#you can be “acceptably weird” and people actually really value that

[3liza]

it's fine to be autistic it's sort of the personality version of the "wearing a t-shirt that raises a lot of questions already answered by my tshir" tweet. yes I have to divert into a tangent to explain what the weird words I'm using mean every twenty seconds but I love diversion and explaining so this isn't actually bad and if you learn to do a nice little softshoe and be pleasant then nobody cool will mind too much. but watch out

[nereidprinc3ss]

trolley problem

in which fem!reader has been gambling with her life and spencer reid is more than a little concerned

flangst, hurt/comfort warnings/tags: passive suicidal ideation from reader, she keeps risking her life, that really grinds Spencer’s gears, established relationship, existential dread, existential euphoria, lots of stuff about grief and death and self worth, not advocating for this, pretension from the author, blasphemy probably?, reader gets fuzzy from prescribed painkillers, arguing, hospital stuff, mention of sleep paralysis involving spiders, reader gets shot but she’s fineee, I pander to intro to philosophy takers, bau!reader, neurodivergent coded reader, if she’s not exactly like you I’m sorry, bean soup a/n: one day you’re in a writing slump literally the next you are in your notes app for six hours writing whatever the fuck this is but I think I love it even tho it’s weird and I hope u like it too!! btw this was gonna be called cotard's syndrome but then I never once talk abt cotard's but if u care that might be interesting context for the motif of not feeling human/alive, WC 3K

Spencer hasn’t spoken to you since the doctor left the room five minutes ago. 

The air is antiseptic as you take it deep into the hollows of your lungs and trap it there for a moment, trying to optimize oxygen intake without actually having to breathe very often. Hospital smell is as universal as it is suffocating. It reeks of everything but death—flowers, blood, bleach, vomit. A humiliating, desperate scramble to defy the very thing that defines mortality. It’s pathetic. It reminds you of the worst instances of failure and loss and denial in your life. It curdles your blood. Literally rots you from the inside out. 

You’ve had ample time to ponder that smell over the last few months because you keep ending up here, and some time ago you decided the institution of the hospital is inherently absurd. It’s stupid to think you could avoid the one absolute condition on your corporeal form: impermanence. It is the only thing that is promised, and people still waste their lives away running from it. It is the ultimate self-fulfilling prophecy. 

So around the time you acknowledged that hospitals are simply monuments to the self-importance of man, you gave up on trying too hard to preserve yourself. You’ve seen death too much and too often. You’ve tried staving it off with prayer and the miracles of modern medicine, and it never matters in the end because it’s all magical thinking anyway. All the wallowing and the bargaining and pleading never got you anywhere. 

You’ve accepted that from the moment you were born, you were marked for death. 

But you’re not a complete nihilist. You’re not even totally resigned to the abject certainty of death—because you’ve found a loophole.

Everyone has as many chances at escaping death as other people are willing to offer them at the cost of their own lives. Not many people are willing to make that trade—someone else’s life for their own—but you’ve decided you are. Because if not you, then who?

It’s not that you don’t see the value in your own life, as Spencer keeps making it sound. It’s just the opposite. You understand that you’ve got an extremely valuable resource, and you don’t just have to sit on it. There are things you can do. Choices you can make. Ways to defy death. 

Just… not yours. 

Or maybe you’re just in deep denial. 

Either way—this is a philosophy your boyfriend intentionally refuses to understand. He gets mad, or some kind of upset, every time you try to explain it. Usually he ends up leaving the room close to tears. You never feel good about it.

Right now he’s presumably trying to give you the silent treatment and not doing a very good job. 

“Stop holding your breath. Why are you—stop that.”

Spencer’s frowning, skin sallow and milk-blue under fluorescent lighting. Purple seeps from around his eyes like spilled wine on a white table cloth. Your stomach turns. 

“Sorry.”

He doesn’t tell you not to apologize. You don’t expect him to. 

“Why are you doing that? Does something hurt?”

Other than your entire bicep being on fire due to the 9 millimeter Luger it recently came into contact with?

“Not really. I just don’t like the smell of hospitals.”

At that, he gets stony again. Like, Medusa stony. You feel a tightening in your chest that has nothing to do with a lack of air. His arms are crossed. A silk lined blazer drapes over your lap, and you wonder if he’s cold in just that white button up. It’s translucent in this light, like onion skin, or maybe something less organic—the folds and wrinkles look like fabric, but lots of things look like something they aren’t. In the Pietá, Jesus lounges dead on his mother’s lap, his cheek pressed to her arm like either of them have warm flesh, and her skirts drape from her knees and fall to the ground in delicate folds just like Spencer’s jacket and looking at pictures of it you swear you could find comfort there too—but if you wanted to make space for yourself next to Jesus you’d have to do it with a chisel and mallet. You’re starting to think that’s what it’s going to take with Spencer, as well. 

“So stop walking into active gunfire. You’ll spend a lot less time here.”

Every deep sigh (of which there have been several) calcifies you further. Ironically, you never feel less alive than you do in a hospital. 

“I didn’t walk into active g—”

“I’m not debating it with you. It’s not a discussion.”

“So you’re just going to be pissed at me for the rest of forever? I mean, if it’s not a discussion—what are you gonna do? Break up with me?”

You feel yourself dripping poison in the well. Even as you say it. As his head tilts toward you slowly and intently from his spot against the wall, and his warning gaze is cold and unforgiving and weighs 3.35 tons.

“Don’t.”

“Don’t what? Talk?”

“Don’t try and manipulate me by implying that there are no options between permissiveness and dumping you!”

“I’m not manipulating you. And I don’t need your permission to do anything.” 

The first part is an incredulous scoff as well as a blatant lie. You are manipulating him. Chisel and all. At least, you were trying to. It clearly doesn’t work very well. His jaw clenches.  

“Is this worth it to you? Fighting with me like we’re children solely so you don’t have to take accountability?”

“Accountability for what? I made a choice. I don’t regret it. You’re upset because I did my job.”

A beat. 

Silence always makes you feel the gravity of your words. 

“Do you believe that?”

His voice softens so much, so quickly, it splinters down the middle. 

You’ve never been known for your light touch. For someone who sees eviscerated bodies nearly every day, and prides herself on her evolved understanding of mortality, you often forget other people are not, in fact, impenetrable marble—they are flesh and blood and bone, and you’ve splattered yourself in the evidence of that. 

“What?” You murmur. You easily turn timid, when you’re afraid you’ve been too heavy-handed. Spencer’s seen you sob over the birds who hit the windowpane and never reappeared from the shrubbery—their delicate wings, their little beaks—he didn’t mean to, Spencer, and now he’s dead! He’s seen you spend forty minutes catching a spider with a cup and an envelope rather than smush it, even though you have reoccurring episodes of sleep paralysis wherein a giant arachnid is sitting on your chest, hissing and clacking its pincers. He knows you are, at your core, kind and good. 

It’s a little scary for someone to know that about you. It’s a little scary when you see your own vulnerability reflected in their eyes and the way they speak to you, the way you see it in him now. 

“Do you believe that the choices you make regarding your safety don’t concern me at all?”

“They’re… my choices to make,” you whisper, but you’re less sure than you were a minute ago. 

“I’m not talking about that—I’m talking about how it feels like you are trying to kill yourself every time we’re in the field.” His voice shakes. You swallow. “You have been hospitalized for four serious injuries sustained on the job in the past five months. Every time I bring it up, you—you talk about life like it’s optional for you. Like you’re not only willing to give it up but are actively looking to throw yourself in harm’s way every chance you get. You think that doesn’t terrify me?”

There’s a small chip in the paint on the wall next to him roughly the shape of Africa. 

“It’s not like that. I’m… I’m just having an unlucky streak.”

He snaps. 

“Luck isn’t going to get between you and a bullet. Ever.”

“It’s my job, Spencer.”

“No. It is a risk of the job. Not a defining feature or requirement. But you keep running toward gunfire like you have a quota to meet.”

“Spencer, I’m not doing it at you. I’m not trying to get myself hurt.”

“Well it doesn’t really feel like you’re trying to avoid it, either,” he shoots back immediately, and you feel the anguish radiating from him until it lodges in your own chest, like it was always yours. Maybe it was. 

You want to make it better, but you don’t know how, and even if you did, he’s pushing off the wall and crossing the room toward the door. 

“Where are you going?” You call, a little too desperately for your liking. 

“You need to eat something.”

Which translates roughly to he’s pissed and upset and he needs to leave the room. You’ve done this song and dance before. 

However, food and an absence of him are contenders for the absolute last two things you want right now. 

“Spencer, please don’t—”

But the door is already whooshing closed. 

You stare at the grey and white checkered floor. Light bounces off the waxen reflection—some sort of parallel universe you can’t reach, perhaps. The whole room is desaturated. A mechanical humming threatens to drive you insane. It doesn’t feel like a place for living humans. You’re not convinced you are one. 

When he comes back, maybe ten minutes later, nothing’s moved at all. In fact you’re not even sure you’ve been breathing. 

The door closes as quietly as it opens. 

This time, wordlessly, Spencer comes to you. You see his shoes first—his serious adult shoes. You wish he was wearing his Converse. 

Then you see the bottle of apple juice he’s cracking open for you. Blue lid. Same kind you always get. 

“You didn’t bring food.”

“You wouldn’t have eaten it.”

Fair enough. 

You take the bottle with your good arm and sip shallowly—all that adrenaline and the subsequent interpersonal strife has left you nauseous. The drink is too sweet. It clashes with the tang of metal in your mouth. 

Still, you drink enough to satisfy him, and then you’re tossing his jacket aside before balancing the bottle between your thighs so you can screw the lid back on. He doesn’t go back to the couch or his spot on the wall. 

Spencer doesn’t pull away when you lean into him, but it does take him a moment to reciprocate. You’re still grateful all the same when he cradles the back of your head to his stomach like you’re made of porcelain. 

“I don’t think you understand how upset I am,” he says quietly. 

Only Spencer Reid could be furious with you and still hold you like this. 

“I’m sorry,” you murmur. 

“That’s not good enough. You need to stop risking your life like that.”

He doesn’t get it. Your brows flutter as they try to furrow but even holding that expression saps you. Maybe the pain meds are finally kicking in. 

“I just wanna help people.”

“That doesn’t explain to me or justify your urge to do it at the cost of your own life. We all want to help people, angel. The whole team. That’s why we do what we do. But we don’t run into shootouts. We don’t split off and provoke people with guns when we’re unarmed and unprepared.”

“But it worked. She got away.” You feel a spark of fulfillment at the memory of Gloria Sanchez in JJ’s arms just before the ambulance doors had slammed you into your first cage of the night. 

“We don’t know if he was going to kill her. He might not’ve fired at all if you didn’t go running toward him. That wasn’t strategic, it was reckless and irresponsible and you know that. I know you do. So something else is going on.”

The pressure in your nose that usually precipitates tears comes as a surprise. 

“I just—if that’s how I can save someone, why shouldn’t I, you know? Why do they have less of a right to live than I do just because they’ve been deprived of the choice? If I have a choice, and they don’t, I should choose to… to help them. That’s my job.”

For a long moment, you listen to your own breath, muffled by Spencer’s shirt, and the mechanical humming, and something dripping, and the low, buzzy chatter of nurses far down the hallway.

When Spencer next speaks you get the sense he’s holding a lot back. His voice is taut enough it wavers slightly. Taut enough that if he weren’t speaking so quietly he might be yelling. It’s like pinpricks all over your body—not enough to hurt, but enough to make sure you’re paying attention. 

“You can’t help anyone if you’re dead. Do you understand me?”

And yes, in theory, you do. But that doesn’t negate your original point. It only takes one life or death moment for you to utilize the most valuable resource you have. What happens after is no longer your concern. 

“On the psych evals you helped develop it asks if you think it’s appropriate to sacrifice the one to save the many. The answer is supposed to be no. If you say yes you get flagged. The FBI frowns upon… lever-pullers. And that’s exactly what I’m doing if I let one person die when I could’ve potentially saved them.”

“Protecting your own life is not pulling the lever. What you’re doing isn’t smart or morally righteous. You’re just throwing yourself across the tracks, too. If you were to fail a psych eval right now it would be because you’re passively suicidal. And you know what? The FBI also tends to frown upon self-immolative delusions of grandeur and girls who like to play sacrificial lamb.”

“’M not a… sacrificial lamb…”

“No,” Spencer agrees quietly, stroking your hair. “You’re not.”

And you can’t react to the fragility in his voice, or the content of his words, and the fact that when he says it he means something different—you can’t do anything about it. You can only catalogue it. You can only know that he loves you, and feel a little guilty about it.

Some time passes. You don’t know how long he remains standing so you can doze against him. He does not smell like the hospital. He’s the antidote for whatever grief they distill from widows and orphans before aerosolizing it through the whole place. 

“Baby?” He asks eventually. You know the lilt of it. He’s been thinking. 

“Hm?”

He hesitates. 

“Can we talk about you maybe taking some time off of work?”

“You heard the boss,” you mumble. “I can’t come in for at least a week.”

“I mean beyond that.”

You intend to respond, but by the time you open your mouth you’ve lost the prompt in all the brain fog. 

“You’re so comfy,” you murmur dreamily. “Thank you for being mad at me.”

If he responds, you miss it. 

You’re imagining the bed waiting for you at home, once the doctor is done observing you—warm, neatly made. Blankets woven with soft fibers. A mattress that will sink under your weight. You think of Spencer, who’s shaping himself to you, Spencer, who intentionally inhales when you exhale at night to make room for the rise and fall of your chest against his. You think of the imprint of his buttons on your cheek. You are both flesh and blood and bone. 

Strange, pill-induced half dreams and visions and memories take over. You’re in that alleyway again. That man fires. You don’t blink or scream or feel. 

Just before the bullet makes contact you’re standing in front of the Pietá. It’s massive. Spencer is there, too, holding your hand. 

You can’t actually see him, only, you know he’s there. You feel his warmth, his presence, when he leans over to whisper in your ear. The way you know him goes beyond sight. 

The Pietá—meaning the pity, in English—is 6’7” and six feet wide. It weighs 6,700 pounds. Michelangelo had to quarry the block of marble himself. He was only 25 when he finished. The Basilica keeps it behind bulletproof glass. 

Jesus and Mary behind bullet proof glass. 

God. Who’d try to kill Jesus a third time? He’s already dead. 

Besides—they’re both made of stone. Bullets would probably just ping right off of them. Or maybe they’d shatter just like you did. 

Probably not though. You’re not actually made of marble. You’ve no idea what it feels like to be a statue and get shot at. You sure know how it feels as a human, though—and it feels like shit. You don’t really know why you keep doing it. None of your reasons are good enough for Spencer, and he’s, generally speaking, pretty smart about some things. 

Maybe you’re tired of being human.

Maybe you’re tired of sleeping on your arm funny and waking up to a hand in your bed that doesn’t feel like yours and remembering all the hands you’ve held moments before they couldn’t hold yours back. Or tired of those moments where you are being held and it’s so unbelievably perfect and then someone has to let go, or when someone you love hugs you goodbye and you realize that there will always be a final I love you, or simply getting older and watching potential life paths fall away like rotten fruit to the ground. Maybe life is sometimes so good it hurts and you can’t bear it. So you tempt fate. You walk a tightrope because even if you fall and it can’t ever feel good again—at least it can’t hurt either. At least you won’t lose anymore. 

And yet. 

It does feel good, sometimes. Sort of often, actually. Even when it’s awful. 

Dead Jesus and Mary, with their marble skin and their bulletproof glass and their holiness and their virginity and all the other things they have that you don’t. Nobody can hurt them anymore. Not ever. 

Maybe that’s something you envy.

But you doubt they’ve ever been so terribly, wonderfully alive as you’ve been, or as comfortable as you are like this, leaning into Spencer’s warmth and his softness, in the hospital, or the Vatican, or your dreams. Your bicep was ruined but it’s healing. You are capable of ruin and rebirth in the same lifetime. In the same day, in the same hour. 

You doubt that in 520 years, behind bulletproof glass and unyielding, eternally flawless skin, they’ve ever felt as invincible as you do now. 

You doubt they ever could. 

[unistaryo]

Hey I read recently one of your works and I really enjoy your style of writing and I find the way you write really comforting!!🙃☺️ I was going to ask if you could do headcannons on Alucard as a dad with another vampire. (I know canonically it wouldn’t happen ever but i was just curious lol)

Alucard as a dad with a vampire child (headcanons)

//I don't know how, but I somehow got extremely sick💀. So I'm sorry if this is ooc

I feel like you will most likely adopt a child who was turned into a vampire during a mission, immediately taking the role of a caretaker and forcing Alucard to do the same

The first couple of days or months he wouldn't really accept the role of the father figure

It would take a lot of convincing from your side for him to even stop trying to get you to stop parenting the child

He sees himself as someone who failed as a human, who willingly became a monster and he is very aware of his nature, Alucard can't comprehend how you can even think about him in such a positive way

But he will eventually comply in his own twisted way, maybe after your child has proven that while they can be a creature of the night, they still have some sort of humanity in them

maybe the child drank blood from an animal but is still compassionate to other people

Alucard loves and hates the child's innocence at the same time

He sometimes teaches your child how to control their vampiric powers, but it will mainly remain your responsibility (he's afraid the child will take too much after him)

He will definitely tease you a lot about your parental tendencies like "Where are you going? You know, you can barely handle one"

Despite this, his love and respect for you increased even more than before, again because he seems to value determination, will and courage

Alucard will definitely bring the child on a mission, maybe on one who isn't so bloody as usual. If you aren't on board with this he will do it in secret, unless you talk to Integra

Integra will command him to stop until the child has grown

The vampire does have his dad moments, trust me

He melts every time he sees you and his kid having a moment

If somebody other than a few range of specific people dares to comment about you two in a bad way, that person will either be traumatized for life to straight up killed

Alucard will play a lot with your child, he isn't far from teaching him how to transform and many more

Those two will prank soldiers in the most unhinged way

The child will love horror and adventure movies with extreme violence in the future, trust me

But, given how Alucard is one of their main caretakers, they will also become violent and mess with people on purpose (Alucard will either be entertained or curse himself because of this)

If something happens to the child, BLOOD WILL BE SHATTERED

He will have no mercy on whoever even looks at his kid in a weird way

(in Ultimate) Seras and Pip would be more than happy to help with babysitting, and the overall process of taking care of the child, more Seras actually, but Pip finds a good opportunity to get closer to the vampire

In the end, both of them will become extremely attached to your kid

Integra will remain distant, but it is clear she also cares a lot about the child, often forgetting they are a vampire

Walter will provide with the necessities but won't be extremely involved. But he will babysit from time to time, and even train them in small ways

(in 2001) Seras will help like her ultimate counterpart, but I feel like she will take them out more, even showing them her old home

Here, Integra will be a lot more distant, letting comments slip more often regarding the situation, but still cares immensely about them, even if she doesn't show it

I don't know why, but I feel that this version of Walter is more fatherly, so I think he will be more involved in the child's life, maybe even letting them accompany him in the mansion when he doesn't have an important task

Peter Fargason will sometimes entertain the child in small ways, only if the others aren't looking, but will mostly keep his distance

[dicksoutforakutagawa]

bsd characters at metal shows with you

author's note: i go to metal shows a lot. i saw iron maiden live. metal shows are actually so fucking fun. but bring earplugs because the music is SO loud

other note: i have never seen anybody be flirted with or hit on at my local metal shows. apparently my local metal scene is full of very respectful people. i've been in mosh pits with a bunch of drunk 6'0+ men and felt perfectly safe and i think metal shows are beautiful for that

features nikolai, chuuya, atsushi, akutagawa, and dazai :3

nikolai

he is crowdkilling.

his six foot tall ass is in the mosh pit flailing like he's been electrocuted

nikolai is that one cunt in the pit who gets you with a fist to the face but then helps you stand up again. and his smile is too pretty for you to stay mad at, even though you can already feel the bruise forming

he is the guy who will drag you to the very front right up at the stage and headbang to hell and back

look at his long beautiful hair. you cannot tell me that he would not utilise this when headbanging

does not wear earplugs. he is raw dogging the hearing damage

stays for the whole set and very loudly cheers on the local bands as well as whatever big one has come touring

wears a band shirt and gets really sweaty. you're pretty sure he gave someone a concussion but, between the strobe lights and the way he's flailing, it was kind of hard to tell

will point out his favourite bands to you and tell you weird trivia you didn't previously know

he WILL try to make you get in the mosh pit with him. i'm sorry. it's unavoidable. he will accept a no but he will go mosh without you for a few minutes

if you mosh with him he will be absolutely fucking delighted. will probably kiss you (with tongue) in front of everyone because he is just Like That

headbangs at the front of the stage with you. when you both get dizzy, he grabs the railing and wraps his other arm around your waist. you're suddenly very thankful for the bad lighting because you can feel your entire face going red

he will walk you home but he will also invite himself inside because he is drunk. falls asleep on your bed before he can even take his shoes off. he makes up for it by making breakfast the next morning

akutagawa

reid said that you'd see him in the pit and think 'i could knock him over easily' and when you slam into him he doesn't move at all and i think this is so true

he stands on the edge of the mosh pit. he may only be like 5'8 but somehow nobody knocks him over

does not wear a band shirt. he rocks up in his lame gothic attire and is the prettiest boy there

he does not headbang much because it gives him headaches. he just stands there giving the band members a death glare

is actually REALLY enjoying the music

he does wear earplugs. he values his hearing

will buy you drinks but will bitch and moan about it. he is careful not to get drunk though because he sees those large men in the mosh pit beating each other up and he does NOT trust that

stays for the whole show. he paid for those tickets and he's not leaving

actually has a really good time but will never admit to being as much of a metalhead as he actually is

his favourite part is standing there next to you but he is very very shy. he might hold your hand if he's feeling brave enough but may also just resort to standing shoulder to shoulder

will not mosh with you if you ask him to but he will stand there to grab you in case you get knocked over

he spends about 50% of his time actually watching the musicians. the other 50% is spent looking at you and admiring you. he is secretly swooning over the fact that you enjoy metal as much as he does

will drive or walk you home. walks you right up to your door. he very shyly goes to kiss you goodbye but then gets nervous and kisses your forehead instead. when you grab him and kiss him properly his knees go weak and he nearly falls over

he is immediately trying to find more metal shows to go to once he gets home

atsushi

has never been to a metal show before

'no i won't need earplugs', he insists. the band starts playing. he immediately asks you to give him the earplugs

metal is not really his thing but he discovers that he enjoys headbanging and the general atmosphere

does not own a band shirt to wear to the show. he purchases one once he decides which band is his favourite

he stands at the back of the crowd near the bar because the music is too loud and he is scared of the mosh pit

(after a few drinks he gets brave enough to enter the pit and he discovers that his ultimate skill is knocking people over in the pit. he has a great time. he feels a little bad once he sobers up though)

stays for the whole show. cheers on all the bands but very quietly because he is slightly intimidated by the aggression

he has fun. he asks you after the show why they kept blaspheming christianity and you realise that you did not explain to him the histories of metal music

if you mosh with him he'll get very excited but he will also get nervous because he is vaguely aware of how much he's wrecking everyone's shit

he does buy you drinks. he does not have the funds for it but he will try to pay for drinks for the entire night. do not let him do this. the agency's pay is not good enough for him to afford this

spends the first band's entire set working up the courage to hold your hand. his hand is SO fucking sweaty and it is shaking a little bit because he's so nervous and excited to be here with you

if you buy him a band shirt he will get excited enough to kiss you. in front of the merch table. and also in front of everyone in line. his face goes BRIGHT red when he realises what he's done and it goes even redder when all the metalheads start clapping and cheering instead of making fun of him

he walks you home. he does not have a driver's license but he walks you home. he'll carry you bridal style if your feet hurt. he doesn't even realise how sweet he's being. he's just too worried about your sore feet

he keeps going with you but only to cheap local shows because his pay is shit

dazai

does not wear earplugs because he is stupid

he does not go in the mosh pit. he went to a show with chuuya when they were 16/17 and he got immediately knocked over and winded and has not been in the pit since

will buy you one round of drinks but you have to buy the next because unfortunately the agency does not pay him that well

he doesn't own any band shirts that still fit him. he wears his usual bandages and they smell very sweaty and terrible by the end of the show

he'll stay for the bands he likes. if you want him to stay for the whole show then he will, but usually he taps out after he's seen all his favourite bands

he stands at the back near the bar. he still vividly remembers entering the mosh pit as a skinny teenager and getting knocked into next tuesday and, given that he hates pain, he is not going anywhere near the mosh pit

he does not headbang. he just kind of bops his head to the beat

follows you like a puppy dog. as much as he wants to pretend to be cool and aloof, he cannot stop himself from trailing after you the entire show. even if you go near the mosh pit

will spend at least an hour psyching himself up to hold your hand. his hands are gross and sweaty when he eventually does it. he's too proud of himself to care

after he loosens up, he stands with an arm around your waist while he listens to the music. he decides that actually, metal music isn't so bad, especially when he's here with you

he walks you home. he has to consciously stop himself from giggling and kicking his feet when you kiss him goodbye

he will continue to go to shows with you but only cheap local ones

chuuya

chuuya gets right into it. he headbangs and sings along to the lyrics he knows. he can do a surprisingly good fry scream

he owns several band shirts. he forced dazai to attend multiple local metal shows in their youth and bought a shirt from every show. he wears his favourite band's shirt to the show and will buy you a shirt as well as himself

he buys you drinks. gets pleasantly drunk but not absolutely hammered

he enters the mosh pit and uses his gravity manipulation to weigh himself down so that his 5'3 ass doesn't get mashed into the ground

definitely wears earplugs. will also force you to wear earplugs. you cannot listen to metal if you go deaf

he also stays for the entire show and he cheers on all the bands

chuuya likes to stand at the very front up at the stage but will stand wherever you want to be

he proudly holds your hand

if you come up to stand at the railings with him, or if you mosh with him, he genuinely swoons and has to take a moment to stop himself from asking for your ring size

he makes sure not to send you flying in the mosh pit. he's considerate like that

he buys you as many drinks as you want. he will also buy you a band shirt. he'll buy you a band shirt from all the bands that performed if you ask him to

walks you home. kisses the back of your hand goodbye like a gentleman. is squealing to himself the whole way home because he's SO excited that you came to a show with him and the blush on your face when he kissed your hand was SO cute

is overjoyed when you want to continue going to shows with him. gets very excited and starts trying to take you to all the shows for his favourite local bands

[egg-emperor]

The relationship of Eggman and his creations VS the relationship of Eggman's creations with each other

Eggdad and the eggfam has a ton of potential and interesting things to explore in fanon and not in the way people think. People seem to really be into the idea of it being this super unified thing where all the "members" fit perfectly into solid family roles and traditions and get along perfectly and literally just recreate the nuclear family structure. But it's so much more complex, unique, and interesting as a result. Not just to how they all are with Eggman but also with each other too.

Let's look at what we've actually got in the game canon so far. We'll start with-

The relationship of Eggman with his creations:

Metal Sonic has never once been called "son" by Eggman in a game. He has no known attachment to him besides bringing him back for convienience if he finds he can get more use out of him, but he's been more than happy to abandon him if he betrays or fails him.

Orbot and Cubot have also never been seen as sons of Eggman's. He's constantly yelling at them, hitting them, and threatening them. There's no fatherly bond, they're his assistants that he treats terribly.

In fact, as you see at the end of this segment, in the Japanese version of Sonic Colors, Eggman is heavily against the idea of being seen as Cubot's father. (But also Cubot has almost expressed attraction towards Eggman in Team Sonic Racing so it gets weird and complicated lol)

This hasn't changed since I made the above clip as he still treats them cruelly, even in front of Sage in Murder of Sonic

And this is clearly an aspect of their dynamic that's here to stay, as Eggman is even still whacking them around in TailsTube too

Sage is currently the only character where we know the familial aspect exists and is mutual. However, Eggman values her and accepts this dynamic for uniquely selfish and twisted reasons. Specfically for her usefulness and loyalty, how her skill can serve him well, and how he can take the credit for such an impressive skilled life-like creation, especially emphasized if he accepts the title of her father. His reasoning is quite disturbing really lol

It's a huge subversion of the traditional father and daughter dynamic in the way Eggman created Sage to protect him and serve as type of guardian for him rather than the other way around as a parent would typically be,

to the point she gets into danger and sacrifices herself for him and he lets her because it's specifically her function and this doesn't change even after developments

Sage is also still a servant/assistant to her master Eggman, she's mature and reliable and will get work done

(Link to translation here)

and so he promotes her to taking control of the Eggnet, a big responsibility.

She clearly isn't some immature child that needs her hand held and to be protected and coddled. He values her because she's so capable and useful to him and says so himself.

It's to the point that Eggman is the one who can actually be the irrational stubborn manchild throwing tantrums in some situations, while Sage is the more mature level headed rational one in those moments.

Sage is the very first creation he's called himself a father of and it was the best first choice that makes a lot of sense with his already existing character being considered and involved, rather than a complete change of his character and this is why it's great and works.

Not only is it not true that Eggman has ever felt a familial connection to any of his creations pre Sage in the canon games, it would also ruin the whole plot point in Frontiers of him starting to feel that way about a creation for the first time and processing it. This is clearly a first time thing for him.

So now let's talk about-

The relationship of Eggman's creations with each other

Eggman hasn't, and as far as we know, still doesn't see the likes of Metal Sonic or Orbot and Cubot as his sons. However, we do know that some of them seem to feel familial connections/at least desire a familial dynamic amongst each other that we know of.

As I showed above, Cubot did have a voice mode in the Japanese version of Colors where he would call Eggman his father and Eggman absolutely hated it.

In Rise of the Wisps, Orbot and Cubot express a desire to see Metal Sonic as their "big bro". Metal Sonic however, clearly isn't thrilled or into the idea, constantly looking pissed off to be around them.

Metal doesn't want anything to do with them and doesn't react well to the dynamic of seeing them like family, he's just like "whatever I don't have time for this" and focuses on the job that he's created to do, eager to ignore them and take off and get away from them.

Sage however, has expressed interest in Orbot and Cubot as being like brothers to her for being his creations too. Which Eggman half-heartedly went along with in a "I suppose so" shrug kind of way. Likely because he could see it made her happy and kept her loyal and useful.

But of course with all the examples I provided earlier in the post, he hasn't and still very much doesn't see them as his sons and still treats them terribly. Even in front of her, which is really interesting after he tried to entertain her desire to see them as her brothers before. Even that desire of hers doesn't stop him.

And lastly, it has been said that the "let's go dad" shirts Sage and Metal Sonic wore in Murder of Sonic were Sage's idea, so this tells us that Sage also wants to see Metal Sonic as her brother, which makes sense as she does with Orbot and Cubot too.

However, we don't know if this is mutual and if Metal wants to see her as a sister or not (for all we know, he could've been forced into the shirt by Eggman to keep Sage happy as we didn't get to see any enthusiasm from him lol) and this certainly wouldn't suggest how Eggman sees Metal still, especially with how he clearly still doesn't see Orbot and Cubot as his sons despite Sage wanting to see them as her brothers.

So yeah that's the current canon status of Eggman's relationship with his creations and his creations' relationships amongst each other. I think there's a lot of potential and fun ways to explore it without forcing them onto strict family role and tradition boxes because it's clearly much more complex than that.

They don't all see each other as family, Eggman doesn't automatically see and accept the idea of all his other creations being like his children too and some of them are even against the idea of being each other's siblings and don't get along like that. It's interesting to think about the difference in dynamics among each.

Eggman accepts Sage as his daughter but doesn't automatically see all the others as his children, while despite this Sage wants to see Orbot and Cubot and Metal Sonic as her brothers, and Orbot and Cubot want to see Metal as their brother but Metal clearly doesn't like the idea, etc.

There's also the potential complicated feelings and competition they could have against each other, especially when Eggman only sees Sage as his daughter and didn't see the others as his children before and so far it's quite clear he still doesn't see Orbot and Cubot as such even after Sage wants to see them as her brothers.

The ways Eggman could notice and exploit this to make all of them work even harder to please him to outdo each other, or possibly in hopes that he'll see them as family too if they're interested in that also has tons of potential. It's so much more fun than restricting them by putting them all in specific strict boxes.

Especially because not even the one dynamic that has the 100% known mutual familial feelings involved with Eggman and Sage are completely vastly different from the typical traditional expected dynamic canonically! I'd love to see more fanon not just embrace this but also the nuance and complexity between his creations with each other too. :D

[cainhart]

The symbolism of the snake embroidery on Vergil's clothes and my theories on how he might have acquired his outfit. (he's broke asf he didn't get it with money guys)

In the first Devil May Cry novel we learn that teenager Dante had his red jacket custom made. He is actually pissy about it when it gets ruined with bullet holes. He then wears a fuckass black jacket, which makes him look embarrassing.

Dante was drinking and using firearms when he was 15 or 16 years old; but he had a job (albeit his job being a MERCENARY. Also twins being European really shows because he was having drinking contests as a fucking 15 year old, god), so he had enough money to buy himself a custom made jacket. But the thing is, we don’t know how teenager Vergil got his outfit. It’s too well made to be bought in a normal store. Vergil probably had no money—though it is hinted that after Mundus' attack, young Vergil may have used public transportation (I also have a headcanon that he didn't know how to open a portal until he was at least 12 so that makes sense) and even bought himself food. These may have happened before or after the attack but let's say after the attack since Sparda, Eva, and the twins were living a secluded life. Still, being homeless and constantly on the run, his concept of the value of money is more like ‘money’ and ‘a LOT of money.’ He had no use for finance; what important was to get powerful and gain knowledge.

So, he probably didn’t get it with money. Vergil was never in one place long enough to earn money. I also don't see him as someone who would kill or hurt people to steal their money (he actually kinda did it in VoV,,, but that was different), so the idea of custom made clothing bought with human currency doesn't sit with me.

He might have used demonic magic to create his outfit. We see a demonstration of this in DMC5 with Trish, who uses her magic to literally recreate her entire outfit. This is very weird and left unexplained, which frustrates me because I need to rationalize things. Perhaps demons can do this because they can infuse anything with their demonic energy, and since the clothes they wear are made of organic material, they can recreate or even sew them back together. In Vergil's case, it's more like 'create a whole new outfit in mind's eye and boom now you have a ridiculous cravat.'

Another possibility is that he had it custom-made, but not with human currency. Demons, or at least a certain demonic/supernatural entity (the God of Time, aka the Divinity Statue), accept red orbs as a form of payment.

Vergil probably visited many places on his trauma blind journey of gaining power. I might overdo here, but what if he came across a strange tailor and they made a deal like, "You give me 70 thousand red orbs, and I give you a slutty vest, a ridiculous cravat, nice shoes and a cool coat with snake embroidery on it." and Vergil was like "Aight." Maybe he was intending to infuse his outfit with his magic anyway. It was a win-win situation.

It's funny to imagine Vergil designing his outfit, just being a teenager for once.

So, Vergil could have saved up red orbs to get a cool coat. Demonic establishments are kind of canon, so that’s a possibility. He was a teenager it’s only natural that he liked teenager things, even in his traumatized and hunted state. At a certain point in his life, he became strong enough to indulge in some of his likes.

Speaking of snake embroidery, Vergil has SO MUCH snake symbolism on him, and on his clothes too! Snakes were adored and respected throughout history before paganism started to get shitted on. Snakes represent wisdom, REBIRTH, healing, transformation, and knowledge. That’s why Satan, disguised as a snake, gave Eve the apple (knowledge) (also, knowledge of the occult was really given to women first). The snake detail on his clothes might even be magic, too. It's nearly an occult symbol on its own. Maybe a sigil? I know sigils aren't a thing in DMC but I don't care I'll go apeshit with my theories.

Whether the serpent detail was intentional or unintentional, it’s still a great detail considering his story and character. He goes through transformation (Nero Angelo), then rebirth (Vergil rebirth party in DMC5), and healing (basically the whole plot of Visions of V).

So, just teenager Vergil researching the occult and being fascinated with the symbolism of the serpent. OR he straight up stole it. :l This bitch split his demonic and human self apart and like 1 day after his human self came to existence he had to deal with money and his first thought was to steal it. Anyway, that's all. Have a good day!

[willthespy]

The Nico is extroverted and Will is introverted argument is both right and wrong depending on what your definition of both terms is and I have to talk about it. I agree mostly with the original post that claimed this, so just listen and bear with me.

Most people categorize extroverts as ‘social’ and introverts as less so, but in reality (depending on what theory) that is not really true. Because I do agree Nico was a social kid who still has the social skills, but has dampened it down because of his own insecurities and the insecurities he’s been fed due to his parentage. Then for Will, he’s got some solitude and gloominess in him for sure (another introvert stereotype), but shows himself as the (I don’t know what word I want to use for it, but I’ll go with) happy head counselor, because he ‘had to be.’

As for the definition I prefer to use, it’s in fact a bit different. Note that it isn’t a black or white thing, and that you can’t be 100% introverted or 100% extroverted. That’s the same as saying you’re 100% autistic, because all of these terms are all created and used to categorize, and you can’t perfectly fit a category. There’s no such thing as ‘perfection.’

Now, it’s been a while since I’ve properly read about cognitive functions, but as a Feeler type myself, I know most about the different types of ‘Feelers’ to say that Nico has dominant introverted feeling (Fi) and Will uses dominant extroverted feeling (Fe).

While Nico has shown to have social skills, he definitely looks to be a Fi user. He knows who he is (again, not 100% - it isn’t black or white) and what he wants and he doesn’t really base his values on others. I think why a lot of characters with Fi are ‘emo’ or ‘weird’ is because they’re authentic to themselves and don’t bend themselves to anyone else’s will that easily. Now, we all know Nico can be a stubborn prick, but we also can see that in PJO he corrects Minos on who he is. His whole thing there is him being ‘the Ghost King.’ He knows he is, he doesn’t need to be told he is that, he just does what feels real to him.

Also that one scene in ToA (I believe) where Nico is very blunt towards Lester/Apollo and where Will tells him he needs to work on his social skills or whatever? Yeah, that shows their differences in Fi vs Fe. Nico focuses on his inner needs and values (which actually aren’t selfish at all, but important to the entire universe in this case), while Will knows the bluntness isn’t socially acceptable (as far as he knows) and, albeit jokingly, tries to control his outer world to bring it to ‘harmony.’

Note that Nico also has had selfish inner values, wants, and needs. For example, trying to revive his sister. But Will was also selfish when he tried to keep Nico away from the Trogs for example. Fi and Fe aren’t inherently selfish, but their different types might make them make selfish decisions.

Will and Nico both are self-sacrificial, but in different ways. Nico does it for his own internal values and because he feels he’s not wanted anyway, and Will seems to do it because he seems to feel the need to be strong and have an image of himself up for everyone else, even if that means putting his own needs second to his own.

Will also showed some eagerness to absorb and ‘fix’ Nico’s negative emotions in a way. He’s a healer, it’s what he does, right? But meanwhile he struggles to accept or even acknowledge his own ‘darkness.’ (Yes, I’ll talk about this as long as I’ll live. I won’t stop. Ever.)

Also very important. Nico was way more accepting of the Troglodytes than Will. And you might say, “well, isn’t that an extroverted trait?” And I’d tell you: “that depends on your definition!” But in terms of Fi/Fe, it’s Nico who’s showing introverted feeling here. He doesn’t judge, as long as they (the Trogs) don’t go against his core values.

Will, my dumb, dumb, dumb son (note: I don’t actually think he’s dumb), whom I love very much, shows Fe here. He’s quicker to judge because of his sense and knowledge of social norms, but also because of his care for his loved ones. I don’t know, I think both are true arguments as to why he was against the idea of the Trogs.

Also this is why I think it wasn’t too out of character for Will to get all bitchy and negative about the Underworld. And also not why Nico got upset about it, because Will being against his ‘home’, went against his inner self. Boo! Fe vs Fe argument! Take that liberals! (joke)

In short:

Nico is the Fi user. He’s authentic, stubborn (in defense of his own values), actually attracts misfits - because he’s not as quick to judge people who go against social norms - as he doesn’t conform to social norms himself. He’s passionate and emotional (very emotion-driven). If I remember correctly, he also shows to solve problems by talking about it, rather than just cheering anyone up.

When he was ‘unhealthy’, he also retreated from society and went into solitude + lashed out. He also strictly followed his internal beliefs that he was unwanted and all that, while Will claimed that he was the only one thinking that.

Will is the Fe user. He is a healer and nurturer, but neglects his own inner self. He is externally friendly, but can be a bitch. (Sorry not sorry fellow Will lovers.) He can definitely be a bit controlling and less expressive for the sake of his outside world and is also more aware of what he thinks are social norms and cares about them more. (As is seen in ToA and TSATS).

I checked PDB (not the best source, but a source nonetheless) right after this, and people seem to agree. Nico is categorized as INFP (Fi > Ne > Ti > Se), while Will is voted to be ENFJ (Fe > Ni > Te > Si). Thank you for listening to my TED-talk.

[howtofightwrite]

Now you got me thinking...I've been thinking about writing a fic where the (in-universe) desensitization of violence for the main characters is a running theme. My main issue, however, is managing the violence within said narrative because, as you've said before, violence has diminishing returns. While I don't want it to be a gorefest from start to finish, I do want part of the horror to be having to engage in it, no matter what steps are taken to avoid it. If I'm not careful, I could end up with a weaker story for all the violence in it. What could I do to maintain this theme without it losing its impact due to these diminishing returns?

So, there's two different things going on here, and ironically, it's the same term, and mostly the same process.

When I'm talking about your audience becoming desensitized to violence, it's more that they become acclimated to the degree of violence you're comfortable with exposing them to. Again, “diminishing returns,” because as you expose them to more violence, they become more acclimated to that violence, and the shock value will subside. Similarly, the ability to build tension on the threat of violence occurring falls off when you're willing to engage in violence, but that doesn't mean you can't build tension, just that you need to be a little more careful about establishing those stakes.

Also, when most people write violence, they tend to establish implicit boundaries. It may be that only certain characters engage in violence. It may that certain areas are exempted from violence. At very mechanical abstraction, with some writers, you can tell when they've introduced a location that is exempt from violence. Even if you're getting into diminishing returns, violating these kinds of boundaries can keep the violence fresher than you'd expect. The formula of slasher films put a lot of effort into maintaining shock value by creating misleading boundaries that you'll pick up on and then violating them in new and novel ways.

Outside of some genuinely stomach churning violence, you're not likely to permanently move the needle for your readers. You're not actually desensitizing them to violence; just your willingness to depict violence.

I feel like I need to make a clarification: Too much violence doesn't mean the story will be bad. Normally, I offer advice with the assumption that you'll want to manage and maintain as much shock value as you can from your violence. However, that's not the only valid approach. That said, too much violence can cause your readers to disconnect from the work, so that is a legitimate consideration. Also, this doesn't mean the story loses impact. Unless the violence is the story, which is a somewhat weird edge case, violence won't necessarily reduce the impact of the story as a whole.

The example of slasher films, earlier, really does illustrate what I mean when I'm saying that lots of violence (even gratuitous violence) isn't going to necessarily mean that a story will be bad. (Though, this could spiral into a much deeper argument about the artistic merits of that genre.) To some extent, your choice of genre already starts to prepare the audience for a more violent experience. You're preemptively trading shock value for a higher baseline.

The second thing is your character being desensitized to violence. While there is something to be said for getting your audience into your character's head space to the point that they accept it as their own, doing that with desensitization to violence is extraordinarily difficult. (And, really, it's a tricky route to go in general. In most cases, the audience will simply assign whatever dissatisfaction they have onto you or the work, rather than realizing you were being clever.)

So, how do you show someone is desensitized to violence, without trying to simultaneously traumatize your audience? You show the consequences of that desensitization. This can show up in a character's sense of humor, their overall outlook. They may be more clinical about violence, more casual about its consequences (at least, superficially.) They might have an incredibly dark sense of humor, which might not come up most of the time.

In a larger context, a character who has been desensitized to violence may come across as basically normal, outside of a narrow band where certain concepts don't bother them. This is especially true with a specific brand of military humor, where violence has been rendered mundane for the individual, and the people they interact with on a regular basis.

Now, audience desensitization to violence can create a very weird situation. Where an absence of violence is more unsettling. Not because they're worried about what could happen, but because they're waiting for it all hell to break loose. It's one thing to simply call it, “tension,” but it is a very distinct kind of anxiety you can invoke, if you're careful. In the opening of a story, when the genre is clearly established, I've seen this compared to the ratchets on a roller coaster's first ascent. Everyone knows what they're here for, everyone's here for the ride, click, click... and then the lights go out, and the screaming starts.

I'm trying to make it sound easy, but violence is one of the more challenging things to write. That doesn't mean it's impossible, and you don't need to sit down and carefully sketch out every detail before you get going. The biggest thing to be careful of are that you don't want to overuse it, but you have a lot of flexibility to tell the story you want with the amount of violence you need to communicate that story.

Though, it might take a few tries until you get a tone you're happy with.

-Starke

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[susandsnell]

Re anachronistic feminist characters, you are absolutely right and you should say it.

Maybe people who want to read "write women who sew" type stuff should just go do that instead of trying to make every single female character fit into their worldview. Because I don't want every character to be Eloise, I'm fine with variety, but a lot of people seem like they can't stand even one woman challenging gender norms.

No amount of faux progressive language will change the fact they sound like highschool bullies picking on girls who are too GNC or too "weird."

Thank you so much! Ideally, you'd have feminist characters more representative of the feminist or proto-feminist views of their era where the work is going for historical accuracy to honour the different points of where we were in history and also acknowledge the flaws of the movement at different points in time (1994's Little Women versus the hilariously bad 2019 version comes to mind), and certainly there's an element of repetitiveness in this character type, but this is seldom if ever the criticism I see. The truth of the matter is that in fact many early feminists did denigrate work designated as feminine, but we can acknowledge this as misdirected anger at having one option deemed valid.

Instead, we've somehow arrived at "wanting to be treated with human dignity is internalized misogyny because it really cramps my ability to romanticize the past". As you say, nothing wrong with valuing the labour more frequently done by women, but the fact of the matter is you can do that and show that there were always many people who resisted or did not fit into the tight boxes that society forced them into. Instead of, you know, ridiculing them for wanting to break the boxes while enjoying the fruits of having to fit into fewer boxes than our predecessors precisely because of women who loudmouthed and fought back and didn't fit into certain people's fantasy of being a submissive little princess. The kind of girls you made fun of and ostracized in high school, one might say.

To address a particular point you raise that I think is the most important in this entire ongoing discussion:

No amount of faux progressive language will change the fact they sound like highschool bullies picking on girls who are too GNC or too "weird."

I keep saying it, but a certain type of liberal feminist are now using "NLOG" the way it was socially acceptable 10-15 years ago to call someone a lesbian/homophobic or transphobic slurs because they didn't wear makeup or want a boyfriend. It is absolutely high school bullying mentality and has gone from an imperfect attempt at addressing internalized misogyny to active misogyny and latent/often overt homophobia and transphobia.

This is what the numbskulls making video essay after video essay about the apparent 'NLOG crisis' fail to grasp. The Heathers and the Plastics are not 'demonized for being feminine', they are accurate representations of how under patriarchy, social capital is gained through strict, obsessive adherence to white, Western beauty standards (which corporations can profit off of endlessly by manufacturing infinite insecurities, so bonus to the rich girls) and excelling at heterosexuality and pleasing others, and this system self-reinforces by the 'winners' bullying those who do not conform as easily. Jo March, queercoded dynamo that she was, took nothing away from the sisters who were happier with more traditional lifestyles because she wanted better for herself and the girls of the future, and represents so many women who fought for just that. You're not actually an intellectual for thinking Daphne Bridgerton has more value than Eloise because she was designated the season's Diamond, a literal in-universe (and true to life) Prize For Being Correctly Female, and unquestioningly accepts being paraded around like an ornament and smiling at being auctioned off to the highest bidder while Eloise fought back, criticized, and wanted an education more than any boy until they forced heterosexuality upon her. You are in fact a vanguard of the very patriarchal system the franchise even presents as backwards, because you don't want anyone raining on your arranged marriage fantasies.

There is nothing, and I mean nothing feminist, about snarking girls who do not like or for whatever reason, cannot or will not perform conventional femininity.

There is a certain sour-grapes defensiveness that comes from beig ostracized and punished for Failing At Your Gender if you weren't good at what was expected of you/resisted it. Femininity is derided, but it is also imposed (the two work in tandem to oppress women); and if you fail at its imposition, it's natural to try and gain protection by participating in the derision. Hell, I theorize that people who proclaimed themselves "not like other girls" in the contemporary age often did so out of resistance at the fact that we're supposed to perform (cisheteronormative) sexiness from the time we hit our teens, and of course the panopticon self-reinforcement that is how Other Girls treat you if you, an adolescent girl, shirk performance of femininity in any way. Certainly, I've also read much about GNC girls (of various identities) and neurodivergent girls equally having turned to this, which makes sense, as they're frequently targets for such bullying.

I do also think - and have personally experienced - it was an often imperfect articulation of queerness in many cases. The societal ideal of women under a patriarchy is cisheteronormativity; our value is derived from our appeal to men, and from the time we start maturing, sexual availability and appeal to men is the highest virtue. Therefore, women whose sexuality is not limited to men - or heaven forbid, doesn't include them at all - 'fail' gender, and accordingly often feel a sense of alienation and ostracism from other girls when they don't get as excited about dating boys. Also, in many cases (anecdotal I admit from people I know, but still significant), people who had a phase of asserting they "weren't like other girls" were in the process of discovering that they weren't girls at all!

And in some cases - again, I've mentioned that I was an Eloise for all the handwringing about how girls of that era wouldn't say that or do that and it would never occur to want more than what they had (...okay, so why are things different now?) - it's a frustration from the outspoken feminists and reformers at not being able to get other girls on board with us, because deviation from expectation will make you the weirdo who gets punished and rejected because ugh, annoying! As one historical costuming youtuber I won't name so charmingly puts it in her godawful video essay, "the women who made a big show of fighting back were freaks." (Way to convince us you care about feminism...)

All this to say the anti-NLOG brigade have utterly worn out my patience, and at best seem ignorant of the battles that have won us the freedoms we have today because it's not fun to consider how your escapist fantasy might be problematic (understandable, you don't always have to reflect on this to be aware), and at worst? They're getting the chance to be the mean girl in high school again/that they never got to be, they're just dressing it up in the bastardized language of feminism.

[inbarfink]

I mean, the thing is that fiction about aliens is almost always going to be about some sort of Other on some level. Whatever it’s about demonizing or fear-mongering about some sort of Outsider Group or trying to get the audience to sympathize with the Other via the metaphor of a lovable alien. 

And Invader Zim is kind of an interesting spot there because, like, it’s not just ‘Bad Outsider Out to Destroy Our Beloved In-Group’ or ‘Poor Sympathetic Outsider Being Put-Down by the In-Group’. First thing first because Zim is kinda both. He is both the Outsider secretly hiding inside the in-group plotting their destruction - but the narrative and framing also sympathizes with him and supports his view of the in-group (that humans are stupid and gross).

So he can’t really be A Scary Demonized Outsider when he gets so much narrative sympathy and support, but also… he is a murderous little world-conquering bastard and most of his suffering is generally just him gets exactly what he deserves so he can’t be your classic sort of Sympathetic Outsider either. 

And the other thing is that the in-group is not even really involved in Zim’s conflict. Zim’s biggest challenge in conquering the earth is Dib, another Outsider. Often, despite being a human and thus part of the literal in-group, Dib is an even bigger Outsider to humanity than Zim is.

Zim and Dib are both Outsiders, and Zim isn’t just an Outsider as an Alien on Earth - among his own people he is in the same situation as Dib is, an Outsider in his own in-group. (Not that he can ever admit to himself that is the case). So these two Weirdos are fighting to protect/further the goals of two in-groups that will never actually accept them. 

And so often their main weapon against each other and the primary danger and the source of their suffering for themselves is the same thing; the in-group conformity and enforcement of social norms. 

Dib’s main evidence that Zim is an Alien is, most of the time, just the fact that he looks and acts weird. But also he himself is constantly bullied for looking and acting weird.

And Zim’s most constant source of anxiety while undercover on Earth is the fact that he’s going to get caught being Too Weird and then not just fail his mission, but get brutally dissected and experimented on. But his best defense against being exposed is… basically just to point out just how much Dib also Diverges From the Norm.

It’s the story of two Weirdos trying to get the other punished for being weird in some way, while the Normies just kinda look on and laugh at them both. And the actual thing they want, recognition and acceptance from their in-group is the one thing they are doomed to never actually get. 

And honestly, I think that's actually what makes a lot of real-life Outsiders cling to IZ, especially while we’re teens. I think, in a way, the fact that it’s kind of a messy Outsider narrative makes it more relatable to the messy middle-school/high-school experience than something more neatly crafted to be uplifting to the Weird Kids.

I mean, I certainly see the obvious value in fiction that’s actually trying to create a positive narrative for queer teens or autistic kids or maybe just scene kids or any combination of the following. This sort of media is very good, and can be just as important to some folks.

But... also the truth is that when you’re an edgy teen wrecked with self-loathing for Weirdness you don’t even fully understand “There’s nothing wrong with me and all the people making me feel like they are Bad!” can be a hard message to really believe in. Sometimes it’s easier to start from “Maybe I am all the terrible things people say that I am but.. still deserve love and sympathy, I can still be the hero of the story”. 

And because, sadly, the problem of Weirdos attacking each other for being Weirdos using the same rhetoric that’s used to hurt them, just for the sake of approval and recognition from in-groups that are never going to treat either of them as nothing but a joke - is not a phenomenon exclusive to the Silly Alien Invader Nicktoon.

And Dib and Zim’s rivalry is a great basic framework to explore it both in analysis of the canon and in fanworks.

[cripplecharacters]

Hello, I'm writing a character that is autistic. I'm autistic and white (afab) and my character is black (amab), can I use my own experience with autism as a "draftc for his character? If not, what can I do to make the writing feel correct/original?

(sry if I made any grammar mistakes, I'm not a native speaker)

Hi asker,

Ultimately, autism is both race- and sex- and gender- neutral. Symptoms and traits are not going to vary drastically because of any of the above things.

So yes, you can use your own experience as a basis for your character. What you'd need to pay more attention to is the responses of other people to your character and the culture that they're being raised in.

For example, black disabled people are treated especially heinously by law enforcement, so if you were going to include anything about that, a little black kid might be taught as much as possible by his family to be careful around cops and develop a script and to not stim around them. Masking and not stimming in a case like this isn't a case of hiding your true self, it's about protecting your life and safety. And yet, this doesn't actually have anything to do with this character's autism being any different than a little white boy his age. Just that it is treated differently.

And, like any character of color, the only way to make them isn't just to make them live the same life culturally than a white person and then change the color of their skin. Researching about their culture and including bits of that in their life is important – things like food, values, hairstyles, cultural events, holidays, and such.

I want to add that the assigned genders of your characters don't matter as much as you think they might. I know it's common to refer to 'female/girl autism' on the internet as its own separate beast, but there isn't really a material difference in symptoms and traits. Some traits will be seen differently socially by others, like with race, and people might be treated differently depending on their sex about how they behave, but the behaviors themselves are not divided nicely on a gender line or anything like that. That misconception, really, is just born from misogyny, sexism, and societal expectations, not from autism itself being different.

Hope this helps,

mod sparrow

Hello,

mod Sparrow covered the actual question, so I'll mention the AGAB part.

There is no sexual dimorphism related to hormones, genitals, or chromosomes in autism. The severity of a person's symptoms or how they experience them is unrelated to any kind of sex characteristic, nor to a past decision made on the basis of at-the-time appearance of the person's external genitals, which is what AGAB is.

The "girl/boy autism" is a sexist dichotomy that is completely made up and presents girls as inherently less disabled by their autism. It erases the severely disabled girls and women who do have autism and shows "girl autism" as more manageable and pro-social than "boy autism" which is impossible to control and anti-social. That's nonsense and the same kind of erasure of women as in every other minority.

The only real difference that is based on gender is how it's socially treated by others, just like mod Sparrow mentioned. Men's autistic symptoms are generally considered more acceptable than they would be if they belonged to a woman, even if the symptom is exactly the same. If a man shows autistic tendencies, he can be considered "intriguing and unique", but if a woman did the same, she would be "off-putting and weird".

This, however, obviously isn't based on what the person's AGAB was. A transgender woman's autistic behavior won't be seen the same way a cisgender man's behavior would be. It will in fact put her under more scrutiny than a cis woman would be under, not less. AGAB is a past event that serves no function in this question, nor in most contexts. AGAB doesn't answer for gender, presentation, chromosomes, hormone dominance, organs, functionality of these organs, or anything else other than what someone arbitrarily said about a newborn. Categorizing people based on what gender they were assigned at birth - rather than any present characteristic - is bioessentialism.

I know this is not an answer to the ask, but please question what a past evaluation of the character's genitals would inform here that their actual gender wouldn't.

mod Sasza

[therianconfessionsblog]

I'm going to be a bit blunt here, but the way a lot of alterhumans talk about non-alterhumans in terms of romantic potential is gross and weird. I get that it can be scary to come out to a partner that isn't nonhuman, but some of them legitimately refuse to even consider humans as romantic partners. A lot of them sound like they don't want to actually find someone that has similar values and morals to them, but instead want to be lazy and just date another nonhuman so they don't actually have to bond and connect with someone to feel certain that they won't find their identity strange. It feels sometimes like they'd rather date a nonhuman they have nothing in common with and fight all the time with, rather than a human that they connect with easily and instantly. I swear, a lot of them are misanthropes, rather than nonhumans with preferences. It's not all, but definitely a majority, and as someone who has a human partner who has accepted and embraced my identity from day one, if anyone ever said that about them to my face, shit like "but they can't really understand you, they probably think you're weird deep down, you'd be better off just dating another therian" I think I'd actually throw paws.

Like, the way I see it, if some of the stuff they said about refusing to date humans was said about refusing to date people without specific disabilities or gender identities or whatever else, they'd get called out for it. If it's just a preference fine, I don't care about that, but if it's just a preference, then you shouldn't feel the need to explain how awful your non-preferred group is and how they're all closed-minded and incapable of understanding you no matter what.

🐾

[strwbmei]

Hi Mei, Can I ask a relantionship hcs sfw and nsfw for Aponia with a gender-neutral if possible, please? You are free to ignore this if you like

pairing(s): aponia x gn!reader

contains:

Aponia HCs

╰┈➤ SFW ;

: ̗̀➛ Aponia was really hesitant to get into a relationship with you at first. She's seen many horrible things happen to those that she loves, and she knows better than anyone that she can't do anything to change it. Still, like a moth to a flame, she can't help but find herself drawn to your radiating warmth. Perhaps this time, she deserves to be selfish.

: ̗̀➛ The Deep End is a cold and dark place— one where normal humans most likely wouldn't be able to survive for more than a few days. Because of how long Aponia has isolated herself in it, her body has learned to adapt, lowering its temperature to match its environment. She can also see in the dark much better, which is pretty cool.

: ̗̀➛ Because of this, Aponia would always shy away from your touch. Believe me, it was much to her annoyance, but she had grown insecure about being so cold (literally and figuratively) and she didn't want to scare you away with it. She was especially hesitant to hold hands because they were the coldest part of her body, but she learned to be more comfortable over time.

: ̗̀➛ If the two of you have a disagreement (which is near impossible, by the way; my girl Aponia can never be wrong,) it's really obvious to everyone else because of how weird and aloof she acts. For example, she barely ever leaves the Deep End, but suddenly you'll find her in the lobby drinking with either Elysia or Eden with a somber look on her face; sighing every few seconds and completely ignoring Elysia's bombardment of questions. The Flamechasers find a great deal of amusement seeing how you're so easily able to influence a woman usually so dangerous and cunning.

: ̗̀➛ Expect her to be the more dominant one in the relationship, taking the lead and making decisions (with your input too, of course!) because she's used to being the one giving orders. Despite that, though, she's actually really inexperienced with relationships so it's more of a team effort; the team consisting of you, Aponia, and Elysia because she helps you get through to Aponia more and somehow manages to offer the best relationship advice.

: ̗̀➛ Aponia doesn't really get jealous, at least at first. She got upset, but she used to have the mindset that if you like someone else more, you should simply choose them instead and she'll accept the decision you make. Over time, she grows to be more greedy and possessive of you. Because of this, she really appreciates it when you give her reassurance that you're hers and hers only even when she doesn't ask for it.

: ̗̀➛ When Griseo started calling you Mama/Papa, Aponia almost shed a tear. Griseo is almost like a daughter to her, and hearing her call you that only further solidified the fact that you were the person she'd want to spend the rest of eternity with.

╰┈➤ NSFW ;

: ̗̀➛ First of all, set a safe word. Seriously. Her libido is low, but every time the two of you have sex it always ends with you not being able to walk for months. Set a safe word if you value your life or if you don't want your pelvic bone to get turned into dust like actually. I'm not exaggerating; this woman goes rough.

: ̗̀➛ That doesn't mean that she means to, though. She's a gentlewoman at heart, but being surrounded by people like Kevin and Kalpas for most of her life has skewed her perception of an average human's limits. She's more of a soft dom if anything; you ending up with your legs shaking is already her being gentle.

: ̗̀➛ Remember how her hands are the coldest part of her body? Yeah, she's definitely taking advantage of that; cruelly tracing your body with her hands and making you tremble and whimper from the sheer temperature of her fingertips. As serious as she appears, she can be quite the tease when she puts her mind to it.

: ̗̀➛ Has a huge thing for dacryphilia. She was absolutely terrified the first time you started crying during sex thinking that she hurt you, but ever since you quickly explained the real reason and assured her that she did nothing wrong, she's made it a goal to make you cry from the pleasure. Did she really do a good job if you aren't a sobbing, shaking mess by the end of it?

: ̗̀➛ She doesn't have a specific preference for positions, but she hates it when she can't see your face. Aponia is the type of woman who thrives off of all of the small reactions she coaxes out of her partner. Blindfolds are definitely on the table, though— maybe it's her sadistic side, but she just loves seeing the fabric dampen with your tears...

: ̗̀➛ Aponia is really into body worship. It doesn't matter whether she's on the giving or receiving end of the deal, she loves the intimacy of the whole thing. She'll literally leave her marks and kisses on every inch of your body, and she expects you to at least try to do the same for her. This often leads to a lot of marking for both of you, though...

: ̗̀➛ For your own good, don't make her jealous. She's a patient woman; even more so with you, but if you upset her like that on purpose? Say goodbye to your ability to walk, speak, or think. Once you can speak again, make sure you give her tons of reassurance because that kind of stuff really upsets her. The idea of you with someone else gets her blood boiling.

[velvetvexations]

So weird question, but I've been seeing posts going around in transfeminist(and transradfeminist) spaces talking about how there's this huge problem in the queer community of people not agreeing rhst trans women are women, and like claims of people responding to the question of "would you stand up to defend trans women and argue that they are in fact women?" by saying "yeah, of course, gender is whatever you want it to be :)" and how that's a huge problem because it shows they don't actually agree that trans women are women, and insisting that "it only makes sense to categorize trans women as women and nothing else and if you won't accept that you're a bigot" and I'm just getting the feeling I'm missing something?

Cuz like yeah, trans women are obviously women, that's. That's obvious? And I don't think I've seen anyone on any side of trans discourse or theory or whatever state that they don't think trans women are women, or that any trans person isn't the gender they say they are(except for like people who are against afab transfems or argue for why it's okay to use theyfab, I guess) but I think that's something we all agree on overall, kinda the foundational stance of trans rights, but it's being said like this gotcha?? But I have no idea what the hell it's supposed to be a gotcha against??

The only thing I can possibly see this being about is like, people saying transphobes and our transphobic society don't fully view trans people as the gender they are, which they don't, that is also obvious and it doesn't mean trans women aren't women, just that society puts them more in the broken pervert faggot freak category and occasionally moves them between the woman and man categories based on whatever will hurt said trans women the most in any given situation, but if that's what it's about then how does people talking about how gender can be fluid have anything to do with that? It's honestly kinda weird to see people get so focused on like proving without a shadow of a doubt that trans women are women in all aspects and saying that acknowledging that gender is fluid and complicated and not easily defined is transmisognistic like...it feels a little transmed-ish to me?? And like also I thought we as a community were moving away from slogans like "trans men/woman are men/women" and on to like "trans liberation" because arguing that we are the gender we say we are with bigots breaks down into pedantic nonsense that detracts from the real issues like bathroom bills and anti-drag laws and HTR bans??

I just keep seeing these posts all over and it's making me feel like...idk like I'm in middle school and people are teasing me by asking me questions that I don't have the full context for and then calling me a freak when I answer wrong, but I'm worried if I ask any of them "what's this really about" I'm going to get insulted and called a transmisognist for suggesting it's not just about trans women being women even though I really am getting the feeling it's not actually just about trans women being women.

Anyway if you don't know that's fine, I just thought you might have some insight since you seem to understand these people and their talking points pretty well and you're also a trans woman so I trust and value your input on this stuff.

the entire point of trans radical feminism is basically that it soothes dysphoria a bit to imagine that Christofascists do actually think trans women are women and trans men are men and treat them like the cis equivalent so they've abandoned gender anarchy because it's not validating enough

they don't care about liberation they just want to tell themselves that other people see them as what they identify as and that is literally their only priority

"trans women are women taxonomically because we're oppressed" Emily that's how radfems define womanhood they just think the oppression is based on sex rather than self-identification

[imaginarylungfish]

my thoughts on the end of mha

i've had a few weeks to process the ending of mha now. when i first heard there were only 5 chapters left, i was shocked. i thought when hori said he had more story to tell, we were gonna get like 10 more chapters or something. so yeah, i felt like i got some whiplash there.

but after i had some time to recover from my shock, i got sad. this manga has brightened many a sunday for me. sure, i understand the criticism of the final war arc, but i can't say i was ever bored. i always wanted to know what was happening next.

and while i was sad the villains didn't live/we didn't see a rehab arc for them nor did we see much emotional processing by certain characters after the war, i understand this manga couldn't go on forever to adequately tackle all those stories. that's what fics are for, i guess.

izuku's ending

a really big thing i liked about the ending was izuku becoming quirkless again. that's what i wanted. i have some gripes with the execution, though. it was weird that izuku didn't show any emotion about losing ofa except in the battle. i still think that was a bit of a fumble on hori's part. you're telling me the kid who cries about everything wouldn't cry about losing something that let him live his dream? just seemed ooc.

but anyway, izuku ending as a quirkless hero was exactly what i wanted. that's exactly the way to conclude his whole arc. however, unless you fill in the blanks with headcanons, the impact of that arc is a bit lost on the reader. do we see izuku's acceptance of his inherent worthiness of being a hero (due to his unwavering spirit rather than the need for a quirk)? we don't. do we see society's acceptance of quirkless people as inherently equal to people with quirks? we don't. we must fill in the blanks ourselves. and i just don't think that type of fill-in-the-blank should happen. we should get that from the mangaka.

i also found it weird that izuku became a teacher at ua and then a quirkless hero. i understand there was some fun shock value/bait-and-switch to this little plot point (which i have to admit was amusing). but it kind of just didn't make narrative sense to me once i had my little laugh. like, pick one, hori. does izuku lose his quirk and become a ua teacher or does he lose his quirk and become a quirkless hero? having both muddies the waters.

we knew mha was going to end in a hopeful way. that's what this manga was about. it was all about trying and pushing past limits to succeed, despite the odds. i knew it wasn't going to end with izuku being depressed or anything. he was going to be happy in the end, whether he ended up as a quirkless teacher or quirkless hero because that's just who he is--he doesn't give up. so, i wish that was more of the focus of the last chapters since izuku is the protag after all. but i got the big thing i wanted (which is more than some others can say), so i can't complain too much.

katsuki's ending

i'm actually really satisfied with kastuki's ending (and his whole character arc, honestly). katsuki's whole thing was that he felt inferior to izuku his entire life because of izuku's innate heroism. so, katsuki bullied izuku to make himself feel better since katsuki always felt like he needed to be the best. but slowly, we see katsuki's worldview change as he enters ua high, fails the provisional licensing exam, and sees izuku's continued mastery of his quirks.

throughout the manga, katsuki has to grow up and mature. he has to realize that while he was born with something that makes him a great hero (his quirk), that's not all that it takes to be a great hero. and in fact, izuku has the other part (empathy and determination).

katsuki learns how to be more of a team player and less self-centered. he balances out his need to win and be the best with including others in his thought processes. enough so that he sacrifices himself for izuku, apologies to izuku, and gives izuku the final push in the war.

katsuki shows emotional growth and maturity throughout the manga which i think culminates not only in the final chapter but also in his reaction to hearing the news that izuku lost ofa. his show of emotion is big for him since we know this is not something he normally does. (i still can't believe we saw katsuki of all people cry after the war, but not izuku. ugh, i'll forever be salty about that.)

it's made clear in the final chapters through his words and actions that katsuki cares about izuku. he not only verbally expresses to izuku that he is sad they can't compete anymore, but he also checks in with izuku about how much of ofa he still has, and ultimately, works to get izuku's dream back. if that ain't redemption, i don't know what is.

so with one of the last panels of the manga being katsuki reaching out his hand to izuku (!!!), calling him deku to reinforce izuku's heroism? what a great conclusion. i am satisfied. thanks, hori.

(plus, there were no canon ships which i'm happy about. that's something that i'm glad hori left up to interpretation. now, we can all go read fics with our favorite ships without too much retconning. i think we all won in that regard.)

shoto's ending

i love shoto, so i will always want more of him. but i think that's exactly why i'm fine with his ending. i don't see it like an ending. it's a start for him. he finally gets to be himself, to be shoto. sure, he still probably has a long way to go in terms of getting over his family trauma, but throughout the manga, i think we get to see his growth in that regard which culminates with his battle with dabi and subsequent aftermath.

his story was always tied to his family's story, which made him a complex character. and while i can't say i loved everything that hori did with the todoroki family, i do like what he did for shoto individually.

i will always love shoto's thoughts during his fight with dabi. i think it exemplified his character growth. he was such an angry, cold teen when he entered ua. but he learned how to make friends, accept his trauma, and become his own person. throughout the manga, he learns how to interact with others in the way he wants. despite his treatment as a child (ie. abuse), he decides to reconnect with his mom and work with endeavor. but the main thing is that he chooses it. he gets to dictate what he does now. that's huge for him.

i particularly loved the scene where shoto says he just wants to talk with dabi/touya during their fight. it reminded me of a little kid who just wants to get to know his big brother. but also it showed the maturity shoto gained throughout the story. instead of avoiding things like he originally did at the beginning of the manga, he wants to face them head-on. he has learned talking with others and gaining new perspectives is helpful and that arguments, even though unpleasant, can be productive.

and like i said before, i have some gripe with how some pieces of the todoroki family arc ended. however, i was satisfied with shoto's ending. i loved the "favorite food convo" callback. touya's response was hopeful yet heartbreaking at the same time.

i do wish izuku and shoto talked after the war because i just think izuku would want to know how shoto's doing instead of whatever the fuck this was:

but again, overall i am satisfied.

ok i'm going to stop writing now. i already wrote more than i thought i would (and even added panels). i do have thoughts on ochaco's ending and other random things, but i think that's a post for a another day. i did the main three and that's good enough for now.

overall, i was satisfied with the ending of mha, especially after looking back on it with all pieces put together. the story impacted me in more ways than one and i look forward to re-reading and learning more in the future!

[birdbrainedboy]

I’m obsessed with this show and fear a hyperfixation anyways here are my thoughts on every character in the show

Edwin Paine: forever my favorite, even back before the show when I read the comics! I think it’s funny that basically every man in the show wants him? I’m intrigued by his character arc throughout the story regarding his sexuality as despite dying in 1916, he seems to have had time to slowly become more accepting of gay people (I’m guessing in part due to Charles, who is pansexual), to the point where there’s only mild internalized homophobia if at all, which just exhibits itself in him denying any possible feelings for Monty. I love how face-value and logical he is while still being a sweetheart

Charles Rowland: he has a pan flag pin on his jacket which confuses me bc can ghosts only wear clothes they would’ve worn when they were alive, or how do ghost clothes work? Because he died in 1989 and I’m near positive he didn’t wear that pin back there. Anyways I do love him but I wonder about some design choices, like the one earring (not sure why it just kinda annoys me). That was more a rant abt his design than his character, which I have nothing notable to say abt since I LOVE HIM he’s so real

Crystal Palace: sometimes she was a bit annoying the way she was trying way too hard to pry into everyone’s lives, but honestly that was just momentary annoyance since nothing could make me hate her. I love how her past was slowly revealed (as someone who already knew it from the comics) and how she came to terms with the person she used to be vs the person she is now. She’s so cool!

David the demon: honestly kind of caught me off guard at first bc the person I’m dating is named David but I actually enjoyed his character. LOVED when Crystal dealt with him in the end. He was very interesting

Niko Sasaki: I love Niko, but I have some problems with her character. First of all, I feel like ditsy anime-loving cutesy Asian girl with dyed hair is a weirdly common trope? But whatever my main issue is that it feels like characters who normalize the fetishization of gay men are so common. Like if Niko had been a guy obsessed with lesbian manga evb would be weirded out, so why is it different? If we ignore all of this tho I absolutely adore her and I’m actually praying she’s in the next season bc she was one of my favorites (esp her relationship w Edwin)

Jenny: She is so hot and cool and funny I’m in love with her

Esther: oh my god words cannot come close to describing how much I love her character. She felt powerless and weak in the past and now she’s become obsessed with making sure nobody has that power over her ever again. She was so fun and I loved her attitude! I’m sure she won’t show up next season, as she was the main antagonist of s1, and while I love her, I kind of hope she doesn’t since I think her arc was finished.

Monty: His personality was like 2020 “soft boy” who acts nice and dumb but is lowkey a manipulator. So obviously this kind of made me like ☠️ bc why is he acting like that… but I still love him to bits because he’s just a crow guys he didn’t ask to be human,, Anyways yeah his personality annoys me but also I love him so much so? It’s confusing. ITS COMPLICATED. I will cry if he’s not in s2

Kingham and Litty: I honestly thought they were annoying but I can’t lie they were so fucking funny. Every time they were on screen I laughed.

Cat King: oh my god. He is so camp. I love him. There’s honestly not much to say he is simply iconic. Love how he’s afraid to be alone so chases after other people, he’s so real AGHH I love him

Night Nurse: Ruth Connell the woman you are… 😍 she reminds me of Muriel from Good Omens, in a way, and I love her! I really hope we get to see more of her in relation to the guy in the fish, and see her get to better understand human emotions and why they choose to cling onto the human world rather than pass on!