it's actually the Wailing Rite that would serve you best.

Flore is all kind of of one piece, but you'd definitely want to start with a Greater Glorification on a god-killing weapon.

-

If you decide in play to do something that the GM and group think you can probably do, but which they also think should feel difficult and earned, then you probably have to spend some time on either a quest or a spotlight-driven exploration of what's going on with that thing before coming up with a plan people think is cool, executing the plan, and then having the plan mostly work but devolve into some kind of chaotic complex conflict at the end to finish up the final details.

If you decide in play to kill a god ... well, probably the GM and group will believe you can, but also think it should feel difficult and earned. That's kind of what the book implies, at least.

-

In the old days---I once wrote this.

In the old days, they didn't know very much about the world. But they made maps anyway. If they had to map something they couldn't, they just drew whatever they felt like and wrote, "Here there be dragons."

We still don't know very much about the world; and there are things to map of it besides its surface.

How do you write a book?

How do you kill a god?

Can broken things be remade? Can destinies change? Is it worth the risk of hope?

Important questions, but one can only shrug, you see:

Here, there be dragons.

-

As for Glitch, I mean, like ... the game only has two rules, and they're not even a dozen words between them; some things had to be left as exercises for the reader, and the dreamer, and their group.

[lonesilverw0lf]

Chess student: The cult has become locked itself in this building, we need to clear them out.

Football student: We know where they are, so let’s just bum rush them and take ‘em out.

CS: Don’t be rash. We have to do this methodically so we ensure they’re gone for good.

FS: We have them cornered, just get in there and get it done.

CS: We don’t know how many of them are left, what kind of traps they have, escape routes, or what. We can’t take any chances that they’ve set a trap themselves or that they can escape.

FS: They just got in there after two days of running. They’ve been caught with their pants down! We need to bust down the walls before they have a chance to rest and regroup!

CS: Or walk right into a trap? This is the real deal, we can’t make any half baked decisions.

FS: You’re not the active type, even back in school. You don’t have any idea on what actually goes down in the split seconds, nor any say on what it takes. You’ll let a perfectly good opportunity waltz by as you try to come up with some half clever scheme!

CS: You’ve never thought ahead once in your life. You always rush headlong into things and end up in a bigger mess than what was originally there. Or even create a mess because you didn’t know left from right!

FS: At least I choose to do something instead of sit back like a coward!

CS: I’ve seen better intelligence in a monkey than anything you try to pull!

???: Guys!

FS and CS: WHAT?!

Art Student: You two need to find something to make up, your arguments almost broke my concentration several times. Guh. My farsighted isn’t great, but I did manage to get as much information on the inside as I could. *hands over a stack of papers with sketches of the building and the insides*

CS: That’s great! The more intelligence we have the better we can plan ahead.

FS: Just point out where the boss man is so I can get in there and knock his head in.

AS: At least tell me you can tell what it’s supposed to be? I’m an abstract expressionist not a realist.

FS: Looks clear enough for me.

CS, flipping through the drawings: Ok, so a dozen and so cultists, a couple of horses, a loft, I guess that’s a weapons rack, so far so expected. Hey, what’s the story with this one?

AS: Which one? Sorry my headache hasn’t given me my sight yet so everything’s kinda blurry still.

CS: The one guy with more details than the rest.

AS: Dunno yet. I can only draw what I see using my Sight. I don’t know what it is I’m looking at until I see what I drew.

FS: That sounds stupid.

AS: They say that it’ll get better with time. Right now I’m too low level for that. Huh, that one guy is a lot more detailed than the rest. Weird.

CS: I didn’t get all the details on your Ability. Why is this so important?

AS: My mentor said something about things that I’m more familiar with tend to come out clearer. People I know, places I frequent, they stick out a lot more. Even if the place has changed significantly like a fire or battle happened, or if a person is wearing a disguise or something.

FS: So who would be so familiar to you in this random group of cultists?

Realization dawns on the assembled trio.

FS: Ok CS, your plan is good. We surround the building and- huh?

AS: I just blinked. Where did CS go?

CS, punching a hole into the wall of the building like the Kool Aid man: YIPPE KAI YAY MOTHER FUCKERS!! WHERE YOU AT BLORBO?!

MC, who infiltrated the Cult to feed the local militia information: How the hell do you guys keep finding me?!

The standard 'entire class gets isekai'd to a fantasy world and the outcast MC is basically discarded' anime setting, where the MC, now assumed dead, decides to instead help the class of Heroes in the shadows, making sure they live up to what the people need.

However, the entire class knows that he's alive and are hellbent on dragging that son of a bitch back into the spotlight and to give him the recognition he deserves.

(And maybe because he was basically the entire class's Little Guy™.)

[h-sleepingirl]

Hi!

I've been participating in the hypnosis world for about a year only as a subject, with somebody's audio files I've grown to enjoy. Being relatively... intelligent? (ADHD former "gifted kid" stereotype,) I've loved the way it can be so calming to my head which often has thoughts racing left and right with no end.

Your latest post about being a wizard with tomes piqued my interest and I would love to learn more and be one myself, especially in regards to Erickson who I had no knowledge of prior to today. Where would you recommend I start...? I would love to DM you and chat if the response would otherwise be too vague and long to be a reply to anon :)

Excellent to hear! I’ll give you some recommended reading and info. (And thanks for asking in my inbox, because this may help others!)

Milton Erickson was a hypnotherapist active in the 1900s who helped shape the form of modern hypnosis. There are many mythology-type stories about him. He really pioneered non-authoritative hypnosis (like, not “You will go into trance now!”), and hypnosis where he considered each client individually in order to figure out the best hypnotic method for them (this is the most critical thing and we still need to learn from it IMO). He’s known for some distinct techniques including storytelling and indirect language, although how those work and what they are depends on who you ask. He was a major inspiration for Neuro-Linguistic Programming, which takes inspiration from him but really changes a lot.

If you are just starting to learn how to hypnotize another person, I would not recommend STARTING with Erickson’s direct works (I mean feel free to read about the guy, just don't try to fight through his writing yet) -- but I don’t think you have to wait too long, especially if you have some experience as a subject. I would highly recommend reading a VARIETY of “intro to erotic hypnosis” guides -- there are a bunch, and as you’ll see, everyone teaches them differently. That’s because there are MANY ways of looking at how to do hypnosis and what it even is. Keep that in mind as you explore. I would like to offer my own guide: https://www.learnhypnokink.com/ in which I do try to teach a more overarching perspective that should be useful for learning other perspectives, and especially useful for progressing past beginner level.

Reading is great and if you only ever want to read that is fine, but a lot comes from experience, too. I don’t have recommendations for finding people to play with -- just remember that as a hypnotist, you have boundaries too, and you do not have to let yourself be used as a “trance vending machine” by eager subjects.

In terms of Erickson, take a look at his Wikipedia page or articles about him to get the gist of his character and history -- fascinating stories about him. And then when you want to try, read “Hypnotic Realities”, by him and his student Ernst Rossi. This is THE definitive Erickson book. I would not recommend reading books ABOUT "Ericksonian hypnosis" first -- anything talking ABOUT Erickson really tends to transform the meat of what he's trying to communicate IMO. Read from the source first. “Hypnotic Realities” is the greatest book on hypnosis of all time in my opinion, but it’s dense and challenging. It’s also beautifully subtle and you should plan to reread it ever so often because you will get new things out of it at different places along your journey.

Good luck! I hope this helps you and anyone else curious!

[takaraphoenix]

I truly can not put into words how much I hate the tag limit on AO3.

Look, I get it, they put it up back then for a good reason with the bullshit spam in tags. But could we lift it again? Or at least raise it to a reasonable amount?

Because 75 tags is nothing.

Not when it is total tags. Not when you are writing elaborate multiple chapter fics.

Between character tags, relationship tags and additional tags? It is so damn easy to reach 75 tags.

Hell, if you are writing am OT3 BDSM fic set in the ABOverse, you are already 17 tags in with just the core basics (3 character tags, 4 relationship tags if you tag the OT3 and the individual relationships among them, alpha/beta/omega dynamics, Polyamory, Threesome - [constellation], BDSM, 3 tags for the characters' ABOverse designations, 3 tags for their Dom/sub roles), that is not even including what kind of kinks or sexual themes will be in it and those can, depending on how much fun you're having, easily take a dozen tags too. If you also have important side characters or pairings? Or platonic dynamics that matter? And if you also have... you know... plot? Tropes or other things that would be great if findable through a tag?

I get it, 75 tags sounds like a lot. If you're posting a oneshot. But a lot of things tend to happen in longer fics. I find it impossible to contain a 50k fic to 75 tags, I have no idea how people whose stories range in the 100k+ length handle this.

If it were, at the very least, just about additional tags? If relationship and character tags weren't included in that count? I think that would actually be a more realistic number. It'd still limit spamming, but it'd also give more freedom to actually tag the important parts of the story.

Because I do want to cover the things I think are important for people to be able to filter, either to find or to avoid a story. I don't want to have to choose which thing to leave untagged, just because the story is long, elaborate and contains a multitude of themes, kinks and tropes.

[lol-jackles]

Hello,

It’s nice to see you more active on here at the moment.

I was thinking about how you tend to say that the bi-bros who lean towards Sam are more in line with the GA.

But, I watch lots of reactors watch SPN for the first time, and they often lean towards Dean (I’d say 3/5), and I’ve heard a similar ratio say that they think Jensen is a noticeably better actor than Jared.

So, my questions are, are they letting fan expectations colour their reactions (hellers and Dean girls are very fast to pounce on new reactors), are they already Destiel curious from seeing edits in tumblr (I know of at least one who fits this), or do they acquaint “they make me feel emotional therefore they are the best actor”?

For me personally, on my first watch, Dean killed me with his love for family and Sammy and I empathized more with him usually, at least until Season 4/5 where he started pissing me off regularly. But, when I rewatch, I love episodes like Mystery Spot and Born Under a Bad Sign, or Souless Sam episodes because Jared is just so good when he gets something interesting to do. I find the Dean crying stuff less compelling on rewatches because it’s not as interesting to me (with a few expectations) after the first and second viewing. And acting at mirrors scenes gets old for me in particular very quickly.

In short, I think both are good, with different strengths, but I wonder why so many new viewers that I come across see Jensen as being stronger and Dean as being better. Do the just fail to see past the narrative bias? Or they just like Sean because he’s more fun?

Anyway, I appreciate any thoughts you want to share on this. And I’m also wondering if there is stats anywhere in GA favoring Sam?

First, because Sam girls commit “geek social fallacies” by also liking Dean because they love that Dean revolves around their Sammy. But Dean/Jensen stans don’t return the favor because they hate that Dean revolves around his Sammy so they hate on Sammy even though under their breath they’ve said if Jensen had been playing Sammy all along they wouldn’t change any of the writing.  That’s why there appears to be a Dean bias in the SPN fandom because Sam fans also likes Dean.  

It’s not a coincidence that Sam girls are the fandom’s official representative (all the meta fans on the show are Sam fans).   The show is mostly Sam-centric, if the bitter Sam girls won’t believe me then believe Jensen’s interviews when he said that SPN is Sam-centric and called season 10 a "rare Dean-centric storyline". (X)

Second, Dean is supposed to be a scene stealer, that's what support-protagonist do.  Often our favorite characters are not the protagonist but these scene stealers characters, they are usually cool or very funny. But it becomes a problem when producers try to capitalize on the character’s popularity, like creating a spin-off.   Like spices, which can not take the place of the main course, scene stealers often fail as leads because their “special-ness” evaporates when they have to carry the show. It's why WB canceled Supernatural when Jared told them he was leaving, because they knew a Dean-led Supernatural wouldn't work.

So while I'm watching an episode, I am more drawn to Dean because he’s more fun or interesting to watch. However the next day I remember the episode through Sam’s actions and interactions. Some of my readers tell me that they were surprised that they seem to “forget” Dean when they recall specific storylines, I said that’s supposed to happen with the support-protagonist.  We don't remember much of what John Watson did in the classic Sherlock Holmes or what was Nick Carraway's deal in The Great Gatsby.

It's the protagonist who mobilizes the story and stands out in readers’ or audiences’ minds.  Dean needs interaction with Sam in order for the audience to even remember him because he's part of the protagonist’s story. It’s why I keep saying Supernatural is Sam’s story, it's his Hero’s Journey.   Dean is at his best when he’s focused on Sam (which is why season 10 sucked and season 5 was kind of weak).

Third, Jensen is a personality actor and people are generally more drawn to them. Jared is a character actor who is trapped in a leading man role. Jensen has been Jensen “Dean Winchester” Ackles for the majority of his TV and movie roles since 1998.  It’s why Jensen initially made a bigger splash with Dean in the early Supernatural seasons because he’s already been playing Dean for years since Days of Our Lives.  In 2005 when SPN premiered, Jensen had a 7 years head start playing Dean compared to Jared who was just starting to play Sam and had to create Sam from scratch.  By season 3, audiences began to notice Jared's versatile acting skills and he would soon be tasked with playing different characters because that's what character actors do.

[hooked-on-elvis]

ELVIS GEMS

Hey, friends! So, @buglass suggested a while ago for me to share some less known (or less mentioned) Elvis songs. I guess today I felt inspiration to. Note: This is my personal selection, based on my taste and vision - not necessarily meaning all the songs are not as appreciated as they should be or that they are technically and content-wise flawless. I just think they're great for different reasons, and that they should get more plays. Oh... song 5 in this list contains wisdom for life in the lyrics and it's something that's really meaningful today as we reach Elvis' 90th birthday. Hope you enjoy this short list!

"Blue Moon"

Album: "Elvis Presley" (1956) I don't think it's that unknown but when I see people talking about the ballads E recorded, this song is not much remembered. I love it very much!

"Fool, Fool, Fool"

Recorded during a studio radio session. KDAV Radio - Jan 6, 1955. First released first in the album: "The King of Rock 'n' Roll: The Complete 50's Masters" (1992). This song is great Rock and Roll. When the guitar solo comes (0:56), it's impossible not to move.

"Dark Moon" and "Tennessee Waltz"

Album: "Elvis: The Home Recordings" (1999) Although the poor audio quality, those are songs I, particularly, get the most intense feeling of what it would be like to jam and harmonize with Elvis among, probably, all of his home/jam sessions recordings. I love to sing along with those tracks. Plus, I can always visualize E with his friends gathered around the piano he's playing... it's a plus. In "Tennessee Waltz" they mess up with the lyrics, it's annoying and fun at the same time.

"Once Is Enough" ♥

Soundtrack: "Kissin' Cousins" (1964) That song came to me randomly right now on my Spotify playlist but it fits like a glove in the mood today. I think the lyrics is pure "words of wisdom" material, and the melody is fun. And hey, it's Elvis' birthday! In this song he sings: "What's the good of reaching 90 if you waste 89? You got one life so live it If you don't it's a crime." Elvis didn't live to reach his nineties we would be celebrating with him today, but he lived quite the life in just forty-two years walking on this earth. People tend to pity on him, thinking he had such a tragic life story but, the way I see it, Elvis lived more than many of us ever will get to do. This song represents quite well the way he did things in life... not waiting 'till tomorrow, just going for it. "As a lightning-bolt" ⚡ El, you're amazing for leaving so many precious life lessons for us. We couldn't thank you enough, King. By the way, there's great gems among the soundtracks from his movies... this is just one of my favorites.This song is really a gem. ♥

"You Better Run"

First released in the album "Elvis Presley: Amazing Grace" (1994) Traditional arranged by Elvis and recorded during an informal gospel session filmed for the documentary "Elvis On Tour" (1972) on March 31, 1972 at RCA's Studio C, Hollywood.  This gospel tune was never officially recorded by Elvis, but he did sing it in concert on a few occasions. "You Better Run" was sung in a medley with "Bosom of Abraham," that's why they're quite similar in melody. Note: I love the latter song, one of my favorites by E, so "You Better Run" as similar as it is, it's like an extension but not as well known as "Bosom of Abraham" because wasn't featured in the documentary.

The footage below is composed of random scenes from "Elvis On Tour." As mentioned, the footage in which Elvis harmonizes "You Better Run" with his close friend and musician Charlie Hodge, plus JD Sumner and The Stamps Quartet didn't make it to the final cut of the 1973 music documentary and (for what I know) wasn't even released yet as an outtake. As we know, director Baz Luhrmann is working to get never-seen-before footage from Elvis' two documentaries finally out, so maybe this footage will be released in the not-far-away future. Fingers crossed.

"Almost"

Album: "Let's Be Friends" (1970) I'll never get over how sweet this song and the scene from the movie "The Trouble With Girls" in which Walter Hale (Elvis) performs it playing the piano are. I think 1:50 is way too short for such a beautiful song, it actually pissed me off how quick it ends.

"Loving Arms"

Album: "Good Times" (1974). When this song gets to 1:47 it hits hard in the soul. I just feel like crying every time (how did he do that?) Great song!

"It's Easy for You"

Master released on the album "Moody Blue" (1977), but here's the X-rated take 1 because it's so fun! This version below is on "Way Down In The Jungle Room" (2016)

"Pledging My Love"

Album: "Moody Blue" (1977). The lyrics is just so precious! "Making you happy is my desire, dear... Keeping you is my goal."

I could go on but Tumblr has limitations of 10 videos per post, unfortunately. I think I'm gonna share more in a bit. For now, I'd love to see what are the songs you think fits this list.

[bugslaststraw]

See it's funny because in the games, and in any other assorted media before the movies came out, everyone low-key just hates Robotnik. And not even in the fun dedicated way like they all seem to think he's a bit of a failure. Which sounds weird if you don't know anything about Sonic (and certainly sounded weird to me three weeks ago when I was one of those people) but it really is just genuinely the case. I think?

Obviously his family all hate him. Movie-only fans will have an idea about this one; we've got good old Geralt Robotnik who didn't give a rats ass about him in favour of his long-dead cousin Maria, whom he wants revenge for. Geralt manipulated him and used him and said "oh Ivo you're no Maria" even though Ivo probably doesn't even know who the fuck Maria is in the movie universe and so on, et cetera. Geralt sucks just as much in the games and did approximately the same thing there.

What you may or may not know is that in one of the games, Eggman runs into a descendant of his from generations into the future. That guy's name is Eggman Nega, and he absolutely hates his ancestor. He thinks he's cramping his style? He's trying to go back in time and kill him to restore his reputation as far as I remember. Not to mention he has other family and cousins, none of whom give a flying fuck what happens to him. I distinctly remember someone who's name was Collin but who's nickname was Snively and who also worked with Eggman at some point, but hated him, and then later betrayed him. I can't remember a single family member of Eggman's that actually seemed to like or even tolerate him.

He's had a lot of henchpeople too. Most of them were robots. A lot of them, like Omega, and Alpha, and Sage to an extent (although she was more like a robot daughter he built for himself) betrayed him and joined the good guys too (Sage is another outlier, she isn't exactly switching over but she definitely isn't loyal either so.??) I mean, Eggman isn't even surprised by the fourth time. Smaller minions like Orbot and Cubot and their predecessors weren't able to betray Eggman, but definitely would've if they could've because they all disliked him because he's allegedly a shit boss. (Who says he isn't. He's evil after all.)

He "contracts" a lot of spies and stuff too. Animal characters. They all hate him as well, but he tends to hate them in return, so at least those are entirely fair game.

Not to mention all the villains he's conveniently happened to need the same thing as at the start of the game, but become inconvenient to towards the end, so they betray him as quickly as possible to get ready for their final boss fight with Sonic towards the conclusion of the story. There's more of those than I can count or care to remember. He meets his alternative universe self once and they hate each other. There's even a moment in I think the comics where Eggman loses all his memories and temporarily becomes nice, and hangs out in a village and builds things for the furry people who live there. He makes a wooden puppet style robot that also becomes like a daughter to him. She's good at engineering, just like him. Of course when he gets his memories back and becomes evil again she leaves as quickly as possible and later helps Sonic & co. She's very resentful about it all, I've heard.

None of that is surprising, of course. Eggman is an evil villain to the heroes and a loser to the villains. It's funny! It's a joke. They need to introduce scarier villains in the games to ramp up tension but they can't exactly just drop Sonic's nemesis down a hole somewhere, being as iconic as he is... So he sticks around. But as a joke, rather than an actual threat. And it's a little sad, yeah. But he deserves it! He's trying to create some sort of totalitarian egg-state and he bullies Sonic for having friends, for Christ's sake. Why should anyone want to stay loyal to a guy like that- and why should anyone do it at all? Joining the heroes is the cool thing to do! Shadow does it, Knuckles does it, Omega kinda sorta does it, Sage is toeing the damn line from what I've heard, it's...

Okay, it's kind of a lot? I mean I understand having nobody that's a good guy like the villain, but like... Not even his damn henchpeople robots? In a lot of the animated shows and comics he keeps building robot wives for himself that are explicitly created just to like him, by him. That or he's into someone who's into one of the animals, or similar. I mean, it's that bad. And it's like... Nobody? Not even once in like thirty years did anyone come up with the idea to give Eggman?? This behemoth among famous pop culture characters? A loyal henchman?

And- well, okay, nowadays this isn't true anymore. I'm sure we all know why. And that's kind of fun; in 2020, Doctor Robotnik gained his first and only loyal henchperson. Great! But...

Jeff Fowler is a Sonic fan, isn't he. Would he know..?

Would anyone involved in making the movies know that Eggman famously... Doesn't have any friends? That nobody seems to like him? That he's apparently infinitely betrayable? Do they know? Do they know? Is that why the third movie is written like that? Is it not just a character complex pulled out of someone's- I mean, when movie Eggman says that there's only ever been one person who actually liked him and one person who actually cared about him... He's quite literally right, isn't he. As in... Since 1991... Like 34 years since conception as a handful of red pixels in the hottest new platformer game there's actually, literally only been one character..? ooh I think I need to lie down for a bit

[writer-freak]

Waking up with them | Valo x reader

Characters: Yoru, Gekko, Chamber, Phoenix, Viper and Reyna

Warnings: Gn reader, fluff, kissing, english isn't my first language

A/n: I really wanna write more this year so I'm currently working on a request rules post. Hope that I can finish it soon but I also wanna make it aesthetic so we'll see. <3

Yoru

Yoru’s usually the first one up, like 95% of the time, but getting up? that’s a whole different story. He’s not a morning person, so he tends to stay in bed for quite a while. He just loves how quiet the early morning is, just sitting there watching the sunlight illuminate the room. It’s one of the moments where he lets himself soften up a bit, just looking at you peacefully sleeping.

When it comes to waking you up, he’s not exactly the gentlest, but he’s got his own sweet way of doing it. He might brush your hair out of your face or lean in close to directly say something like, “Oi, wake up already.” in your ear.

If you’re being extra stubborn , he’ll start teasing you, tickling you or covering you collarbone and neck with kisses and hickeys until you finally groan and get up, which just makes him smirk.

On lazy mornings, he might stay in bed with you longer than usual, leaning on one elbow while he traces random patterns on your skin with his fingers or just holding you close to him.

And he espacially loves those quiet moments for a bit of light teasing with you. If you suggest staying in bed even longer, he’s secretly all for it, though he’ll pretend it’s just to humor you.

On busier days he'll make sure you're both up and ready to go on time. While Yoru’s not a morning person, so he can be a little grumpy, but he still takes charge in this situation. If you’re dragging your feet, don’t be surprised if he wraps his arms around you from behind and growls something like, “Come on, let’s go, slowpoke.”

Yoru doesn’t usually do the whole “affectionate” thing, but mornings are a bit different. He loves noticing the little details about you, like how messy your hair gets or the way you bury your face in the pillow. Every now and then, he’ll pull you into a kiss that starts out slow and lazy but quickly gets heated, it’s his way of soaking in your presence before the day kicks off.

Gekko

You’re usually the first one up since Gekko tends to sleep like a rock. He’s often sprawled out across the bed, one arm thrown over you making it harder for you to get up.

If you’re the one waking him up, it’s probably by tracing circles on his chest or sneaking soft kisses on his cheek. When he finally stirs, his first move is to pull you closer, mumbling in that half-asleep, raspy voice, “Five more minutes…”

If he’s the one waking you up (on the rare occasions), it’s really soft and playful. He’ll kiss your forehead and grin as he whispers, “Good morning, beautiful.”

On more lazy mornings, Gekko loves staying in bed with you as long as you’ll let him. His little buddies usually hop onto the bed to join in the cuddles, making it even cozier.

Breakfast tends to be slightly chaotic with everyone involved, but despite that he can never get enough of your laugh as you both try (and maybe fail) to cook together.

Even on busy days, Gekko’s mornings are a bit slow but always shows his care for you. If you aren't going out together he’ll make sure you’re all set before he heads out, giving you a long kiss and throwing in a “Don’t miss me too much.”

Physical touch is totally Gekko’s thing, so he’s always finding a way to be close, wrapping an arm around you or resting his chin on your shoulder.

On those slower mornings, he loves whispering sweet things into your ear or shares whatever random dream he had. Sometimes those moments turn into soft, passionate kisses that make it really hard to actually get out of bed.

Chamber

Chamber’s always up early. By the time you wake up, he’s either already perfectly dressed or sipping his espresso looking like straight out of a café ad. He always loves watching you wake up, you're groggy appearance making a soft smile appear on his lips.

If you’re still asleep but need to get up, he leans in to press a kiss to your temple or gently nudge your shoulder while murmuring, “Mon amour, it’s time to wake up.” On the rare occasion you’re the one waking him, you’ll catch him looking entirely relaxed, his hair a little messy, his whole vibe softer than usual.

On lazy mornings, Chamber doesn’t mind indulging. He’ll stay in bed with you, running his hands over your body or lightly tracing your lips with his thumb. And of course, breakfast is brought to you, he insists on spoiling you, no arguments allowed.

On busy mornings, he’s all about efficiency. He’s never really in a rush, but everything he does feels intentional. He’ll help you get ready, whether it’s tying your tie or brushing lint off your shirt. Before heading out, he’ll kiss your hand, a quiet little promise that he’ll be back for you.

Chamber has this way of taking care of you that feels so effortless. Whether it’s handing you your morning coffee or pulling you in for a tender kiss, it’s just second nature to him. On slower mornings, he’s completely unhurried, his touch lingers, his kisses teasing and light or deep enough to leave you completely breathless.

Phoenix

Phoenix is usually the first one up, full of energy and ready to go. But if he’s had a late night, he’ll totally sleep in and cling to you like you’re his favorite teddy bear.

If he wakes up before you, he’ll playfully shake you awake, announcing something like, “Babe, the world needs us” On the flip side, if you’re the one waking him, he’ll groggily pull you back into bed with a cheeky grin, muttering, “Just a few minutes longer.”

Lazy mornings with Phoenix are always fun. He might suggest breakfast in bed or turn on some music and tries to get you to dance with him. You’ll probably end up in his arms, laughing as he spins you around the kitchen.

On busy mornings, he’s quick but always thoughtful, making sure that both of you are ready for the day. He’ll give you a goodbye kiss with a wink and throw in a playful “Don’t forget to miss me.”

Phoenix always wants to make sure there is a smile on your face, whether it’s cracking a silly joke or surprising you with a quick kiss. On slower days, he loves nuzzling into your neck and covering you in kisses until you’re giggling. His touch is always incredibly warm, and his affection usually ends in some flirty banter that makes you unwilling to get out of bed.

Viper

Viper’s always up first, sticking to her routine. She loves the quiet silence of the early morning and usually lets you sleep a bit longer.

When she does wake you, it’s gentle, a soft touch on your shoulder and a calm, “It’s time to get up.” On the rare occasion she lets herself relax, she might lean down and press a kiss to your forehead, her lips lingering just a bit longer than usual.

Lazy mornings with Viper feel special. She really treasures those rare chances to just slow down, maybe reading a book while you rest your head on her lap, or sitting with you on the balcony, quietly enjoying the morning together.

On busy mornings, her routine is very efficient, but she always makes sure you’re ready too. If you’re dragging behind, she’ll guide you with a gentle hand on your back and a firm but caring tone to keep you moving.

Viper’s way of showing affection is subtle, but it means so much. She might brush her fingers along your jaw or let her hand rest on yours during breakfast, these little gestures that speak volumes. And when her control slips on rare mornings, her kisses get deeper and more intense, leaving you breathless and wanting more.

Reyna

Reyna likes to wake up on her own terms. If there’s nothing pressing, she’ll happily stay in bed with you, soaking up the warmth and comfort for as long as she can.

When she’s the one waking you, it’s with a low, “Good morning, mi amor” as her lips trail softly along your shoulder. But if you’re the one waking her, don’t expect to leave easily, she’ll pull you back into her arms with a sly smile, teasing, “Leaving already?”

Lazy mornings with Reyna are pure bliss. She loves taking it slow, having intimate conversations, and sharing lingering touches. Breakfast feels almost luxurious, with her feeding you bites of food or sipping her coffee while sitting close to you so that she can touch you.

On busy mornings, she’s more composed, moving at her own pace. But when her eyes land on you, there’s always a softness there. Before heading out, she’ll pull you in for a kiss, deep and searing, her hand gently cradling your face.

Reyna’s protective side really comes out in the early mornings through tender gestures, tucking your hair behind your ear, stroking your cheek, or whispering sweet affirmations. Her kisses effortlessly go from soft and sweet to passionate, leaving you feeling cherished and utterly adored.

Divider by: @saradika-graphics

[iamumbra195]

Random things that I've noticed in my Detective Conan rewatch (Episode 1- 123)

Ran started suspecting Shinichi in the 7th episode, figuring out that he was the one leading the police and her father to the suspects so while she might’ve not suspected him as Shinichi again until way later, she knew he was smart enough to figure out cases all on his own

Yusaku has a very particular way of writing his ‘K’s

Yusaku left a treasure hunt for Shinichi to find when he was older so he could find an old unpublished book that had been stolen from him at one point because he knew Shinichi loved reading his books and having this little privilege of reading it all when no one but Yusaku and his editors have was Yusaku’s way of showing his love

Sonoko has an older sister named Ayako Suzuki

Shiratori is an architecture nerd (Movie 1)

Shiota Heihachiro was Kogoro and Megure’s mentor, also known as the Japanese Holmes but he’s also just as shameless as Kogoro (Episode 67)

The Organization owns a bar named Black Widows (Great Detective Turned Small Special)

Heizo Hattori used to do Kendo with a friend of his, he likely encouraged Heiji to take part in it (Episode 77)

Shinichi doesn’t really care much for privacy when investigating stuff which includes going into people’s rooms when they’re not there, answering their phone and mimicking their voice to get information. Heiji even comments that he had a lot of guts (episode 78)

Heiji picked up calling Ran ‘Ran-neechan’ from Conan

Heiji is surprised when he finds out the Shinichi still hasn’t told the Mouri’s the truth about him shrinking because it’s kinda unthinkable to him. Why would Conan not trust the ppl he loved with this secret? It’s not like their knowing would hurt them because at least they would know what sort of danger they were in by housing him

Ayumi is super observant and tends to be the first to notice things they’re looking for quicker than the others, especially in the earlier cases

Takagi smokes in the early cases, though I can't remember if he does later on

Conan tended to trick people with his voice changer to get them to do what he wanted them to do

Shinichi can’t sing for shit but is really good at recognizing the pitch of sounds which is why he’s able to replicate voices so perfectly just by his ear

Takayama Minami (a singer) has a very similar voice to Conan and is a character based on his voice actor

Shinichi once found missing Lunch money in fourth grade when Ran lost it (episode 84)

Yukiko and Yusaku fight a lot but not in a serious sense. It’s more like Yukiko likes the drama and Yusaku just indulges it (Episode 96)

Before she got married Fujimine Yukiko (now Kudo Yukiko) used to act in a show known as the Dangerous Policewoman Story. Yamamura used to watch it when he was younger and was inspired to become a policeman because of it (episode 96)

Shinichi has abnormally good hearing (Episode 96)

The first time Megure ever properly accused Kogoro of being cursed was in Episode 98

Ran learns that Shinichi’s favourite food is lemon pie from his so-called first love, Asami Uchida (Episode 100)

Kobayashi Sumiko, the teacher of class 1-B was actually kinda strict and mean in her introduction, although that was mostly just her overcompensating (Episode 112)

The canonical show Detective Samonji was introduced in (Episode 116)

Kazuha introduced while thinking Ran was the “Kudo” girl seducing Heiji. She said she’s like Heiji’s big sister lol. (Episode 118)

Ran gave Conan a pager because he always disappears on her (Episode 123)

There might be a second part to this depending on how far I get in this rewatch. Have a nice day!

[zahri-melitor]

Hi! I’m a steph fan and your steph post really is good. IDK what post/person you’re talking about (I assume it’s going around, because I’m seeing the tumblr posts about it) but I love steph, and I think her sense of retributive justice and almost like instinctual violence towards men makes complete sense with her character. Even if I don’t think every writer was doing it intentionally (BQM certainly wasn’t thinking about Steph’s history with men when he had Steph get startled and punch Tim accidentally or whatever), these traits I think speak to feelings a lot of abused and wronged teenage girls have. I think it’s genuinely bizarre to want to remove these traits that IMO make Steph interesting in order to make her more palatable.

While I can actually understand people wanting her to grapple with restorative vs. retributive justice (again, i think this is a really common thing for young abused people to question and struggle with so seeing it on-page could be interesting), I think there’s more and more this sense of because Dixon wrote her this way, you should throw it all out which is so catastrophically boring to me. As much as Dixon is a conservative, and wrote Steph as a bit of a mouthpiece (and leaning on stereotypes about young girls in her characterization), plenty of it i think makes complete sense and genuinely works for her character.

Which, again isn’t to say I think every single aspect should be immutable forever (I think that would also be boring, especially for Steph who very rarely has gotten to be seriously introspective or have a fully realized arc in which her beliefs change past like 2000), but plenty of them straight up work for her teenage years in particular. Like of course the girl with no friends we meet on-page and no real support system when shes introduced is going to be possessive and desperate and catty! She started coming on to Tim after he REMEMBERED HER VIGILANTE NAME. That’s what it takes for teenage steph to like a boy, which I think speaks a ton for her dynamics with her male peers in her life. Like the minute you think even a second about what Steph’s life was probably like pre-Spoiler, I think most of her character flaws as a teenager (even those born of a conservative era or sexist writing) make complete sense.

I understand people not liking Steph (although I think she gets a lot less leeway than her male counterparts), but I think buffing out her canonical traits and flaws so she’s just like this freakish exaggerated version of herself (a perky, hyper-feminine stereotypical blonde thats super chaotic and doesnt think and does everything unintentionally) that only exists as a character foil to Tim or Cass or as a like cookie cutter snarky young female sidekick is way worse.

The thing about Steph in particular compared to a lot of other characters is that she has two very distinct, separate versions of her story that exist in an overlapping form (rather than before and after a Crisis like a lot of other characters who have a similar discontinuity in their characterisation).

The main character Steph you get reading Batgirl 2009 and Batgirls 2022 is a quite different personality to supporting character Steph that forms her appearances from 1992-2004, Batman RIP, Tynion's 'Tec, and Mariko Tamaki's 'Tec and One Bad Day.

Now personally, what I enjoy in a character is complexity and personality traits that are simultaneously assets and flaws (This is part of the reason I adore Barbara Gordon: she's a stubborn, grudge-holding hypocrite, and it gives her character so much depth). Another thing that you particularly see with female characters is they often develop a lot of complexity via stories that don't quite line up but when analysed turn into patterns of behaviour that various writers didn't even realise they were contributing to.

Supporting character Steph tends to be allowed to be messy (to help move stories along!) and that's where a lot of her most interesting personality traits pop up. As you say, there's a lot of solid background to why she hates to see criminals 'get away with it' based in her background and childhood and storylines. There's reasons for why she seems such a loner who has trouble forming friendships and who clings to the people who do put up with her for validation, and is so territorial over her relationships with Tim and Cass. She's desperate for approval and will cling to any shred of it she gets. And that desperation and determination is where her stubborn commitment to get back up again and ignore everyone trying to convince her to stop comes from, and how she keeps fighting, to prove her naysayers wrong.

While I tend to feel the Batgirl 2009 and Batgirls 2022 version of Steph is really flattened out into Generic Perky Blonde Optimist, because she's not allowed to face consequences of her actions or be at fault for anything in those titles.

It also obviously makes discussions difficult, with the overlapping contradictory characterisation versions, because if you're talking to someone who's only read a small chunk of her canon, you have to work out which bits they know, and with the added problem that what looks like obvious entry points (her solo or Batgirls) tend towards more uncharacteristic and flattened personality versions of her. Someone who's only read, say, Batgirls, has a very different view of who Steph is than someone who's only read Steph's Robin appearances, and if they try to discuss it without realising the significant differences in characterisation they're going to end up talking at crosspurposes.

[callme-holly]

I love your writing SOOO much. Could you do how the gang acts around kids? Like babysitting? Tysm!

𝐡𝐨𝐰 𝐭𝐡𝐞 𝐠𝐚𝐧𝐠 𝐚𝐜𝐭𝐬 𝐚𝐫𝐨𝐮𝐧𝐝 𝐤𝐢𝐝𝐬 [𝐡𝐞𝐚𝐝𝐜𝐚𝐧𝐨𝐧𝐬]

𝐚/𝐧: I thought this was such a sweet concept omg i love it.

Darry Curtis:

Darry is incredibly good with kids; he’s grown up with two younger brothers he’s had to look out for his whole life, so looking after children and babysitting comes naturally to him. He’s incredibly patient and always happy to help out, trying his hardest to balance his time so that the kid he’s looking after gets the right amount of attention.  He is very responsible, always making sure the kid is safe, that they have everything they need, that they’ve done their homework if they have it, but he also has a soft spot. Sometimes you’ll catch him letting the kid climb all over him, telling them stories, and joining in their silly games when he gets the chance. 

Sodapop Curtis:

Soda is every kid’s ideal babysitter. He’s fun, he’s entertaining, but he can also be incredibly responsible when he needs to be. If you’re babysitting, the child is instantly drawn to Soda, and he matches their energy perfectly, joining in with their games and making them laugh.  However, he isn’t the best when it comes to discipline and sometimes lets the kids get away with more than they should, which is where you, more often than not, need to step in. Sometimes it feels like babysitting two kids, but you can’t be upset with him because he manages the chaos so well. 

Ponyboy Curtis:

Pony is a little more awkward around kids and unsure when it comes down to babysitting. He’s a lot more quiet and level-headed, settling for calmer activities to keep the child entertained. He’ll draw with them, help them with their reading, and will also help them with schoolwork depending on their age. If the kids are particularly rowdy, he might struggle a bit at first, but it won’t take him long to warm up to them, and soon he’ll be dragged into their games and will be playing along, helping build up big, dramatic storylines with his more than creative imagination. 

Johnny Cade:

Much like Pony, Johnny is a little unsure at first, not wanting to say or do the wrong thing. He’s never had any experiences with younger kids, and he hasn’t exactly had the best role models, but when the kids start gravitating towards his calm personality, he relaxes a little. He’ll sit with them and play along with action figures, going along with storylines and listening to all the stories they have to tell like they’re the most interesting and important things in the world. He’s incredibly good when the child is upset, knowing exactly how to calm them down, and doesn’t complain when they cling to him for comfort. 

Dallas Winston:

Babysitting is Dally’s worst nightmare, and he doesn’t enjoy it a single bit, only sticking around because you insist. Unfortunately for him, kids tend to be fascinated by his cool demeanour, and while he may come across as scary at first, they quickly warm up to him when they catch you scolding him for being rude. If they were to climb all over him, he’d grumble and half-heartedly push them away, wanting nothing to do with their games. However, he can be surprisingly protective over the kids, and if they were to get hurt, he’ll defend them whilst keeping that slightly rough attitude. “Hey, kid, look at me. You wanted to climb that tree, and you fell, man. That’s on you. Just… don’t do it again.” 

Steve Randle:

Steve is the fun babysitter. He’s all about burning off the kid’s energy, running around with them and playing games until they crash. He’ll let them suggest games, and he’ll laugh along with every joke and story. Sometimes, just to give you a break from babysitting, he’ll show the kid his car, teaching them about all the parts and letting them sit behind the wheel. However, he also has a stern side and can enforce rules when they’re really necessary. He isn’t afraid to put his foot down and is pretty good at keeping the kid in control.

Two-Bit Mathews:

Two is a big kid at heart, so he bonds with the child very easily. He’ll goof off, telling funny stories, cracking jokes, and playing any game the kid wants in a way that matches their energy perfectly. He sometimes sneaks them snacks behind your back, telling them to keep it a secret. He isn’t super strict, but he can maintain a certain level of control when its needed. 

[ramshacklefey]

For the love of all that is good, can more people please understand the following about media representation?

No single story can represent the full diversity of humanity. Yes, we need more stories about more kinds of people. But a single story can only make so many points at once. There are, in fact, a finite number of characters that can be in a single story. And narrowing it down further,

No single story can fully represent the diversity within a single group. See again: finite numbers of characters and limited number of points a single story can be making. Yes, creators should be careful not to treat a single character as a mouthpiece for an entire demographic. Yes, the more characters from a particular demographic there are in a story, the less likely this is to happen. But also,

You as a reader/viewer need to try to avoid treating individual characters as mouthpieces for entire demographics. This is a problem for everyone, because we are all very used to the idea that there is such a thing as a "default human." If a character is "default human," then we (paradoxically) assume that a) they are a unique individual who doesn't represent the entire category of "default humans" AND b) whatever the story is saying about them, it is saying about all humans everywhere. When a character isn't a "default human," we all tend to assume that they are a representation of only people who are not default in the same way as them. While we need and want more characters who don't fit the "default human" category, we as readers and viewers also need to fight the tendency in ourselves to treat those characters as "default [insert category here]."

Looking at wider trends is more about publishers and distributors than individual storytellers/readers/viewers. If you start a sentence with, "No one wants to tell stories about ..." or "No one from Group A ever wants to hear stories about..." I am going to slap you with a raw fish. Because yes. They do. Yes they fucking do. Not everyone, no. But plenty of them. But individual creators are hamstrung by what publishers and studios are gonna put their money behind. And publishers and studios are generally gonna put their money behind whatever they think the most popular stories will be. Which, because of the previous point, they assume is going to be stories about "default humans."

America especially is in a shitty fucking place when it comes to how many people get to make decisions about which stories get funding. C'mon. We know this. The number of mainstream publishing houses can be counted on one hand. The number of mainstream film studios can (maybe) be counted on two. Despite the wailing of certain groups, these studios and publishers are not, in fact, particularly "woke." And the bigger the budget for a project, the less likely they are to take a risk on a story that doesn't fit their image of what a popular story will be. (Which is why you'll find a lot more diversity of characters in novels than in film. Publishing a novel costs a fraction of the budget of even relatively low-budget films.)

Representation is only a zero-sum game if you only care about stories that become massively popular/are put out by the biggest studios and publishers. Yeah, the Big Guys are only gonna put out a handful of stories every year. So maybe it's true in that corner that every character from Group A means one less character from Group B. But in spite of the absolutely shitty situation we're in with production companies, there is a fuckton of stuff out there that has nothing to do with them. Webnovels, indie comics, small publishing houses, self-publishers, local theater, podcasts, ttrpgs put out by small groups, fan fic! It's out there! You can find it if you want it! It fucking sucks that it's harder to find, it really does. But you can go outside the mainstream and find it. Which brings me to my next point:

The effects of an individual publishing their work online are radically different from those of a major studio or internationally famous author. Look. No matter how popular Online Cool Person is, their audience is fucking tiny. Take two steps outside of whatever circle they're popular in and no one's even heard of them. They may be telling the most beautiful and heart-wrenching story you've ever heard, but in the grand scheme of society? They aren't much different from you and your buddies at the table playing an rpg. For better or for worse. If they fail to tell stories about anyone but "default humans," or they try to include more people and utterly fail... just. Stop reading their work. They aren't affecting public opinion. Which is why:

Not everyone has the same level of obligation when it comes to providing good representation. Everyone does have an obligation to not be a fucking bigot with the way they write characters, but y'know, they have the obligation to not be a fucking bigot in general. But when it comes to the potential harms/benefits of particular stories, there are multiple orders of magnitude between Online Cool Person or even Officially Published Person, and Neil Popular or Jo Ann Megabitch. And lastly:

It's good to find stories about people different from you but people don't have a moral obligation to do so and trying to guilt them into doing so isn't going to get you anywhere.

[ladylucksrogue]

I was going to wait til Monday to post a bit of this, you know for mental health Monday but I decided to roll with it now.

I don’t post a lot of real life things here because this tends to be my little fandom safe space where I love posting my fandom messiness and thirsting over clones and posting my fanfic.  But I have noticed a lot of peeps that I interact with are going through a rough patch.  Post Holiday blues, January blues…something.  It’s rough out there, especially in the real world.

Went through a bit of a slump myself.  Prior to the holidays, I did up my writing plan for all my WIPs.  It was very…ambitious for lack of a better word.  Like damn, I know I can write a lot in a session but we’re talking like a fic a day and that…just hasn’t happened.  So, when I missed a couple days of writing, I was hard on myself.  I hold myself to impossible standards sometimes and forget to give myself space.  

I was pretty hungover on January 1st, the wine got to me a bit more than usual and I just wasn’t feeling writing at all, though I did push myself to write a few words.  I was able to post my New Years story a couple days later but I remember posting and thinking this is shit.  This isn’t your usual, though it’s not terrible in retrospect.  I just…it got to me.  So instead of following my crazy plan I focused on some drabbles and doing Whumpuary, which is thankfully every other day, so it gives me a bit of space.  I have been working on my next installment of my fix-it, which the first scene is light hearted and it’s been fun but slow going.

Had a bit of an epiphany a couple days ago, because of a comment someone said.  And it sent me into a bit of a tail spin.  An angry tailspin that my hubby had to catch the brunt of.  He is fabulous though and just rolls with it, lets me rant and knows that I’ll feel better for it.  Someone in our extended friends group cracked a joke about me not working yet and how I’m just enjoying sitting around at home.  It was meant to be light hearted but it hit wrong on so many levels.

I lost my job last year due to a company restructuring.  It was sudden and I was really angry at the circumstances of it.  And more importantly, because it was the second job I had lost in two years to no fault of my own.  But I still gave myself the fault in all of it.  There was a time where I really struggled to hold down a job for a variety of reasons after I got out of the military, and every time something like this happens, it digs up a bunch of stuff from then…

But the fact of the matter is, since losing my job a lot has happened healthwise and I am actually on disability.  As of right now, I can’t work.  It’s something that has been a long time coming and the timing just happened to work out.  At the same time, people who know react one of two ways, oh but you’re fine, you don’t look sick, why can’t you work, or they start on some BS about must be nice, etc.  I won’t even start on the whole who is deserving and mooching off the government stuff, because I will just make myself upset.

It isn’t nice.  For someone who has worked all their life, I would much rather go to work every day than sit at home.  Weird but true.  And I feel doubt and second guess this and wonder if I can go to work and all this is just me being weak, etc.

Comments like that from people don’t help at all.  And then it happened, the moment of clarity…because usually I’m fine on most days.  And then I was working on a scene, got up to make myself some coffee and I had a moment.  There was a sound in my apartment, no clue what it was, but it set something off in my head and for a good moment, I had this really disorienting moment of not really knowing where I was, like half in a memory and half in the present and trying to sort it.  It’s happened before.  I have PTSD, an autoimmune condition, and a whole list of things, so the amount of times something has gone wrong suddenly is long.  But I’m standing there at my kettle like nearly going into a panic attack and managed to calm myself down and sort what happened.  Had this happened at work, I would have had to go sit somewhere for a bit, wasting work time to pull myself out of it and then pretend to be productive for the rest of the day.  Because, in the immediate aftermath of this, after I calmed down, I was dizzy and exhausted and just done.  No energy left.

And the fact that I was home allowed me to go take a nap for a couple hours and reset so to speak, which is probably the best and most effective way I have found in dealing with a PTSD attack.  It works for me personally better than any med they have given me.  Can’t do that working.  Not to mention, if someone is next to you when stuff like this happens, most people are not willing to understand.  You are immediately judged and ostracized (in my experience) because you do not fit into society’s mold.  

But after all this, it made me realize that I need to give myself a bit of grace.  To allow myself moments to feel bad.  To focus on myself and be accepting.  I think it is a big part of self-care we all forget.  Like even people that don’t have medical conditions or diagnoses need to remember.  We all cannot be perfect and productive always.  Sometimes we need a break.  We need to allow ourselves that.

Especially during this time of year, when stress is high and people are frustrated.  We just all need to give ourselves a pat on the back, take things a day at a time and practice a little acceptance.  Like if we finish that chapter or art or whatever in a day, that is fantastic.  On other days we might not do much of anything, and that is ok too.

This is in no way a message saying I am taking a break btw, so no worries! To those who follow my writing, I am here and writing, just on my own time. So at times, I'll probably post a bunch at once and other times, it'll be a bit slow going. Also, keep asks and interactions coming, absolutely keeps me sane and happy to keep interacting!

[miraculouslbcnreactions]

One thing that kinda bothers me about Miraculous Ladybug is that it's too many Miraculous in the main series (not including the specials). Why couldn't seven be enough. Because it just makes you wonder. "Why didn't Marinette give Chloé another miraculous so she could still be a hero and continue her way to be good, with a secret identity this time?". Or why she couldn't give the holders from miracul queen other miraculous because their identities got revealed.

Plus it just gets too much and unnecessary. Especially with the powers that just feel like Dollarstore copies. That's why when I rewrite the story, that there's only the seven main miraculous.

Speaking of them, I would have the butterfly being made for for evil purpose from the beginning and that whoever wears it gets their soul and heart slowly corrupted. That would explain why Gabriel is the way he is. And you could even make it so it doesn't have a kwami at all. That would make it more outstanding from the other six.

Having the butterfly be something other than a miraculous would do a lot to fix the problem with all of the main show's magical problems being miraculous-based, begging the question of what good they add to the world. Not sure it's a change I'd make as it's a pretty big deviation from canon and I do try to stick as close to canon as I can for my fixes, but it's definitely not a bad one.

The change I strongly agree with is cutting down the miracle box. There's a reason that most team shows keep their numbers small. Five to seven seems to be the sweet spot. I would never do more than 10, but I personally like the season two lineup plus Luka and Kagami in non-romance roles. Between them and Fu, that's eight heroes/support characters and two villains, meaning I'd have nine to ten miraculous in play at the most. When were talking full rewrite, I don't tend to honor canon's miracle box layout since there's no logic to it. I start with lore and figure out which miraculous I'll keep based on that.

[tiredandoptimistic]

@salt-drum yes! This haunts me! I literally just made a post talking about how the new information about Eleanor Blackthorn being a Rosewain implies that Eliza was her sister, Michael was her brother-in-law, and Jonathan was her nephew; but she still never checked in on Michael and Jonathan after Eliza's death! It would have been so fucking easy for her to prove that he had been murdered and replaced by Valentine, but I guess nobody wanted to see him.

Michael tends to be seen as a pretty good person by the fandom, and "The Evil We Love" definitely frames him as the one who had doubts about the Circle, and yet we know that he did stick around until at least 1989 thanks to "The Last Stand of the New York Institute," and in that story he participated in slaughtering the Whitelaw family (which is extra bonkers because those are literally Stephen's family and he joined in on the killing too, but that's a tangent for another day). Still, it looks like Michael was not at the Uprising in 1991, so he gave up on the Circle to some extent and wanted to focus on his wife and son. Cool. Then they all get murdered.

Valentine taking Michael's place worked perfectly, because everyone in the Circle wanted nothing to do with him. Aside from any personal reasons that might have existed, he was a reminder of what they'd all done. Maryse was mad at Luke for leaving them to die, I bet she would be pretty bitter at Michael too. The rest of them were banished, but he distanced himself enough to earn a cushy retirement at his family manor house. Amatis was literally living in Idris, she had known Michael since they were teenagers (at least), but he'd already gone along with Valentine's plan to force Stephen to divorce her, so I bet she wasn't too pleased with him. Then of course there's all the Shadowhunters who weren't in the Circle (like his sister-in-law and her family), but to them he was probably a fucking monster because of how deeply involved he was with Valentine. They didn't see his doubts, they just saw his actions. He got his peaceful seclusion, and everybody figured he was doing fine and didn't want to talk to him and face the potential for a more complicated reality.

Michael Wayland tried his best for his whole life, but in the end he'd alienated everyone around him to the point that nobody even noticed his death.

What I really enjoy about Luke and Maryse's interactions in City of Ashes is that they clearly grew up separate from each other. Both of them are in their late thirties, but they hold this image in their heads of who the other was when they were teenagers, when they were enthralled by Valentine's hateful rhetoric.

From how he describes them to Clary, it's clear that Luke looks down on the Lightwoods. He says that they were Valentine's closest lieutenants and the most dedicated to his doctrine, and yet he ignores the fact that he was Valentine's second-in-command for most of the Circle's existence. He knows that he had doubts at the time and then grew into a kind and accepting adult, but Robert and Maryse appeared dedicated to Valentine from the outside and have been separate from Luke ever since, so to him they must still be as cruel as they ever were. He sees himself as superior because he got out first, but forgets that he stuck around until Valentine literally told him to kill himself, while Robert and Maryse surrendered to the Clave voluntarily.

Then there's Maryse, who's still bitter over Luke's betrayal. Not because he turned against Valentine, but because he and Jocelyn set a trap that ended with every member of the Circle (other than the Lightwoods, Hodge, and Michael) being killed by the combined forces of the Clave and the Downworlders. Of course Maryse is being pretty hypocritical here, since she was fully in on the plan to murder a bunch of unarmed diplomats, but she does have a point that Luke and Jocelyn did nothing to protect their former friends. Their plan saved lives in the long run, but it resulted in far more bloodshed that night than Valentine's simple massacre.

After Valentine's supposed death, Jocelyn, Luke, Robert, and Maryse all went into a sort of retirement in New York City. For Luke and Jocelyn it was their mundane employment and for Maryse and Robert is was their place as Institute heads, but both couples spent fifteen years raising their kids and learning to be better people. By the time we see them in TMI, all four former circle members had come to terms with how atrocious Valentine had been and dedicated themselves to doing better with their adult lives, but since it happened in relative isolation, they all still remember each other as they were at age twenty. To Maryse, Luke is still the man who left his friends to die, and to Luke, Maryse is still the woman who stuck by a murderer until the end.

I just think it's very interesting that there are so few survivors of the Circle left in 2007, and barely any of them communicate with each other at all. Amatis was left alone in Idris, Hodge felt so abandoned by the Clave that he went back to Valentine, Robert and Maryse trapped themselves in a loveless marriage rather than give up the illusion of stability they'd built for their kids, Luke and Jocelyn denied their past until it came to find them, and Michael was killed with his family in a scheme that would never have worked if a single person came to check up on him in the ten years Valentine inhabited his life. They could have found a community through this common experience, but instead they saw each other as monsters for the things they all did.