#words and writing and stuff i love it

[demonio-fleurs]

there is no better joy in this world than finally being able to write something you've always wanted to write

like me wanting to write how hot sabo's body feels from koala's pov

[kenjakusbraincum]

Heey, I LOVE your writings on soft sukuna, you write so beautifully🩷 please can you do one where he is jealous (fluff)😭🩷

Thank you sm for the kind words!!! Here's my best attempt at doing your idea justice <3

Sukuna has no real reason to be jealous. He practically owns you, controls every aspect of your life, who or what could he possibly be jealous of? Every servant who dared approach you in an inappropriate way would be dealt with swiftly. And you're a good pet, who has eyes for no one other than your master. You really don't give him a reason.

But there's this one thing... Since you've been so good and obedient, Sukuna has allowed you many liberties. You're permitted to skip around the mansion, watch Uraume cook, even enjoy little hobbies. You've tried many before you found that crocheting particularly piqued your interest. Ever since you've learned the basics, you've been spending hours working on perfecting your skills. At first it was cute, watching you squint in concentration as you move the hook. But then the math became really simple - having this hobby to keep you busy meant you approached Sukuna out of boredom a lot less. And he noticed it. It irked him, but you're not technically doing anything wrong. You were still as happy to serve him as ever, he just had to ask. But why would he have to ask? You should be all over him on your own. He should have to push you away, not beg you to give him attention. He didn't like this disturbance in your master and pet balance that this little hobby of yours caused.

He stands at the door now. You're crocheting again. You and your favorite servant laugh at your failed creation so sweetly, you don't even notice he's waiting. He clicks his tongue to establish his presence, and your servant falls to her knees immediately. You however, are not held to that high of a standard anymore.

"Master!", you call him, and hop up to greet him with a deep bow. Before he can say anything, you've picked up the piece of fabric you've been working on and ran into his arms to show him.

He looks at the ugly form and scoffs. "This is what I'm sponsoring?", he says and pulls a loose piece of yarn, making your little creation fall apart. He always was a bully, but you note his bad mood.

"I'm only a beginner...", you sulk.

"That much is obvious.", he flicks the yarn away and it falls onto the floor. Before you can bend to pick it up, he seizes your wrist and pulls you back. "Aren't you a little young to waste time with hobbies for the elderly?", he asks. You look at him with your cutest, practiced doe eyes, but it doesn't work.

"Come, pet. I know an activity more suitable for your age.", he says when you don't respond, and steps out of the room. You hop after him, unaffected by his condescending comments. You know that they're just for show. If he really thought you were a hag, you would've been gone a long time ago.

"Sitting at your throne all day?", you tease innocently and join him at his side, sliding your arm underneath one of his. You hope your playfulness will distract him from whatever is bothering him. "Or in a bath?" His lower set of eyes peeks at you and smirks, noticing that you're feeling particularly daring today. He's not sure how he feels about that. "Or in your bed." He rolls his eyes gently and opens the door to his chambers.

"At least then you'd be serving your purpose and actually spending time with your master.", he comments and shuts the door. His comment catches you a bit off guard and you stop in front of his bed. He makes his way towards you, and you look up at him with an insulted expression.

"Master, are you jealous of a ball of yarn?", you ask playfully, and squeal when he suddenly pushes you down to sit on the bed. Now you're at eye level... with his crotch.

"You've got quite a big mouth today. Put it to good use for a change, will you?", he runs his hand from the crown of your head to the back of your neck. You seem to have struck a nerve, so it really is the ball of yarn. Is it possible that Sukuna is this clingy?

"Will you?", he repeats and tugs on your hair and narrows his eyes. You smile obediently and reach behind him to untie his obi.

"Yes Master."

-

You try your best to manage the time you spend crocheting from then on, working on productivity in the hours that you dedicate to developing this skill. And it helps that you have a specific goal in mind now: helping Sukuna realize that this hobby is a friend, not an enemy. He still catches you engaging in it sometimes, and gives you a dirty look, but you're as quick as ever to drop what you're doing and join him. That seems to satisfy him.

When you're finally happy with the result of your creation, you look for Sukuna around the mansion. It's not really that hard to find him, as he frequents three places most of all: the dining room, his bedroom and his throne room. This time, he's sitting on his throne, and a small line of people wait for their turn to be gifted his attention. You on the other hand, don't have to wait in line to get it. His lower set of eyes spots you the moment you enter the chamber. You're allowed to roam the mansion, but barging in unannounced is not standard even for you.

Still, Sukuna has learned that you usually only feel daring enough to cross boundaries when you're sure he'll like what you have in mind. So for now, he will let this slide. He's bored as hell anyways. The people are dismissed and you pass by them on your way to his throne, nestled on a pile of bones. You stop in front of it and greet him with a bow.

"Master, I come to you with a humble offering.", you say with your hands on your thighs and your eyes fixated on the ground.

"Show me.", he says simply, but you recognize entertainment in his voice. You climb up the bones and feel his stare scan you from head to toe, before you sit on his knee.

"May I ask you to close your eyes?", you ask and flutter your lashes. Oh the way you seduce him. Who else could ask Sukuna to do something as dangerous as close his eyes? Give his opponent valuable time to land an attack. Who else could dare? And who else would he ever listen to and really close his eyes? Really do as he's told? Oh how safe he feels with you.

You take one of his large hands into yours, and gently pry his long fingers away to open his palm. He has beautiful hands. The only ones you've ever known, but you're sure they're the most beautiful hands in the world. So dangerous, so elegant. You want to press a kiss to his palm, but you hope your gift will have the same, maybe even more profound effect.

Something soft touches his skin, and then you speak, as politely as before. "You may look.", in your softest voice. And when he opens his eyes, he finds himself looking at you first. You're an offering on your own.

Then he looks at his hand. Two crocheted plush figures resembling him and yourself lay flat on his palm, connected through their holding hands. At first glance, it looks like they're two separate creations. In a sense, they are, but... He tries to part them.

"We're sewn together.", you explain. He hums in amusement and inspects your gift more closely. His plush is bigger, recognizable by the pink hair and four buttons for eyes. It's even wearing his favorite kimono. Yours is smaller and less detailed. You look like any other human when placed next to him, insignificant. But in a sea of pets, entertainers and lovers he's had in the past, he would never fail to recognize it as you.

He's spent so long looking at it with that face of his that you just can't read. You're starting to grow restless in his lap, and he feels your eyes dwell into his soul. When he looks back at you with one pair of eyes, your brows are furrowed in worry and you're fiddling your hands in your lap. He pats you on the head and pulls you closer, so you have no choice but to lean on his frame.

"It's beautiful, darling.", his fingers run through your hair, scraping your scalp softly. "No loose threads either.", he looks at you with all four eyes now, and you feel so small in his arms. You're not used to receiving this many compliments from Sukuna at once. Not ones that weren't directed at your body or performance. Especially not when he's looking at you so tenderly, when every word sounds so loving and genuine. "You've improved so much.", his hand is on your face now, and you catch him glancing at your lips. You part them to start thanking him, but you already know how much he hates listening to that.

You stay quiet instead, and lean closer, letting him take you. And he kisses you so softly, fingertips light against your heated skin. You feel like you're floating, like a lily pad in a warm pond. The littlest gesture of his affection has you melting in his embrace. The power he has over you... and how wonderful it is to surrender yourself to it.

None of the liberties and privileges you've been awarded with compare to this. You know that many pets have walked these halls before you. Many warmed his bed and claimed the title of his favorite. But how many loved him like this? Enough to dedicate time of their day to making intricate gifts. How many could say Sukuna kissed them lovingly, for no other reason than to show gratitude and affection?

You're flushed completely red by the time his lips leave yours. You can't hold the intensity of his gaze, as he stares at you in adoration. "I'm happ.. I'm glad you l-like it...", you stumble through the words and win a giggle out of him. You are just so cute. Like a pet should be. He rubs your head again and pushes you away lightly.

"Go now, the people await me.", he says with a benevolent smile gracing his face. "I'll see you tonight."

You bow to him and leave.

And when you visit him that night, he is as gentle as he was when he kissed you earlier, still in a good mood after your gift. Caressing your hair, shoulders and back, as you lay comfortably with your head on his chest. Keeping you warm in his embrace. You're trying your best to follow the conversation, but sleep is slowly taking over you. Sukuna notices and plants a kiss to your forehead, wishing you goodnight. The last thing you see before your eyes close, is your handcrafted plushies sitting on his nightstand.

[egophiliac]

happy new year Ego!!! Just wanted to let you know that I absolutely adore your twst fanart and the tags are just an absolute pleasure to read! You are my greatest inspiration for my personal twst art and I just wanted to thank you for your wonderful masterpieces <333 if possible, may I ask what are some of your headcanons for the diasomnia family? If not for diasomnia then any other characters are fine as well!

thank you, and happy new year! 💚💜💚 that is amazing to hear; it's always a little bewildering but super flattering that other people like my silly little doodles so much!

I don't think I really have any really solid headcanons and also canon keeps validating me left and right (FLUFFY DOMESTIC DIAFAM IS REAL). mostly just kind of...impressions and general thoughts, if that makes sense! lately though I've been kind of obsessed with thinking about Lilia's hair, and specifically when/why he ended up cutting it. (l-look, we're bouncing around the timeline and I gotta make decisions about these things when I draw, it's relevant) (I mean I would probably be weirdly fixated on this anyway, but.)

I think I've settled on the idea that he kept it long until he went to NRC, partly because 1) I like drawing The Ponytail, and 2) I think he thought of NRC as a chance to reinvent himself a bit! he gets to go and be a wacky carefree teenager for a few years and have fun! (officially he's there to keep an eye on Son #1, but how much trouble could he get into, really.) so he gave himself a Cool Teen Haircut to go with his fresh new Cool Teen Persona!

also maybe he had some reflection on his hair's troubled past with three kids...

...and had to weigh his vanity versus the fact that he was going off to be around hundreds of kids on a daily basis, and. the choice suddenly seemed obvious.

[rottmnt-residuum]

Hi, I've read the Residuum comic, and I think the characterization of the boys is really good. I was wondering if you have any tips on how to write them? Especially Mikey, please.

I'd actually recommend re-watching the show with one character in mind. All my notes on the turtles come from doing separate re-watches for each of them. The key is to ONLY watch the character you are focusing on.

In the end, you'll probably be happier with your own personal interpretation. As we are with ours lol

TL;DR

Massive post under the cut

To preface: we'll be contrasting (this Mikey) against the fandoms version of Mikey, as our interpretation is very different. Don't worry if you prefer the fandom version, there's nothing… wrong per se with writing him this way. We just find him flat and uninteresting. (Main author: not me, I just hate him, lol).

Every reader or fan comes into a story with their own biases and experiences. A ton of our view of Mikey is based on how our siblings acted. We see Mikey as the young sibling that got preferential treatment from the whole family, simply due to being the youngest, but is now aging out of the privilege. Which all youngest siblings do at some point or another.

The fandoms version of Mikey is empathetic, naive, vulnerable, co-dependent and quite often a door mat who cries at the drop of a hat. And as much as the fandom like to say that people love him… when this particular character archetype is in other media, they seem to attract the most criticism. Mable pines, Bolin from Korra, people rag on Aang all the fucking time, and Steven Universe is a whole other bag. These characters don't deserve it, and yet it happens anyway.

To flatten Mikey to simply 'the baby' is a disservice. We don't see or write Mikey as the fandom “baby” version (cinnamon roll uwu). Part of this comes from having multiple siblings, so we interpret the times when Mikey does the puppy dog eyes as typical younger sibling bullshit, mostly by the way that the other turtles rarely react to it, if at all.

The other turtles traits can also get projected onto Mikey. Mikey being the fandom therapist is in the same category as this. He isn't a therapist, he's a psychology nerd who likes to psychoanalyze people and meddle in their relationships. (Donnie and Shelldons relationship, Splinter and Draxums...) he's not trying to resolve your emotional issues. Of the turtles, the character that cares the most about people's feelings is Raph. And Leo is more of a consoler than Mikey ever is. It flattens all the turtle's characterizations when you start doing this because you are ripping out parts that are integral to another characters' complexity.

Co-author has told me that they've seen people become confused when going into the show after only reading fan fiction or coming from the movie. They see his characterization as inconsistent and become upset when their view of him is contradicted. This also happens when a fandomized version of him becomes the primary characterization that they use. Sometimes when this disconnect happens (or if they just don't like the character), Mikey characterization is swung in the complete opposite direction.

They make him manipulative and abusive, or someone who is hyper violent and avoids being held accountable for anything. This is an uncharitable interpretation of him and can come off as pretty racist depending on the circumstances. (like if someone considers the turtles black or not)

Every version of Mikey is a shithead (affectionate), even this one. Especially this one, really. When Mikey not doing the "baby schtick" hes mean. If you pay attention to what he's saying, and just not his tone of voice, he's consistently saying pretty mean or condescending stuff. (You could take this as simply naïveté, but he still says mean shit pretty often regardless)

The times he does say genuinely nice stuff the turtles don't exactly expect it from him, at least, in the early season. And while he is mean, and seems to find saying mean things to be funny, Mikey isn't cruel. Nor will he ever be.

This shit-headery behavior is found in both 2003 and 18 Mikey. They have a degree of social intelligence that lets them use it to annoy people into doing what they want. 18 just has the advantage of being baby faced and having better tonal control. He's good at using people's perception of him to get what he wants.

Let Mikey have his problematic traits, but don't overexaggerate them. He doesn't revel in fooling people. He loves doing character bits, and the baby faced one just happens to be one of them. However, to infantilize or to deem him incompetent is to piss him off, he wants to be viewed as a competent part of the team and competent as an individual. He's not insecure about being young, he just doesn't want to be treated like he can't do anything.

Mikey above all is an optimistic character, he sees the brighter side quite often and is conscious of the harm his actions have on people. Mostly after the fact, but he consistently attempts to rectify the harm he has personally done to peoples lives. (Todd, Bullhop, Draxum). Food and shelter seems to be a thing that he considers to be a right. He doesn't cross a boundary twice once he learns of it, and he never pushes people too far (if he likes you, that is. if he doesn't know you or doesn't like you, he doesn't give a singular shit. But that is standard to most people.). He doesn't care about people's stuff, though. He breaks things all the time.

Mikey understands boundaries, but he doesn't automatically recognize them. He needs them to verbalized or for there to be a very obvious reaction to the boundary being crossed (unfortunately, for Todd and Donnie). Sometimes people mess up (esp. younger people), and it can take a while for teens to learn where boundary is, but he fully respects the boundaries he does know about. He doesn't act petulant when he's told about boundary, he apologizes, accepts it, and moves on. He doesn't dwell.

Mikey doesn't hold on to distressing emotions. He bounces between emotions quickly, but isn't effected in the long run. One thing Iv'e seen people often conflate is the difference between sensitive and vulnerable. Mikey is sensitive, but I have never seen him vulnerable to others. To be sensitive is to be easily influenced by the current situation. To be vulnerable is to hold that influence for a long time. Characters can have one, both, or neither of these traits. But Mikey is not vulnerable. It is the difference between compressing memory foam and a piece of metal until they deform. One will pop back, the other does not.

Those who are vulnerable but not sensitive will take longer to effect, but once you do, they will hold on to that emotion for a very long time. The vulnerable, are grudge holders. (leo). But like I've said, Mikey bounces back. What a character does has an effect on his emotions, but it doesn't make a lasting impression.

Forgiveness is another thing people like to push on him. It is not that Mikey forgives people easily, it's just that he doesn't hold grudges. He neither forgives nor forgets, but he does not ruminate. He's generally affable, first impressions seem to be a big part of how he views people. He is idealistic, and doesn't assume people are unchanging and/or evil, but he's not a mark.

Mikey isn't so much as naive or overly trusting… it's just that he's inexperienced. He doesn't get fooled by anyone in the series except meat sweats, and that's because Meatsweats is on Todd drugs. Mikey just didn't notice when he started faking. He's not… actually all that aware of people's emotional states, passively. He has to tune in to notice things like that.

Mikey isn't someone who really tries to regulate others emotions, either. The fandom like to make Mikey afraid of his brothers fighting and others being upset, but Mikey doesn't actually care. The most distressed we ever see him in a fight is in the movie, and he's not SCARED, he's just concerned (and then alarmed once it turned physical). If anything, outside extenuating circumstances (like the movie), Mikey actually seems to find their fights annoying.

(Mikey actually seems to have a pretty short fuse, but his bounciness doesn't really let it linger very long, lmao)

(One pet peeve of fandom Mikey is the constant crying, crying at fights, crying at insults, crying for no reason all the time. Sure, he tears up when he gets emotional, but when Mikey is genuinely crying It's when he's desperate, like when he's hungry, or when he's trying to save Leo from certain doom. Same thing, really.)

Mikey respects no one (we love him for this). He admires people, he admires his family: April, the turtles, his dad, Lou Jitsu. He admires Rupert Swaggert, but he respects none of them. No one is sacrosanct to the Mikey.

Above all, the way we write characters is to give them a past that informs how they act now. We view Mikey and the other turtles as teenagers that were kids, and that will be adults. Yes they all have “problematic” traits, but 1) good characters need flaws, and controversial traits are one of the best to use, and 2) they're teenagers, don't expect adult behaviors from them, also don't expect them to be kids. They're minors, not toddlers.

This is getting as long enough as it is, so we'll stop here, but this is a very broad overview of how we characterize him. There's a lot we didn't cover here, but if we even started on hobbies, or the real minutia of his quirks and ticks, or even how he feels about other specific characters... we'd be here all day. So I hope this is good enough lol

If there was something you wanted to know in particular, you'll need to get specific. Feel free to ask again ahahh

[scribbyizhere]

does anybody feel Zesty abt ldr Sun?? oh hey yeah not me pffft nah. spirals

love death and rollerskates by @spadillelicious

[turnipoddity]

i’m writing my thesis and i thought like, whew i did so much work!! let’s see how many words i’ve typed in already—and it’s just around 6.000 words… about 30ish pages. My mind immediately goes to how dedicated fanfic authors are… i stare in horror as i realize how many pages of fanfics i must’ve read all this time… this is a love letter to all fanfic authors out there… y’all are insanely talented and so dedicated to your work

[vaguely-concerned]

on the one hand I think inner demons could stand to have a bit more romanced rook specific content, but on the other hand the underlying in-built implication that 'yours is the one true voice of comfort and safety in my inner world' is a sentiment and intimacy so way beyond the romantic or the platonic or any secret third thing you could care to name that it makes me lose my entire poor little mind a bit. it's so big and fundamental — near-existential — that in that exact moment at least the distinctions kind of seem irrelevant.

all the people lucanis' mind conjures up along the way are relationships he has that are unavoidably mixed and fraught in some ways even when they're also full of love (they are fraught BECAUSE they're full of love) — the good in them inseparable from things that hurt him at the same time. (it's about: the basic disorganized attachment patterns this poor guy is dragging around with him. careful with those, they're dellamorte heirlooms. what you love also inevitably hurts you and you won't be allowed to have one without the other, you have to surrender parts of your soul to hold on to what little you have left: this is the story up until now.) and the idea that rook isn't that to him — that beneath the fear of wanting them when romanced (which is more its own separate thing because within this psychology, actively wanting something and not just clinging on for dear life to even a meager status quo lest you lose it is in itself dangerous bordering on catastrophic), this is a relationship where there isn't resentment, or guilt, or shame, or dread, or rage, or self-hate, or any of the other emotions that keep him paralyzed, unable to move this way or that. no debts, nothing owed of yourself and your soul's substance except what you can freely and safely and happily give. love and freedom don't coexist — but, I mean, you're almost starting to make me think........... unless...👀👀👀. the unconditional and undramatic 'you are here and I am here with you, you can be exactly how you are right now with me and it's safe for us both even though you're afraid it won't be, I'm not going anywhere' acceptance rook shows him here that he returns to them in the big romance scene, when it's rook who needs it. the way he's just. standing there in the center of it all, like a child desperately helplessly waiting to be found, hiding in the place he hopes you'll know to look first. (rook does know. it's one of the first things they say in there.)

in short the most important room in his little mind palace for the romance is the very first room — the one where rook isn't. where, in fact, rook cannot be, because they disprove the entire structure of the place with their existence and presence in his life. with everyone else he's putting words in their mouths about what they think of him, and rook is the one who actually gets to come in to speak their own words to him — and have him listen. ('he'll listen to you, he always listens to you', 'your voice is a comfort'.) of course rook isn't present anywhere else in there — at the risk of stating the obvious to a tedious degree, they aren't one of the locks, they're bringing the key. in the very finest 'the messenger and the message' sort of way.

[ghostofthepresent]

Why I think Shiguang can be canonically read as romantic

(I will only be using the donghua for reference, so no Studio Lan retweeting those fanarts (lmao) nor those especially gay manhwa panels (lmao x2) nor even the songs ("chase you to the end of the world, just to say your name once more" my beloved).

It's important to start off by saying that I'm aware Director Li said they ended up not making Lu Guang a girl because they didn't want romance to be seen as a must in Shiguang's relationship by the audience (and because he feels that "bros can have a good heart-to-heart connection with each other"). In my opinion that was a great move since it allows more freedom with how they write them than they'd have otherwise. I also think viewing Shiguang as queerplatonic is a great read too and it doesn't diminish their love for each other nor the importance of their relationship at all.

With that said, despite Director Li's words, there's been things that had me going 🤨 as someone who likes to adhere to canon relationships and read into the writer's intentions, so I wanted to share why I personally see them as romantic.

EPISODE 2

We've all seen this coming, right? Most obvious parallel ever, and in the second episode no less. We all know the similarities between both relationships, so I will just touch on those I consider the most important ones.

Lin Zhen and Yu Xia have gone to college together, and since then decided to start a business of their own - named after a mix of their names. They've been shown as being really close and having no romantic relationships. Lin Zhen also says that Yu Xia's happiness is her own, and then it's shown to us that she's gone through years of unhappiness just for Yu Xia. I believe you can replace their names with Lu Guang's and Cheng Xiaoshi's in your head without me writing all this again. And I'm not even going to get into the most obvious parallels like the special noodle recipe for each pair.

I think it's safe to say that Lin Zhen and Yu Xia are implied to be romantic. From that "one noodle" scene, to the close shot of Lin Zhen grabbing her hand, etc.

Now, I want to get into a writer's point of view and pose two questions:

1. What's the purpose of this episode, when even those which seem episodic connect to the overarching plot of season 1 (even the missing kid's case, as it leads to the involvement with the police)?

2. If we answer the previous question with the conclusion that it's meant to show us the nature/development of Cheng Xiaoshi's and Lu Guang's relationship, what does that say about it?

"Partner" in Link Click

Continuing with episode 2, what really got me thinking about the romantic intentions in their writing was the constant mention of marriage and anything in relation to it.

(may I remind everyone that the driver's comment was said when Cheng Xiaoshi was complaining about Lu Guang lmao)

They're telling us through "show don't tell" (for example, when Lin Zhen kept on eating the noodle despite knowing they'd kiss) and, also, connotations. They are presented to us as business partners, but then the entire episode goes on to tell us that there's more to them by tying their relationship to things percived as romantic. So what they want to really tell us is that beyond simple business partners, they're life-long partners.

And then, after establishing this kind of connotation to the word partner, Cheng Xiaoshi says this to Lu Guang in the next episode:

This doesn't stop at them. While it's the most obvious example, I think partnership in Link Click is intended to be seen as romantic, or at the very least dancing somewhere close to it. Let's go even further and take a look at our fully canon, heterosexual relationships and see briefly how their story is written:

1. Dong Yi and Xu Shanshan: both of them chose the comfort of each other's presence over moving on with their respective futures. Dong Yi had so much faith in their relationship and their love that he couldn't choose a life/future that didn't have Xu Shanshan - choosing to not go back to his family home nor go to that interview, and instead waiting for Xu Shanshan to define their relationship.

2. Liu Siwen and Ouyang: Siwen spent his entire life training with the purpose of getting his father-in-law's respect and marry Ouyang, going every year over and over to fight him. His perseverance and his undying love for her allowed Siwen to do the (seemingly) impossible.

3. Chen Bin and his wife: they're a tragedy. His wife understood Chen Bin the best, enduring feeling lonely because she loved him and wanted a future with him. But their relationship was cut short, so they promised each other to be together in a future life to make up for the time they wouldn't be in this one.

With this + the pictures I attached, it seems like Link Click has set this theme of "love is a life with you" for its romantic relationships, a partner that will fight to stay because they can't see a future that doesn't have their beloved. Going back to episode two, this applies even to the noodle ladies. When Yu Xia remembered what actually matters to her, she went back home - to the start, to her hometown. And, most importantly, to Lin Zhen.

So why is Shiguang romantic? Why aren't they queerplatonic, or just best friends, or bros or whatever else? Because besides what I said at the start of the previous paragraph, Shiguang's relationship mirrors a lot of the romantic ones. Each story and author writes romance and other kinds of relationships differently, portraying them in the way they perceive "this is what this kind of love is like". And beyond life-long partners, I think that the key elements of romantic relationships in Link Click are the ones I highlighted in bold above in the 3 canon relationships part - which Shiguang shares, too.

(I didn't mention this before with the het couples, but I find it a little amusing that season 2 happened because a man wanted to go to the past and get his wife back (still fuck you Qian Jin) and then we find out Lu Guang did go back to the past and got his boyfriend partner back lmao).

"Friend" vs "Partner"

So where is the boundary between platonic and romantic? What marks the difference between a (best) friend and a partner?

There is, for example, Liu Xiao and Li Tianchen's relationship. They aren't shown to have any kind of romantic undertones and there's even the very real possibility of manipulation on Liu Xiao's side. They're also never labeled as nor call each other partners, but instead Li Tianchen says he "met a new friend" and Liu Xiao says he's "going to meet an old friend" years later. So we could say for now that they have a somewhat close relationship (we see Li Tianchen go against Qian Jin to give the phone to Liu Xiao), but never cross that "friend" label.

We can even bring Qiao Ling and the boys' relationship. She's never labeled as a partner despite taking part in the side job and, more importantly, being super close to both of them. She is very important and a cherished friend to Shiguang, so why not call her partner too? I think it's intentional. Since she's been given a familial role already (calling Cheng Xiaoshi her brother when talking to Li Tianxi), she can't fill a partner role. I wonder why? because it's supposed to be a synonym for a romantic relationship. who said that.

So even best friends (Qiao Ling, arguably what Liu Xiao is to Li Tianchen) don't enter this close space that is being a partner. It's different, it's beyond platonic. Or at least that's what they've been showing us for the past two seasons.

I could go soo much more into this honestly, because I do think the little hints thrown here (the music videos) and there (tiny seemingly inconsequential details) are worth to be looked at too, but I wanted to get into the core reason that makes me go "woah so they're In Love fr". I hope I expressed myself well ^^

tldr; the series shows us a divide between having a (best) friend and a partner, giving "partners" romantic connotations.

[mellblogss]

You were in my dream again last night.

[astor-and-the-endless-ink]

writblr peeps i want to be your friend. i also want to be, if this is more enticing, a member of your fanbase :3 so yeah uh follow me or dm me or both bc i either have no idea where to find you or am Shy

[laurrelise]

someone talk with me about an AU where delores is a real girl who somehow survived the initial apocalypse and spends it growing old with five and keeping him sane

someone talk with me about delores being five’s age when he discovers her body in the rubble and thinks she’s dead before he notices the small rise and fall of her chest before he pulls her out and desperately tries to help her breathe normally again and watches the life fill her eyes with tears in his own that he’s finally no longer alone

someone talk with me about delores being an only child to parents who she wasn’t close with leading her to become dependent on herself until she meets five and learns to trust other people before finding out about his huge family and doing everything in her power to help him not only because she cares about him and wants him to be happy but also because she wants to experience the family she’s never had

someone talk with me about how delores never had powers but survived for the 40+ years in the apocalyptic wasteland of the future due to her seriously genius mind (and five’s help) and lives to help five figure out how to save his family

someone talk with me about young five and delores searching for anything they can find to survive before they stumble upon a half-broken mannequin with a surprisingly intact polka-dotted blouse that five says would suit her so she puts it on out of boredom from looking for materials before five looks at her with the most genuine, in-love eyes she’s ever seen and she decides to keep it just for him

someone talk with me about five always making sure delores has a comfortable place to sleep, to rest, to eat, etc

someone talk with me about five explaining his childhood so nonchalantly one day once he realizes that he can trust delores to her surprise, and she asks why he suddenly had the strength to tell her and he looks her in the eyes and says “believe it or not, you’re stuck with me, and i’m stuck with you, and i want you to know who i am when we’re kicking this apocalypse in the ass”

someone talk with me about teenage five teaching teenage delores how to defend herself with the training he was given during his childhood but reassuring her that he’ll always be there to protect her if something were to happen (to which she reminds him that she appreciates it, but knows she can defend herself with the spite and sheer willpower she has to survive)

someone talk with me about five and delores having a makeshift wedding and five’s vows being along the lines of “even if the rest of the world was alive, i don’t think i could ever hope to find someone that makes me as truly happy as you do, and i will be eternally grateful that of anyone i could get stuck in this goddamn apocalypse with, it was always you, and it will always be you”

someone talk with me about the handler showing up from the commission to recruit five as a temporal assassin and delores as a case worker because they’re both dangerously smart and incredible at surviving in harsh conditions (also, the handler approached them separately to see where their loyalties lied and they both firmly explained they wouldn’t go anywhere without the other)

someone talk with me about delores getting fed up with the handler repeatedly making moves on five despite him clearly being uncomfortable until it bubbles to a climax and she punches her square in the jaw, which results in an ER trip and zero regret (plus five falling even harder in love with the woman who endlessly sticks up for him)

someone talk with me about five and delores plotting an escape plan to get back to 2019 which all goes well, except five had once again messed up the math (or so he thought) and he and delores are placed back in their 13 year-old bodies, but she confesses that she doesn’t mind seeing the boy she fell in love with all those years ago once again

someone talk with me about delores learning to trust and love the hargreeves just as much as five, as they learn to love and trust her just as much

someone talk with me about five always keeping track of dates and specifically remembering the exact times of significant events for himself and delores, like the moment she looked at him for the first time, the moment he knew he was in love with her, and the moment they decided they were going to stop at nothing to keep each other alive and stop the world from ending

someone talk with me about five and delores, the 58 year-old couple that they are, snuggling up on elliot’s couch together because they can’t fall asleep without the other one there to remind them that they’re safe and out of harm’s way (mostly)

someone talk with me about how delores has never been the type to step down, and she continues to stand her ground and be brutally honest when shes upset or wants five to listen to her, and he admires her bluntness (and frankly, needs it) due to his impatience and expectations of honesty at all times

someone talk with me about delores knowing exactly when five needs his time alone and stepping away to help his siblings as much as she possibly can, usually by encouragement or (again) brutal honesty hidden behind a kind and genuine smile

someone talk with me about five reminding delores of his love for her whenever it’s too quiet or he thinks she’s gone too long without him showing it, in every way he can think of, like letting her know that he would’ve lost his mind in the apocalypse without her (which.. he kind of did?), finding little things that remind him of her and bringing them to her, and holding her hand whenever he sees frustration or discomfort bubbling behind her eyes

[tathrin]

Hey, so do you ever stop to think about how the premise of Lord of the Rings being an in-universe book written by some of the characters who lived through that story means that they decided what parts and perspectives to use to tell that story...?

And when our authors weren't there to experience the events themselves, they have to rely on what they're told about them by the characters who were there, right...?

Okay so stop and think about the Glittering Caves.

We never actually go to the caves in the narrative. Tolkien LOVES describing nature and natural beauty, but we don't actually see the caves described "by him" the way we do other places. Obviously Gimli's words are Tolkien's, yes; but we only see the caves filtered through his words about them, after the fact.

When Gimli and Éomer and the other Rohirrim take refuge there, the narrative doesn't follow them. Obviously from a narrative standpoint this is to keep the focus narrow, and not to interrupt the battle-sequence with a long ode to the beauty of the caves, and to create tension in the reader who doesn't know if these characters are okay or not. Which all makes sense!

But think about it in terms of the book that was written in Middle-earth by the folk living there. Why DON'T we get to have a direct experience of those caves? Gimli obviously related several other parts of the story that none of the Hobbits were there to witness to them, and which were written into the books as Direct Events Happening In The Narrative (think of the Paths of the Dead scene, for one of the more visceral moments!). So why not the Glittering Caves?

Was it because they wanted to keep that narrative focus and tension, and so they didn't include his perspective on that part of the battle? Perhaps, that's certainly a possibility to consider.

But also consider: when we do hear about the Glittering Caves, what we hear is Gimli telling Legolas about the Glittering Caves. THAT is the part of that event that is considered of importance to include in the book: not Gimli's actual experience when he was in them, but rather the part where he relates that experience TO Legolas.

And I kind of just THOUGHT about that today.

And went HUH.

[thedemises]

. . . SAVE A HORSE, GO ON A RIDE WITH THE COWBOY! featuring boothill!

notes! . . . y'know the phrase, “save a horse, ride the cowboy”? well, I decided to-do something about it with boothill... except it's sfw and more like “save a horse, ride with the cowboy” cuz i dont do nsfw here >:/. god give me acceptance for how boothill is so ooc here- 😭😭 idnk how to write his character properly, and does he even have a horse?? I don't remember seeing a horse when his character and banner got leaked, so let's just pretend he does have one for the sake of K'hailreigh for this plot. 💀

imagine returning the horse boothill had been searching for all day after it got the chance to escape through the tall fences the moment they were opened, his eyes widen at the sight of his companion with you guiding alongside it. normally, his horse wouldn't follow after someone else's orders other than him... and it behaves pretty feisty and rough with people who isn't him.

boothill is relieved to see that his trusty horse hadn't been injured, briefly thanking you as he goes over to fuss over his stallion. you can't help your gaze wandering and examining his figure, in awe of the metallic and cyborg parts of the cowboy in front of you. sure you might've seen people having artificial and metal parts attached to them, but this man right here just plainly looks like a robot if it weren't for his humanly head.

boothill notices you eyeing every inch of him, glancing from the lasso that hangs at his hips to the pistols to his arms and to his legs. he glares a wolfishly smile at you, baring the shark-like teeth that you gaze in short surprise at, and asks in a teasingly tone, “like what you see, darlin'?”, observing how you blink owlishly at him. but then, he's becomes sort of surprised when you nod your head and confirm that—yes, you like his appearance and how the color scheme matches altogether, while indirectly  commenting how he's a good-looking cowboy.

boothill, after his turn of blinking at you, grins and narrows his eyes with an intrigued look in them; amused by you and how you don't seem in the slightest.. nervous or terrified in his presence. you perked the cyborg's interest.

finishing the small talk with the man, you mention that you'll be needing to go somewhere for an errand and boothill takes the opportunity to offer a ride there on his horse—as a thanks for retrieving his horse, taking in your surprised expression with a grin as he ends the sentence with a “darlin'”. he insists, even if you refuse, so you decide that it'll be quicker to go in a horse ride with the cowboy than rather walking by foot as you were given no other choice.

with boothill's assistance, you were boosted onto the horse and instructed by him to hold on as he looks back at you, flashing a toothy grin and a finger tilting his hat just slightly for a short moment before you and him rode off towards where you were needed to be at with his horse. startled by the increasing speed his horse was going, you instinctively grasp onto the cyborg cowboy's built body in order to not fall off during the ride accidentally—boothill grins at your expression, his laughter going with the wind, “better hol' on tight for now, sweetheart. this'll be a rough ride! i'll get ya to where yer headin' in no time!”

© thedemises 2024. all rights reserved. please do not repost, copy, or claim as your own. ━━  word count: 508.

[demaparbat-hp]

Zuko was a child when he met Agni. Then, the spirits started coming to him. Eyes hidden in the hallways, voices pleading for help, for recognition, for remembrance.

Zuko could see Agni. He could see the broken remains of a Great Spirit and the empty smiles of amnesiac ghosts.

And they could see him in return.

[mimixngg]

How can I love someone so deeply who isn't mine? You're like the vast ocean, and I'm just raindrops falling into you, unnoticed.

M.xg

[coddda]

Hiiiiiii. Episode 25/26 lawlight analysis rant thingy here. I don't know how to write an intro for this so let's just get to it LOL

I think one of the reasons that the rain/foot scenes stick out so much (the. Sheer insanity of a Foot Massage Scene in an anime revolving around two guys trying to kill each other aside 💀) is the fact that the anime specifically suffers a bit in terms of adapting a few of the "emotional" moments in death note.

And I don't mean "emotionally impactful" exactly. For example I think the adaptations of scenes like Raye and Naomi's deaths were very impactful and the atmospheres of their final scenes were great, but I mean more from a characterization standpoint (if that makes sense). Being more focused on mind and logic games, Death Note as a whole isn't as invested in individual characters' deeper feelings as it is in its action (which isn't necessarily a criticism per say, it's simply part of the nature of a mystery thriller series). But just because they're fewer and farther between doesn't mean there are none at all. In the manga we do get to see, for example, how much Light actually cared for his family and especially Sayu, and how he actually felt more conflicted and suffered lack of sleep/appetite when he first used the Death Note.

The anime specifically as an adaptation is pretty good at adapting the main mind fuckery and action of Death Note, but its lacking in properly adapting scenes like the ones I mentioned above is a criticism I see somewhat often, and it's pretty fair imo. Compared to all the other adaptations, it certainly seems to fall short on an emotional level: the musical has entire songs going in depth about the characters feelings and relationships, the 2015 jdrama is. Insane and has its emotional moments in spades (because it's a TV drama, which are more focused on portraying emotional conflict and the like), even the 2006 movies has its emotional beats and L Change the WorLd is. Well. Oh Man.

Anime Light to a lot of people is like. Light but he's "already evil" (which I have my own thoughts on but I digress). Light but after using the Death Note for like 2 minutes he's already like "fuck yeah time to kill criminals". Basically the anime doesn't take as much time to delve into his less cynical sides or really delve into his already vague and harder to decipher feelings in general, he is noticeably colder from the get-go here, etc.

But that's part of why I think episode 25 manages to stand out so much tonally (apart from it being, y'know, the episode L literally Dies). I love the episode so much and could probably rant for hours about how much I love the artistic choices made in it but what I'm trying to get at here is that it's one of the very few moments where the show tries to go deeper into specific character's emotions, and one of the very few moments where the show Attempts (emphasis on "attempts" because, well, you'll see in a bit) to get more in-depth into Light's feelings apart from his cynicism/apathy/justice. ness.

L in these two scenes in episode 25 is, well, pretty damn open about how he feels. It's usually interpreted as him knowing that he's going to die, and you can see it. He visibly looks/sounds lost, somber, etc. He never really had much to hide around Light to begin with (since he doesn't really care about hiding himself the same way Light does) but especially not now and it Shows, and I personally thought it was pretty cool to delve into his thoughts/show how he feels this way. The somberness can be felt throughout the entire scene, even people who don't already know the plot of Death Note from the manga could probably tell that he's about to die.

In the manga, once L starts suspecting Misa again and Rem realizes what Light is trying to do, it goes straight to Watari and L's deaths, but the anime instead gives a distinct and unexpected pause in the middle of this where L contemplates his own death. It's fucking great, and the shift from straight action to slower emotional weight makes these scenes stand out a lot, since, like I said, the show usually focuses more on the former. But it's kind of ironic, too.

Not only does the anime open up L's feelings more in these scenes, but it also tries to dig deeper into Light's feelings as well through L. And it's really funny honestly because while, yes, these are the more "emotionally open" scenes of the anime Light still manages to be Incredibly avoidant and contribute almost nothing to the entire ordeal.

L is visibly upset -> "Yeah Ryuzaki, you're not making any sense at all" (Not addressing the obvious conflict from L)

"Tell me, Light. From the moment you were born, has there ever been a point where you've actually told the truth?" -> "[The most stale, over-explained, avoidant answer to a "yes/no" question that you could ever hear + blatant attempts to reframe the question]"

(L's half-smile here kills me) "I had a feeling you'd say something like that" -> [Nothing]

"I'm sorry" -> [Nothing]

"It'll be lonely won't it? You and I will be parting ways soon" -> [Nothing]

^ From this point Light continues to say literally Nothing for the rest of the scene. I'm not even joking, from then on the rest of Light's voicelines are reduced to nothing but vague noises of confusion.

Everytime L calls Light out as a person ("Has there ever been a point where you've actually told the truth?" / "I had a feeling you'd say something like that." / "Won't it be lonely?") he doesn't actually acknowledge anything. Out of those three lines, he only answers verbally to if he's ever told the truth, and even then it's the most blatantly people-pleasing answer ever, as it usually is with Light. And I don't think it's because Light just. Doesn't care about any of what L's saying at all, or that he doesn't know what the hell he's talking about (questioning Light's authenticity as a person, saying it would be lonely when they part), instead he's choosing not to acknowledge any of what this means about himself or him and L at all. He's like a fucking wall.

And like, for the truth question in particular, the show makes sure that you know it's not something that Light just. Doesn't care enough about to answer. The hard cuts to silence are a very rare but extremely effective way that the show conveys an extremely important moment (see: Light regaining his memories, Matsuda noticing Light opening the warehouse door before he escapes (not as much of a "direct" cut to silence but still)), and cuts to multiple angles/framings/zooms of the exact same shot are also used for the same purpose (see: Light hugging Misa when she was crying, Matsuda aiming his gun to shoot Light, Light regaining his memories Again). Just like the scene where Light gets his memories back, the moment L's question finishes the show utilizes both. That question cut Deep. There's is a solid Almost 5 seconds of silence before the sound of the rain gradually starts fading back in, and honestly that should be telling enough as is (but of course Light doesn't actually admit that. Or anything at all really, so). Oh also another fun detail! We do not see Light's face At All (except for the shot where you can see his mouth moving but not his eyes), for the Entire time that he's going on his spiel to L. We Will Be Revisiting This Later, by the way. This is not, in fact, the first time you're going to see this detail from Light.

The only sort of reciprocation that we see from Light during Any of these two scenes is when Light dries L's hair while L dries his feet. Biblical meanings/references aside it's interesting because it's the only time he directly does anything "for" L in these scenes, but even then he doesn't try to pass it off as anything meaningful really the same way L does ("You're still soaked", a purely neutral and factual statement. It doesn't Add Anything compared to L's. Sin atonement loneliness grieving stuff. While Light is showing his own reciprocation to this more personal moment he also tries to keep it impersonal enough that it doesn't actually have to mean anything deep). And when L says "I'm sorry" after he once again gets no response from Light. It's also after this that L gets that pained look on his face, like he knows that at this point he's not actually going to get anything meaningful from Light (again, very significant and rare from L in the show. We've seen him in distress (see: when Ukita died, hell, when Watari dies), but even then he mostly manages to keep his usually neutral expression), we never see him "look sad" like he does here):

I just think it's interesting that this is one of the few scenes in this particular adaptation of Death Note where they try to open up the character's thoughts/feeling (especially considering the fact that they. lowkey blunder in adaptations of original scenes from the manga), and L himself is being rather open (not that he ever really tries to hide what he thinks nearly as much as Light), and yet all Light contributes to it in return is like. Actually nothing. Bro fumbled it. There is no resolution to any of this, to any of what L asks at all, to any of the many opportunities for a meaningful conversation, and the only thing even relatively close to an answer that you can get from Light is what you can infer from how he acts in the episode after L dies, where he's just going through the motions, but hardly acting as if he's actually living at all.

(Honestly I think the transition from this scene with the taskforce to the subsequent scene with Misa says enough on its own. Light's expressions and tone says everything:)

(Oh sidenote but. This shit again:

"Light, this is our first date in forever. can't you enjoy yourself a little more?" ('Why don't you seem happy? We can finally be together since L is dead') -> No response, Light instead changing the topic to him wanting to move in with Misa without changing his mannerisms at all

Also there's that one detail again. You pretty much don't see Light's expression when he speaks here at all, except for one shot of his eyes, which is quite literally the exact same shot they used when he "saw" L, just altered for the new setting. You have No idea what he looks like when he's responding to Misa, although it's probably fair to assume that it's the same empty stare he has for the whole Two Shots where you can clearly see his whole expression in the entire scene.

Something something Light Yagami bad at feelings I think you get the point though)

I guess Light's Kind of showing what he's feeling now? He'll admit to himself that it's boring without L, but no more than that. Light never actually admits to anything "significant", and L's dead already anyway, so what would that even do?

And then we get, uh. Basically nothing from Light. For the next 5 Years. Except that he joined the NPA, so, uh, yay? Good job, Light you totally nailed it! Thank you for allowing us as an audience to delve deeper into your inner thoughts and feelings as a character so we can find out more about you as a person! Very helpful! Thank you for not sabotaging one of your few dedicated opportunities to look into yourself as a person and reflect on your relationships with others and being 100% honest with yourself! We stay winning guys.

Anyway, this got way too long for a scene that's over a decade old, and I've probably just said everything that everyone else has already said in this fandom before. But unfortunately this has been living in my head for way too long and I must scream. I just think this episode's neat is all :)

tl;dr Part of the reason why the rain/foot scene (tbh episode 25 in General) stands out so much is because the Death Note anime specifically was a bit robbed in terms of its more emotional character moments compared to the other medias, which makes more somber/introspective scenes like the ones in episode 25 stand out a Lot in comparison. But it's also incredibly ironic because it's one of the few moments where the show (or specifically L) tries to look deeper into Light's character, but because he is so avoidant for the entire duration of these two scenes he adds basically nothing at all. It's almost funny. Mostly sad. It's also very gay. Aand post

Okay actually nevermind one more thing I talked about how the jdrama is supposed to be more emotionally in-depth because it is a TV Drama and just for the record, same thing happens there! I could probably do an entire analysis of the Blue Scene in this context like I did with episode 25 but I'd literally be here forever, so uh, just take this iconic line as my main example:

Same Thing. L's statement "I wish we could have met some other way" is personal. It's his own wish, his own regret that he is expressing to Light. While Light's reply obviously has that same regret implied it's also phrased in a specifically impersonal way. It's closed off. "This is the only way we could have met" it closes off the topic and simply renders L's wish as ultimately futile. Light does not say that he Also wishes he could have met L a different way even if it was likely impossible, instead it's a cold statement of cynical fact.

Idk just. Something something L being able and Willing to be more openly sentimental/emotionally open towards Light/about Light vs. Light's inability to be honest with anyone including himself and his own nature preventing any form of meaningful reciprocation. Something something self-sabotage, y'know the drill. God don't even get me Started on how sincere L's tone is when he says "It'll be lonely won't it?"(at least in the eng dub) in the anime I could talk about his tone in that scene for ages. Also yes all of this relates to L Change the WorLd too by the way. Don't ask how it just does okay.

I do think that scenes like these (rain/foot scene, The Blue Scene. Uh. L Change the WorLd The Novel Adaptation) show, at least in those adaptations, that L does genuinely care for Light, and show that he values him as a friend not just in the mindgame-equal sense but also just like, a more sincere sense you know. Idk if that made any sense and that's a whole other topic for another day but you guys just have to believe me on this one alright please please believe me buries head in hands. Okay post over finally thanks for coming to my tedtalk hope you enjoyed my very-unnecessarily long analysis of the week