#you can combine action and character work

[istherewifiinhell]

[ID: A twitter thread by Ally Carter (@ OfficiallyAlly) made on 5/20/23 and has 36.1K views:

"Y'all: Pacing is not about action. It's about momentum and necessity and the sentence "DO I need to be here for this?" Pacing is about making sure your book isn't "a meeting that should have been an email." It's about not wasting the reader's time.

It's not about car chases or kisses. It's not even about plot. Sometimes people say "well the quiet moments matter too." No shit. Of course quiet moments matter. You know what doesn't matter? Boring moments. Moments that don't reveal, don't deepen, don't advance.

I once read a long scene w the heroine and her sister having breakfast. WHY? We didn't learn anything about the character, the world, nothing. The hero and heroine hadn't even met yet but I know how the heroine's sister feels about hash browns.

Now some of you may be thinking that scene probably was necessary to set up the heroine's character? Or the pivotal role of hash browns in American culture? And you'd be right if the character was super unique or the world incredibly specific.

But I'm reminded of a time when someone was telling me about this great coffee place and this is where it is and this is how it works and this is what they ordered and... Reader, it was Starbucks. They talked for 15 minutes describing Starbucks.

If I can read chapter 1 and then skip to page 50 and the book still makes sense, then those 40 pages were describing something as unique as Starbucks. Those were 40 pages that should have been emails.

Pacing is about load-bearing walls. Pacing means that if you take away a scene the whole freaking thing falls down. Whether it's plot or character or world, something has to be advanced by that scene or else I don't need to be here for that.

And while we're on the subject, pacing is also about multi-tasking. Well-paced books walk and chew gum at the same time. It means you don't have one scene to meet the sister and another about the new job and another with her on her commute worrying about said job.

Character. Plot. World. If a scene doesn't address or advance two of those three things: cut it and combine it with something else." END]

PACING IS ABOUT LOAD BEARING WALLS.

*staples violently to my own forehead*

[anyplaceisparadise]

The Use of Colour in Gladiator II: Black, Part 1

Once again before I get into it, here's my copy and paste from previous iterations of this: I referred quite a bit to some of my favourite books, The World According to Colour: A Cultural History by James Fox, The Secret Lives of Colour by Kassia St. Clair, and Emperor of Rome and SPQR by Mary Beard while working on this. I highly recommend all of them! These are definitely not mind blowing ideas here, just stuff that came to me because this movie has given me a severe case of brain rot. If you disagree, that��s cool. If you’ve mentioned any of this before, I love that we’re on the same wavelength. If you think this is ridiculous and I’ve gone off the deep end, you are correct.

Past Colour Posts: White Yellow Purple Brown

Black can be used in Gladiator II to represent exposure.

Black is most obviously associated with darkness, with hiding, with secrets, or evil. It's often the colour we connect with villains, or the "bad guys" in stories.

James Fox writes, "Just as we can only 'feel' a hole by touching the edges around it, so we 'see' black by observing the lightness that surrounds or precedes it. Black, in other words, is made by light" (The World According to Colour, James Fox, pg. 24). When characters wear black in Gladiator II, I argue that they are exposed, either for what they truly are deep inside, or their thoughts and ideas.

The first character we see in black is Geta, at Thraex's party.

One thing that is interesting to me about the twins wearing black is that every time they do so, it is combined with a metallic colour. Geta, with the silver here, and Caracalla with gold. Other characters that wear black do not get that same colour combo, and I'd argue it's because the twins are emperors, with gold and silver being used to represent wealth and power.

Arguably, Geta's outfit here is more silver than it is black. But I think that works well here, because at Thraex's party, Geta draws attention to himself after the fight by standing up, walking around, clapping, yelling out. All eyes are already on him and Caracalla, but he brings them even more attention, even more exposure. This is where the silver comes in. He's an emperor after all. He's flashy, he's important. However, he doesn't anticipate Lucius embarrassing him in front of everyone by reciting the poem. Geta's shortcoming's have been exposed for all to see. He is not the great, scary, imposing emperor he portrays. And this is where the black comes in, his weaknesses and failures peeking out for everyone to see.

Geta also wears black (and silver and gold) in the deleted adoption scene.

Geta and Caracalla ask Lucilla to adopt them, thus securing legitimacy for themselves and connecting them to Marcus Aurelius. Their weakness, their lack of authority, and their tenuous position as emperors is exposed in this scene, and it's a shame it never made it to the final film.

Lucilla also wears a black cloak when she meets with Lucius for the first time and exposes herself as his mother. Her vulnerability is on display, and she is open to hurt. And she is hurt, Lucius isn't receptive, he's angry, he denies her. But her secret is out there, and she speaks it aloud for the first time while wearing black (the blue dress is for another post).

Lucius and Acacius both wear black as well.

It's definitely a practicality thing (as I wrote about in the post on brown), to wear dark colours while in battle, but for the sake of the post, let's look at it again. In the opening of the film, Acacius is wearing dark armour to capture more land for Rome and for the emperors. He is exposing his role as general and conqueror, but he also exposes how he truly feels about it all with the rather sad way he speaks about his actions.

It's fitting that Acacius wears that same armour in his final fight. He is fighting Lucius, who even if we ignore the entire coup plot, is from the place Acacius just raided and captured. This is the first time Lucius and Acacius have spoken or even really been close to each other, and Acacius' actions in the raid are exposed to the very person that was impacted by it.

He is doubly exposed in this fight, as the entire point is that the coup plot has been revealed and his transgressions against the emperors is exposed to the entirety of Rome (or at least, those in the colosseum).

Lucius wears black armour that belonged to Maximus at the end of the movie. The symbolism is pretty obvious, it's a full circle moment here. His true identity is exposed, his birthright is right there for the taking, and he wears his deceased father's armour to defend his mother. The cat is full out of the bag by the time Lucius puts this armour on.

Caracalla also wears black (and gold). The first time is at the second round of games:

This entire scene is super interesting to me, mostly because of Geta. At this point in the movie, Geta is seen as in control, the more stable twin and emperor. However, he is really losing it here. He rubs his gums, he rocks in his seat, and is generally twitchy and fidgety. In other words, he acts the way we are meant to view Caracalla.

Caracalla wearing black and gold here exposes him via Geta. He looks to Geta in this scene for reassurance. He fiddles with his fingers and straightens up in his seat as he looks at Geta. His role as an emperor is on display because Geta is acting so much not like an emperor here. Geta becoming a little unglued shows Caracalla's usual behaviour, but also exposes their lack of control. If Geta is rocking in his seat, where does that leave Caracalla?

This is also the scene where Lucius shoots an arrow into the emperor's box seats. No one is hurt, but it's a direct display of how their roles have impacted everyone in that colosseum, even themselves.

Caracalla also wears black once he is sole emperor.

This is his darkest outfit. We know that he doesn't remember what happened to Geta, nor does he realize the implications or consequences of what is happening. He is ill, he is mad, and while Rome probably already knew that, he doesn't have Geta to hold him back anymore. He full exposes his illness in this scene by naming Dondus as first consul.

He is also out of Geta's shadow. Throughout the film, Geta has been the one to make decisions and to speak for the two of them. Geta holds Caracalla back from gutting Lucilla and Acacius in the night scene (where the darkness of the night exposes the coup). Geta is the one that makes the mercy/no mercy decisions (although he does ask for input the first time around, I'll give him that). Geta is running the show because it is necessary; Caracalla is ill (does Cara even realize he is ill? Debatable). We also know that Geta has been this way their whole lives as mentioned in their final moments together. It was Geta that took the blows from their father to spare Caracalla.

But here, dressed in black and gold, Caracalla is in the driver's seat so to speak. He's the one in control. He's sole emperor. And when you are sole emperor, you also become the sign of the times. There is no one else to shift the blame on to, no twin left to shoulder the consequences for you. Geta protected Caracalla all their lives, till the very end, but he can't protect him anymore. It's all on Caracalla now.

So ends part one. Part two is a piece of absolute brain rot that is related to the idea of exposure but it veered off course so it gets a separate post.

[shouldprobablybereading]

Officially at the halfway point (well 49%) and so far it’s a lot better than what I expected. I’ve had a lot of fun with days 4 and 5 specifically

Biggest disappointment so far is probably the spiritual realm flashbacks. They’re not bad. But I don’t feel like they reveal enough to be worth how much space they are taking up each. Which is a bit about how I feel overall. It’s using so many words but not effectively. It’s also a bit repetitive so far since all plots points are based on doing essentially the same type of thing over and over.

Which becomes a problem when I’m expecting this to be the last time I see at least a few of these characters. That was expected as it was my main problem with the lost metal. If this is the last 400 pages that I get with the characters then I want them to be at their most interesting. But instead they get split off on 45 different missions and the entire book becomes about describing action scenes

Surprisingly Szeth is actually the best part of his own book so far. He’s never been one of my favorites so I thought his flashbacks would be a bit boring. But no shinovar is deeply fascinating and I’m starting to actually get his character

[silverselfshippingchaos]

every now and then I rewatch the part of the h&l live concert in which they performed all the character themes and

absolutely wild how it's h.iroto, the mean quiet scary biker dude, who has a theme that sounds like this

[peachyromanxff]

“So don’t be angry when someone comes along and explains it to you like you’re a child.”

Erm, I actually am a child I fear 😖 a mere sixteen years old 🥺

But yeah lmao I get what you’re saying with the inconsistencies in my argument, I’ll clear that up. What I’m trying to say is that I’d I understand why Caitlyn hit Vi (at least I think I understand), but I think it’s a dumb, childish reason 🤷🏾‍♀️ I think Caitlyn was frustrated because Vi stopped her from taking to shot and killing Jinx, I think Caitlyn got even angrier when Vi said she was acting like Jinx, and then Caitlyn hit her. And to me that is so, so childish because I don’t just go around hitting people when I’m frustrated by something they said. I get she was going through something inconceivable to her but still, that’s no excuse for physical violence against your loved ones and I don’t like her for that. I stand by that. Sue me.

“We act like she’s absolved for all she’s done because she actually DOES THE WORK to absolve and fix her mistakes and you and others IGNORE HER DOING THIS because it’s done non-verbally.”

What did Caitlyn do to fix her mistakes? Genuine question because I haven’t rewatched season two and I wasn’t analyzing it too heavily when I first watched it. What did she do to reverse the gas? She let Vi free Jinx, which was nice and all, but wasn’t that it? Or am I mistaken?

“Again, sociopathic behavior because you can’t comprehend a character could do good things unless they verbally apologize for the bad things they did. For you actions don’t speak louder than words. And we’re calling you out for that.”

For me, actions speak louder than words when there are words spoken to accompany the actions! You seem to forget that the words are part of the action in this saying.

And, yeah, actions should be louder than words, but to me, Caitlyn actions were pretty mediocre and her words were even worse. Just from what I remember. All Caitlyn said was something akin to “we can’t go back and change what we’ve done” or something like that (like I said I didn’t rewatch season two yet), right? And all she even attempted to apologize for (I know the words “I’m sorry” are never said in arcane but there are other ways you can apologize, and she never did any of that, did she?) was the fact that she slept with Maddie while Vi was killing herself. The LEAST Caitlyn could do was properly fucking apologize with “I shouldn’t have done this” or “I was wrong for doing that”. Something to accompany the fact that she let Vi go and open Jinx’s cell. Idk man that seems like the bare minimum to me after being manipulated into wearing the uniform of my oppressors and then being hit by the woman I love!

And if Caitlyn’s actions and words combined are enough for you, if you would’ve sided with her and taken her back in Vi’s situation, then I feel sorry for you like deadass 😭

ALSO. Here you go calling me a sociopath AGAIN. Enough with that bullshit. Not sure you know what a sociopath is and I’m not even gonna try to educate you, but seriously, stop. There’s no need to be doing all that. You don’t see me calling you things for having a “bad opinion” as you claim I have. All of this is simply my personal belief based on what I watched and how I interpreted it, the same way all that is your belief. But you can cut it with the sociopath shit.

And look, maybe I am in the wrong or whatever, but this is the dumbest, smallest thing to argue over (I mean it’s fun arguing with people you think are wrong but it’s still small and dumb 😭). But don’t pretend like you have the moral high ground or something. Don’t go saying my personal opinion is BAD just because it differs from yours, and DEFINITELY don’t go calling me a sociopath because of it.

I can’t stand CaitVi

I’ll never like Caitlyn or her and Vi’s relationship. People like to say “oh you just can’t handle complex characters” or claim lesbophobia/misogyny when you criticize their ship or Caitlyn as a character. Like no bitch I just don’t like her as a person and think Vi, despite her mistakes and wrongdoings, deserves way better than Caitlyn 😭 also I am a lesbian so wtf

Also I raise you this:

Caitlyn is not a complex character at all. Maybe in season one she was, cuz you had to dig a little deep and really pay attention to understand her motivations and what drives her to act the way she does and make the choices she makes.

But in season two, however, it not hard to understand why she did what she did. I know why she gassed parts of Zaun and why she went after Jinx, and I don’t like her!

One thing I don’t understand is why Caitlyn hit Vi after Vi didn’t let her take the shot. That’s the main thing that makes me a Caitlyn/CaitVi hater. To me, Caitlyn had no logical reason to hit Vi that would’ve made me go “ohhh okay, I understand”.

People like to justify Caitlyn hitting Vi by saying “it was one time, it’s not abuse!” As if they wouldn’t leave their partner if they were hit, even if it was once. As if they wouldn’t be encouraged to leave the partner who hit them.

Saying “she was frustrated, she was upset” is still completely fucked because what happens when she gets frustrated again? Is she gonna resort to physical violence once more? People who hit others when they’re frustrated fall into a pattern of doing that when there’s no one to stop them, don’t they? 

I get that her mom died but come on, girl. She was raised with damn near all the tools one could need for processing her emotions, and in this moment, she chooses to hit the woman she supposedly loves in the stomach with the back of her gun. And her dick riders will still say that CaitVi isn’t oppressor x oppressed, like oh okay!

Vi put on the uniform of the people that killed her parents, threw her and jail and oppressed her people for years and Caitlyn never took off the uniform for Vi, but it’s not oppressor x oppressed? Vi never raised her hand against Caitlyn once, not even when she was frustrated, and Caitlyn seemed perfectly okay with hitting Vi, what, three times, but they’re not oppressor x oppressed? Caitlyn also threw that boat in Vi’s general direction the second Vi said something she didn’t like, but y’all like to gloss over that because it’s something small. Idk about y’all but I don’t throw things at people I love when I get mad!

And then, you know what really takes the cake for me? The fact that Caitlyn apologized for/brought up sleeping with Maddie out of all the fucking things in the world. She didn’t apologize for hitting her or leaving her, just for sleeping with Maddie. Does none of that other shit matter to her?? Idk I just thought that was fucked. I think their whole relationship is fucked, and I think the only reason they’re even together is because Cait was the first person to show her kindness in a long time and she got attached. Add on the fact that they went through something traumatic together that brought them closer and there ya go, there’s CaitVi. I’m sure there was real love there at some point, and they were physically attracted to each other but idk, after Caitlyn asked Vi to become and enforcer knowing that those people killed her parents and practically ruined her life, that made it clear to me that Caitlyn no longer cared that much about Vi and was more focused on what Vi could do for her.

And don’t even get me started on that godforsaken jail sex scene. That was beyond gross and inappropriate for the context of the whole situation, AND considering Vi’s history with prison cells. Genuinely what the fuck.

So yeah. I heavily dislike CaitVi, don’t like Caitlyn either. TimeBomb has my heart, I fear (I am well aware of their flaws so don’t be in my comments talking about how they beat each other up. I know. At least it was mutual and at least they had a reason to be fighting. Just saying!)

[whispers-whump]

Some writing advice

that I like to use when I write. None of this is meant to be taken as hard and fast rules, they’re just things I like to do/keep in mind when I’m writing and I thought maybe other people would enjoy! <3

Never say what you mean

This is an offshoot of the very common “show don’t tell” advice, which I think can be confusing in application and unhelpful for scenes where telling is actually the right move. Instead, I keep the advice to never say exactly what I mean in stories.

By using a combination of showing and telling to hint at what you really mean, you force your reader to think and figure it out on their own, which makes for a more satisfying reading experience.

You might show a character getting angry and defensive in response to genuine care and concern. You could tell the audience that the character doesn’t see/talk to their parents often. But never outright give the real meaning that the character feels unlovable because of their strained relationship with their parents and as a result they don’t know how to react to being cared for.

Your readers are smart, you don’t need to spoon feed them.

Be sparse with the important things

You know how in a lot of movies there’s that tense scene where a character is hiding from something/someone and you can only just see this person/thing chasing them through a crack in the door? You get a very small glimpse of whatever’s after the character, sometimes only shadows being visible.

Do that in your writing. Obscure the important things in scenes by overdescribing the unimportant and underdescribing the important.

You might describe the smell of a space, the type of wood the floor is made of, the sound of work boots moving slowly across the room, a flashlight in the character’s hand. And there’s a dead body, laying in a pool of blood in the far corner of the room, red soaking into the rug. Then move on, what kind of rug is it? What is the color, patterns, and type of fabric of the rug?

Don’t linger on the details of the body, give your reader’s imagination some room to work while they digest the mundane you give them.

Dialogue is there to tell your story too

There’s a lot of advice out there about how to make dialogue more realistic, which is absolutely great: read aloud to yourself, put breaks where you feel yourself take a breath, reword if you’re stuttering over your written dialogue. But sometimes, in trying to make dialogue sound more realistic, a little bit of its function is lost.

Dialogue is more than just what your characters say, dialogue should serve a purpose. It’s a part of storytelling, and it can even be a bridging part of your narration.

If you have a scene with a lot of internal conflict that is very narration-heavy, breaking it up with some spoken dialogue can be a way to give some variety to those paragraphs without moving onto a new idea yet; people talk to themselves out loud all of the time.

Dialogue is also about what your characters don’t say. This can mean the character literally doesn’t say anything, they give half-truths, give an expected answer rather than the truth (“I’m fine”), omit important information, or outright lie.

Play with syntax and sentence structure

You’ve heard this advice before probably. Short, choppy sentences and a little onomatopoeia work great for fast-paced action scenes, and longer sentences with more description help slow your pacing back down.

That’s solid advice, but what else can you play with? Syntax and sentence structure are more than just the length of a sentence.

Think about things like: repetition of words or ideas, sentence fragments, stream of consciousness writing, breaking syntax conventions, and the like. Done well, breaking some of those rules we were taught about language can be a more compelling way to deliver an emotion, theme, or idea that words just can’t convey.

Would love to hear any other tips and tricks other people like to use, so feel free to share!!!

[halfvalid]

pretty in that

ABOUT

rating: general audiences

characters: live action!roronoa zoro | fem!reader | live action!monkey d. luffy | live action!nami

pairing: live action!roronoa zoro x fem!reader

word count: 4.2k

description: you have a hard time picking a dress for dinner whilst in kaya's mansion. zoro (sort of) helps!

tags: strawhat!reader, female reader, fluff, kissing, confessions, no use of "y/n", special straw hat appearances (nami & luffy), soft zoro

author's note: i'm a sucker for dress-up scenes so i KNEW i was gonna write smth like this once that ep3 scene started playing. reader chooses a dress at the end; dress is non-described so you can imagine your ideal dress!

You were on Nami and Zoro’s side when it came to whatever was going on in Syrup Village. Kaya’s mansion made you feel vaguely unsettled, and stepping into the building made your heart pound quicker than you would like to admit. But if there was one thing that piqued your interest, it was the order of changing clothes for dinner. You’d been stuck in the same few outfits for weeks now, and the promise of something new—and formal—was nearly exciting, although you’d never admit it in front of Nami and her disapproving gaze. 

Kaya’s kindness combined with the private guest room and bath you were treated to helped soothe your nerves. Soon you found yourself being led to the giant closet the rest of the Straw Hats were already in—Nami was trying on various different pieces, and Zoro seemed to have something in hand too. 

“Ah, there you are!” Luffy said, swiveling on his heel and giving you a big grin as you entered the room. You stared in disbelief at all of the racks around you. Hell, there were even clothes hanging from the ceiling. 

“Well, we certainly have a lot of options,” you said, skimming a hand over a nearby rack. There were a variety of different fabrics, but they all felt expensive: silk and velvet, damasks and brocades. “I don’t even know where to start.” 

“I’m just trying on anything,” Nami called from where she was, before stepping out from the room divider she’d been changing behind. She wore an emerald dress with a plunging neckline, the patterned silk clinging to her curves, and did a little spin. “What do you think?” 

Luffy shrugged. Zoro wrinkled his nose, barely glancing up from the armchair he was lounging on. “I think it looks nice,” you offered, but Nami still seemed dissuaded. 

“Ugh, these two are impossible. What are you going to wear?” 

“Uh, I’m getting there,” you said with a little laugh. “It’s a bit overwhelming; I’d rather help you guys pick first. Luffy, have you found something yet?” You turned towards the man in the center of the room, who nodded enthusiastically. 

“Yeah, I found this!” He raised up a black waistcoat. You frowned at it. 

“Um, Luffy, waistcoats are supposed to be worn with a suit,” you said, then paused, seeing his blank look. “...Never mind.” 

“And I’m wearing black,” Zoro added, despite the piece of clothing slung along his lap definitely not being black. You exchanged a glance with Nami, who just rolled her eyes. They’re stupid, she mouthed, then returned to the rack she was glancing through. She worked quickly, pulling out various numbers that she scrutinized before either setting on the couch beside her or putting back. 

“Okay,” you said slowly. “Need me to find you some pants with that, Cap?” Nami and Zoro let out identical groans as you spoke the pet name, both turning to give you exasperated looks. You suppressed your laugh. 

“Stop calling him that,” Zoro said with a tired sigh. “You’re encouraging him.” 

“Kind of the point, yeah,” you said cheerfully. While Zoro and Nami were both still largely unconvinced about the whole pirate crew thing, you’d joined the bandwagon rather quickly. Zoro rolled his eyes, and you turned towards the racks to find Luffy some slacks. “Assumedly you need something other than that shirt too?” 

“I’ll look later,” Zoro said passively. You watched him out of your peripheral vision. He was outfitted in a patterned kimono, his three swords slung along his lap. He didn’t seem too interested in his surroundings, though what he was doing, you weren’t sure. You let him be, turning to page through the racks of clothes again. Finally you found a pair of slacks that seemed like they’d fit Luffy. 

“Here,” you said, passing them over to him. “And find some shoes while you’re at it.” 

“Why does she even have clothes that don’t fit her?” Zoro murmured, sounding as baffled as he could get. “What, she just casually has clothes in all four of our sizes hanging around?” 

“Rich people own things just to own them,” Nami called. She’d changed again; this dress had a halter neckline and was blush pink. Zoro motioned with a hand at it, and Nami frowned, glancing down at the dress. “You don’t like it?” 

“Eh,” Zoro said. Nami made a face. 

“At this point I think you’re hating just to hate.” She pulled up a few more options, narrowing her eyes as she surveyed them. Luffy was seemingly satisfied with what you’d given him, because he took the pieces off of their hangers and slung them over his shoulder. 

“I’m off,” he announced. “Gonna go change in my room and do some exploring before dinner. Have fun!” With that, he left, and Nami sighed, turning towards you. She held up her final two options—a red cheongsam with delicate gold embroidery and a pastel blue dress with an a-line skirt. You gnawed on your bottom lip as you studied the two.

“I think the blue one might wash you out a bit,” you said eventually; it’d clash with her hair no doubt, and make her skin look even paler. The shade wasn’t a right match with her eyes, either. “I like the cheongsam; I think you should go with that one. It contrasts nicely with your hair.” 

Nami raised up the dress again, inspecting it. “You’re right,” she said, ducking back behind the room divider to change. You started pursuing the racks again; Nami stepped out a few moments later, successfully outfitted in her new dress. “Okay, I’m going to go do my hair in my guest room. Good luck.” 

“Bye,” you called, watching as she left the room. You clicked your tongue, almost alone now and with absolutely zero options of clothing. As much as you liked the idea of new clothes, the abundance of options was starting to seem a little daunting. “Okay, now that Nami’s done, it’s my turn to play dress-up.” 

Zoro laughed from where he sat, and you startled, almost having forgotten he was there. He was watching you attentively, his attention having diverted from whatever it was he’d been thinking about earlier. “You like this kind of thing?” 

“Well, I mean.” You shrugged, peering at a few of the pieces on the rack in front of you. You pulled out a deep green dress, eyeing the lace by the neckline before setting it back. “It’s kind of fun, isn’t it?” 

“Not really what I’m into.” 

“You wear jewelry, so clearly you have some fashionable instinct,” you pointed out, bending over to glance at the clothes hiding by your knees. These were all skirts or unreasonably short dresses, with so little fabric you were uncertain they would cover anything at all. “Unless the earrings are for another reason…?”

“Three swords, three earrings.” 

“Makes sense. What are you wearing with your shirt?” You glanced back to see Zoro’s answer, but he merely shrugged. “Do you want me to find you some trousers? A suit?” 

“You don’t need to find clothes for me. I can do that myself.” Still, Zoro made absolutely no move to do so. You rolled your eyes, but turned your attention back on what you’d be wearing for the dinner. Vaguely you wondered how Zoro would look wearing a suit. You flushed almost as soon as the thought popped into your head, shoving it into the very back of your skull and banishing it from seeing the light of day. 

“If you say so,” you said instead, mostly to distract yourself from the beyond inappropriate thoughts starting to run through your head. Honestly, you barely knew your crew mates—the four of you were close to tearing each other’s throats out before you ran into Buggy, after all. And the fact that Zoro was, well, conventionally attractive—and you tried to keep your thoughts on that and that alone, anything emotional was strictly out of the question—shouldn’t be something your mind lingered on. 

You picked out the first dress that looked to be your size. It was dark purple, backless with a tight trumpet skirt. Ducking behind the room divider Nami had used, you stripped off your clothes, donning the dress. There was a mirror along the other side of the divider, and you turned, trying to appraise the dress on your figure. The color didn’t look entirely right, and you were uneasy about the lack of mobility the skirt might have—Kaya’s staff were still extremely suspicious, after all, and you’d rather be safe than sorry. 

“Let me see,” Zoro called from outside. You tugged at the dress, suddenly nervous, but stepped out after you couldn’t find a good enough excuse not to. Zoro’s eyes ran up and down your figure, and you did a slow circle, showing off the dress. The bare skin of your back prickled. 

“You’re not going to be able to move in it,” he eventually said. 

You huffed out a breath, the nervous energy that had accumulated in your chest leaving with the action. Something in your belly stirred; disappointment, maybe, that Zoro had only commented on the practicality of the dress, not how you looked in it. But you pushed those thoughts away with an angry shove. Not the time, and definitely not the person to be thinking those sorts of things about. “Yeah, that’s what I was worried about. Let me find something else.” 

Zoro’s gaze didn’t flicker from your body as you started across the room, ducking between more racks to find something. “You dead-set on a dress?” 

“I haven’t worn a dress in a while,” you answered, picking out a red one before remembering Nami’s choice and setting it back. “Might as well take the opportunity.” The next one you pulled was blue, all shiny and soft. The material looked like some kind of tender silk. You set it aside to try on. “Why?” 

“Haven’t seen either you or Nami in a dress before.” 

“Actually, you have. I’m wearing one right now and Nami tried like five on earlier,” you said, glancing over your shoulder to shoot Zoro an unimpressed look. He scoffed, though there was a smile at the edges of his mouth as he turned his head away. Your next choice was soft pink, and made of tulle that vaguely resembled a puff pastry. You pulled it up. “Think I should try it?” 

“I mean, pick whatever,” Zoro said, though he seemed mildly disgusted by the amount of fabric the skirt had, all bunched up with layers like something a ballerina might wear. “What are you trying to achieve with the dress?” 

“What am I—I’m trying to look nice, Zoro,” you said, stifling your laughter. You set the pink dress back, replacing it with a sage green number instead. “Not everything has ulterior motives.” 

“You always look nice.” 

You froze, a soft chill curling around the back of your neck. Carefully, you straightened up from where’d you been bent over yet another rack of clothes, turning to look Zoro in the eye. His eyes hadn’t moved. “Oh,” you managed out, throat all dry and tongue like sandpaper in your mouth. “Well, thank you.” 

Zoro cleared his throat, a dull noise he made in the hollow of his throat without even parting his lips. His gaze flickered away. “Yeah. Go try those on.” 

Wordlessly, you stepped back behind the room divider and slipped on the blue dress. It had a texture like water—it was some kind of high-end silk, flexible enough that it was near liquid in movement. The dress itself fell to your ankles, and had a simple square neckline. You stepped outside, doing another slow twirl. “Better,” Zoro said. 

“Better how?” 

“You can probably run in it.” 

You twisted your lips, trying to suppress the urge to turn them down into a frown. “Okay. It’s not doing it for me.” You ducked back behind the divider to change yet again; the sage green one was satin, with long sleeves and a neckline you hadn’t anticipated would be that deep. 

Still, upon exiting the divider and turning for Zoro again, he didn’t have any worthwhile feedback. “It’s kind of plain,” he said eventually, not meeting your eyes. 

You huffed, crossing your arms over your chest; you had to almost resist stomping over to the racks to find something more, and spent another few minutes gathering dresses and trying them on. 

To your immense disappointment, each one garnered little to no reaction from Zoro. You even shoved on one of the tiny, too-little fabric dresses you’d disapproved of earlier, but all Zoro did was scan you from head to toe and say, rather flatly, “you’d get stabbed pretty easily in that.” 

Frustration bled into your nerves as you hid behind the divider again. You glared at yourself in the mirror—your skin had started flushing with how annoyed you were getting, which might’ve been funny had you not been so ticked off. Men, you thought, irritated. Was it really so hard to tell you that you looked pretty? 

He’s a bounty hunter, you had to remind yourself. He doesn’t care about this kind of thing. Besides, he was the last person you should be setting your sights on anyway. You tugged at the short dress, the hem just barely grazing the tops of your thighs. 

You heard footsteps approaching from outside the divider, suddenly too close as you snapped yourself out of the reverie of thoughts you’d been lost in. Zoro turned the corner, arm propped up against the divider edge as he peered in, brows furrowed. “You stopped coming out,” he said. He was still in his kimono, swords tossed over one shoulder. The shirt he had was, assumedly, left on the couch he’d finally stood up from. 

“I’m frustrated,” you told him blandly. His frown deepened. 

“Because of… clothing?” 

You suppressed the sigh that threatened to escape your lungs. “Never mind. I’m fresh out of ideas.” You pushed past Zoro, opting to stand in the center of the room as if analyzing it from a different view would magically give you more options. Zoro turned to stare, still looking perplexed. “With so many options, it’s hard to make up my mind, that’s all.” 

“Uh huh.” Zoro was still studying you. “Did I do something?” 

“What? No,” you said hastily. Too hastily. The words had ripped out of your throat like a hiccup, and you seriously needed to learn how to lie a bit better because now Zoro’s expression was even more confused. “No. Why would I be mad at you?” 

“I don’t know. That’s why I’m asking.” 

“It’s nothing,” you insisted, turning away from Zoro to stare at some of the clothes hanging on the wall above his head. These were too high up to properly look at, and as you stepped back, you glanced through the dresses hanging off the arch of the ceiling. You perused them without too much interest, eyes glancing over the various colors and fabrics until— 

Zoro stepped next to you. “Hey,” he said, and you jolted, head snapping down to look at him. You let out a noise of irritation, then turned your focus back on the ceiling. 

Your gaze flickered through the racks until finally falling on one particular dress hanging by the mouth of the room. It was somewhat hidden, tucked in a little corner beside a few other pieces, but from your vantage point it seemed about your size. 

You took a step closer to it, surveying it with your neck craned. The material looked soft and comfortable but it still retained shape, and the color—even in the dim lighting of the closet—was one of your favorites. The undertone would suit your skin perfectly. And, well, you didn’t want to put all your bets on one dress you hadn’t even touched, but it was certainly promising. 

Zoro stepped past you, barely exerting any effort to reach up and bring the dress down from where it hung up high. “This one, right?” he asked, and you swallowed, some of the annoyances you had towards him dissolving as he extended the dress hanger towards you. You nodded wordlessly, taking it. You stood there for a second before Zoro gestured with his head towards the divider. “Go try it on.” 

You did so, retreating safely behind your wall and stepping out of the little dress. You surveyed the one Zoro had grabbed for you again, heart lodged in your throat. It really was beautiful, and exactly your style; now that you saw it up close, you could safely affirm it was your size too, but nervousness still pulsed through your veins at it. 

Carefully, you slipped it on, adjusting the fabric around your hips and fixing up the neckline to rest evenly on your skin.

Zoro spoke out from the rest of the room. “So why are you mad at me?” 

“I’m not—” you sighed, dropping your arms before returning to fiddle with the dress. “I’m not mad at you.” 

“Is it because I wasn’t being helpful with the clothes? Because I already said that’s not exactly my area of expertise—” 

“It’s not because of the clothes, Zoro,” you said sharply, cutting him off. Zoro clicked his tongue, the sound reverberating around the room and thudding in time with your heartbeat. You turned your attention back onto your reflection. “It’s just me being silly. Don’t worry about it.” 

‘I’m worrying about it,” Zoro deadpanned. You sighed, adjusting the dress one final time before arranging your hair and staring at yourself in the mirror. It fit you perfectly, emphasizing all the right places and hiding all the parts of your body you were more insecure about. “Changed yet?” 

“Yeah,” you said, voice limp. 

“Let me see.” 

You bit your lip, suddenly nervous about how he’d react. Knowing him, it’d be something like it’s okay or the color’s fine; perhaps can you even walk in that? or weird shape if he was feeling a little more critical. Still, you stepped out anyway, not meeting Zoro’s eyes as you spun for him, letting him look at the dress from all angles. When you’d finished posing you glanced up, eyes meeting him tentatively. 

“It’s…” Zoro cleared his throat, ripping his gaze away from the dress on your figure to flicker up to your face. His gaze dropped again nearly as fast, like he couldn’t bear to keep eye contact. “Uh.” 

“It’s what?” you prompted, turning to face the nearest mirror. Your lips twisted into a worried frown, turning to glance at the dress again. Was it really not as perfect as you’d thought originally? “Do you like it? It’s my favorite so far, I think, but if you don’t like it—” 

“You look pretty in that,” Zoro blurted, cutting your rambles off with the strident, too-loud sentence. You froze, eyes flickering to meet him in the mirror. Carefully, he glanced up at you, and you could see his Adam’s apple bob as he swallowed hard. 

“Oh.” 

Zoro coughed, averting his gaze as you slowly turned around to face him. You couldn’t see properly with the less-than-ideal lighting of the room, but his face seemed to have taken on a ruddier complexion. “I like it,” he said, words softer than they’d been before. “It’s the one.” 

There was a little rush of something through your veins, and you felt vaguely lightheaded. “Okay,” you barely managed to squeak out. “Thanks.” You stumbled back behind the divider, sucking in a deep breath and trying to regulate your breathing. God, this was actually shameful at this point. 

You composed yourself quickly, gathering all the dresses you’d tried on and abandoned to return to their proper places. Zoro was still watching you attentively, and you glanced over your shoulder at him. Sparks prickled along your skin as your eyes met. “What?” you asked. 

“You’re acting weird.” 

“Am not.” 

Zoro stood up, rolling back his shoulders and stretching his head from side to side. He glanced through the racks and, without even a minute’s hesitation, plucked a suit jacket and matching pants out from beside him. “Yeah, you are. What’s up?”

“You’re just grabbing those without thinking about it?” you demanded, eager to change the subject. Zoro rolled his eyes.

��I picked them like fifteen minutes ago,” he said. “Just didn’t grab them until you were done your whole… thing. Now spill it. You’re all red again.” 

You swiveled towards the closest mirror, unable to suppress your gape as you saw that your skin had indeed turned a distinctive shade of scarlet, flushed undertones creeping their way up your skin. It was entirely recognizable even in the terrible lighting. Even your skin was treacherous, now. “Nothing,” you muttered, unable to meet Zoro’s eyes as you spit it out. “I was annoyed because you weren’t telling me what you thought of the dresses.” 

“I… did, though?” Zoro said, perplexed. You let out a grating sigh, cheeks flaring even hotter now that he was forcing you to confess the entire extent of your sins. 

“Yeah, like, practically,” you said, wrapping your arms defensively over your chest. “You’ll get stabbed in that so easily. You won’t be able to walk. I just wanted you to tell me that—” you cut yourself off with another groan. “Don’t make me say it.”

Zoro blinked. “I have no idea what you’re edging towards, so you’re going to have to say it.”

“I just wanted you to tell me I looked nice!” you finally burst out, turning so you wouldn’t have to look at Zoro’s face. God, you were going to have to quit the Straw Hats after this. It was so entirely stupid. 

“But—” There was a laugh in Zoro’s voice, and you glared down at the floor, all of your dignity having left you by this point. You had no shame left to feel anymore. “I said ‘you always look nice’. Doesn’t that insinuate—” 

“That’s not the point,” you said hotly, tone almost argumentative now. “I wanted you to think I looked pretty in a dress, Zoro.” 

Zoro didn’t respond for a moment, brows creasing and face taking on a baffled expression. “But why—” Zoro cut himself off, and you turned even redder, holding your breath as he finally connected the dots. A single word fell from his lips, like a soft breath of air as he spoke. “Oh.” 

“Oh,” you muttered under your breath, unable to stop the almost whining tone your voice took on. Zoro stepped closer to you, a hand wrapping around your wrist and forcing you to look up at him. 

“I said you looked pretty in this one.” 

“I know,” you insisted, still all red, “which is why I’m not totally mad at you, but—” 

“You looked pretty in all of them,” Zoro said. He didn’t look bashful, per se—you didn’t think Zoro could get shy—but his voice was low, all hoarse in a more tentative way rather than one of his grating remarks this time. “For the record.” 

Your breath caught. 

“This one’s my favorite, though,” Zoro muttered. And then he was leaning down to kiss you, the ghost of his lips just on the corner of your mouth. You gaped up at him in shock as he averted his gaze, staring at some spot about your head. “Was that—” he started, before clearing his throat and trying again with a little more of his dignity this time. “Was that okay?” 

“Yes,” you blurted fervently, and before you could fix up the moment with something more, well, suitable, your big mouth ruined it for you. “But I think we’re holding up dinner. You should get changed, and I still need to find shoes.” 

You bit your tongue immediately after the words had been said, but it was too late—Zoro coughed, turning away from you. You panicked, and now it was your turn to grab his arm and tug you towards him. “Wait!” 

Zoro glanced down at you, perplexed, and then you leaned up to kiss him square on the mouth. He stumbled back, surprised, but adjusted quickly, hand going to cradle the back of your neck and pressing you right to him before you finally broke apart. 

“You should steal it,” he started. You stared up at him in question. “The dress, I mean. You should steal it.” 

“When am I ever going to need to wear this again?” you asked, perplexed. Zoro shrugged, fingers tugging at the edge of the dress's neckline. 

“Dunno. Just take it. She probably won’t even notice.” 

“You’re adorable,” you teased; Zoro wrinkled his nose but didn’t complain, opting instead to move away and pick up the clothes he still hadn’t changed into. “Go change. See you at dinner.” 

“Yeah,” Zoro said, his eyes not straying from your figure as you ducked out of the room. Before you could fully leave, though, Zoro grabbed your wrist, spinning you around towards him.

You didn’t have enough time to ask what he was doing when he leaned around to kiss you one final time, his hands cradling your face as your lips moved against each other. It was only a moment later that he stepped away, looking rather sheepish but not very apologetic as he finally let you go. 

“You look more than pretty,” he murmured, eyes sinking into yours, and your throat dried, any words you might’ve formed dying away within seconds. “You always look more than pretty. You look gorgeous.” 

“Thank you,” you whispered, and then he ducked back inside the closet to change. 

© halfvalid 2023

[weaselandfriends]

Sword Art Online (anime)

Sword Art Online is a Frankenstein monster. Here is every episode of the first arc and how it was adapted:

Episode 1 is from the original web novel, published in 2002.

Episode 2 is from a more detailed rewrite of the story, Sword Art Online Progressive, published in 2012 (only a few months before the anime aired).

Episode 3 is from the second volume of the light novel, published in 2009.

Episode 4 is from a side story published shortly after the original web novel, in either 2002 or 2003.

Episodes 5 and 6 combine a side story published in 2007 and another side story from the eighth volume of the light novel, published in 2011.

Episode 7 is from a side story published shortly after the original web novel, likely in 2003.

Episodes 8, 9, and 10 are from the original web novel, published in 2002.

Episode 11 and 12 are from a side story published in 2003.

Episodes 13 and 14 are from the original web novel, published in 2002.

By stitching together stories written across an entire decade, often with wildly different purposes and goals, the anime is tonally erratic, with glaring plot and character inconsistencies. For example, Episode 3 is a tragic episode in which Kirito brings several low-level players to a high-level floor, leading to their deaths. Kirito is traumatized; he later explains that this incident is why he plays as a solo player, so nobody else will ever get hurt because of him. Episode 4, by contrast, is a lighthearted episode in which Kirito—having learned nothing, because this story was written six years before the previous one—brings a low-level player to a high-level floor as bait for dangerous player-killers. When the low-level player is comedically groped by a tentacle monster and cries out for Kirito to save her, Kirito only shrugs and says, "Come on, it's not that powerful." He's ultimately correct, and this time the player survives, but what happened to his trauma?

These inconsistencies, combined with Sword Art Online's massive popularity, made it the favorite target of the fledgling anime video essay community circa 2014 to 2017. Though it's possible to do a longform video poring over every single plot hole for almost anything, Sword Art Online made it easy; half of its "plot" was never intended to be arranged in this way, and even when there was intent, it was the intent of an amateur author writing their first-ever story. You couldn't generate a work more perfect for endless nitpicking and angry rants in a lab.

But if the show is blatantly incompetent, what made it so popular?

It's tempting to ascribe its popularity to "right place, right time." By 2012, the year Sword Art Online came out, the internet had changed the primary way people interacted socially. Rather than being bound by family, proximity, race, creed, religion, or so on, people grouped together by hobby. "Gamer" was now a community-binding identity, an attribute that distinguished a person and their niche online space from the othered outside. And the Gamers craved legitimacy. They craved the approval and recognition of mainstream culture. They craved representation, that feeling of seeing yourself reflected in the world around you.

The world refused them. The mood of the entrenched pop cultural elite was best encapsulated by Roger Ebert, famous film critic, who had been waging a years-long crusade against video games as an artistic medium. In 2005, in response to the live-action Doom movie, Ebert said, "Video games represent a loss of those precious hours we have available to make ourselves more cultured, civilized[,] and empathetic." He reiterated this claim in statements and essays in 2006 and 2010, and in March 2012, on the eve of Sword Art Online's airing, described Dark Souls—Dark Souls!—as a "soul-deadening experience." "Video games can never be art," he asserted plainly later that year.

In this milieu, it makes sense why Gamers glommed onto Sword Art Online. If nothing else, Sword Art Online takes video games seriously, more seriously than any non-video game media before it (asterisk; excepting .hack). This seriousness manifests in a consistent theme, a singular perpetually present thread that lingers even as plot, character, and tone skew wildly, stated by Kirito to Klein in Episode 1:

"This may be a virtual world, but I feel more alive here than I do in the real world."

This statement defines Asuna, who stops seeing her time trapped in the game as years stolen from her life, and instead learns to live each moment as if it were truly real. It defines Silica, mourning her dead Neopet and willing to risk her actual life to revive it. It defines Lisbeth, hurtling a million miles into the air but still for a moment enraptured by the beauty of a digital sun shining over a digital land. It defines Griselda, murdered by her husband Grimlock for motives he can only confusingly explain as related to how she "changed" in the game, how she became more confident, more self-realized, while he sank into despair (he was not a Gamer. He lacked the Gamer spirit). It defines Yui, the sentient NPC whom Kirito and Asuna adopt as part of a pantomimed marriage that the show's nauseatingly boring second arc is about protecting against an outside world that does not acknowledge it. And it defines Akihiko Kayaba, the game's creator, who when confronted at the end over why he trapped 10,000 people in this death game, can only say that he no longer remembers, before rhapsodizing about the "castle in the sky" he so achingly desired to bring to life. Unstated is that, to make it truly alive, he needed to make it—and the people inside it—capable of death. This logic is twisted, even more bizarre than Grimlock's murder confession, but neither the scene's wistfully poignant tone nor Kirito's responses reject it.

As the video essayists have done, it's pathetically easy to pick apart Kayaba's rationale. But to mire oneself in the story's logic is a mistake; Sword Art Online is not a story guided by logic. What matters is that Kayaba's illogical words are consistent with the ethos that underlies the narrative: The virtual world is as important as, or even more important than, the real world.

The anime's production values reflect this ethos, too. Sword Art Online looks strikingly cheap for its level of popularity. In almost every fight, still images with blur lines vibrate in tacky simulation of animation. There is no dynamism in the camerawork, and sword duels are often depicted in shot-reverse shot so only one participant is on screen at a time. Nobody interacts with their environment; every battle occurs on a flat, empty plane. Some of the monsters are CGI and look awful. The character designs are bland and generic. Even the music, by the otherwise-excellent Yuki Kajiura, sounds like phoned-in B-sides from her work on Puella Magi Madoka Magica (2011) and its sequel film, Rebellion (2013).

But what the show does expend effort on is its backgrounds, which are both visually inventive—floating islands, towering columns that hold up the sky—and depicted with glimmering post-processing effects to bathe them in sunsets, sunrises, rainbows, and starry nights. First and foremost, Sword Art Online sells its virtual world to the viewer, makes them believe in that world the way the characters in the story do.

And in having that world sold to them, in expressing its legitimacy and the legitimacy of those (hero or villain) who believe in it, the Gamers had their rallying cry, the work of media that finally said: You are seen.

But was it really Gamers that Sword Art Online saw?

While Sword Art Online is invested in selling its virtual world, it is not invested in selling its virtual game. The in-universe Sword Art Online is primarily defined by its lack of gameplay mechanics, rather than those it actually has. In Episode 1, Klein explains that the game lacks a magic system, which he describes as a "bold choice." In Episode 2, members of the raid party state that the game also lacks a job or class system. There is no long-ranged weaponry; everyone uses melee weapons, usually swords. The only strategy during raids is human wave tactics, where armies of players charge in and attack at once. The only cooperative maneuver is "Switch," a mechanic that is never explicitly explained but seems to involve a player who has already charged in backing off so another player can charge in their place.

Compared to even basic single-player RPGs, these mechanics are primitive; for an MMORPG, they're antediluvian. The point isn't whether a game with these mechanics would be fun or not (in many ways, it's similar to Dark Souls, where the basic core gameplay of dodge-and-hit is rendered meaningful by the consequences for failure), but rather that the game's mechanics have little importance within the story.

They're so unimportant that it's never explained why Kirito is so good at the game, what he's doing differently from everyone else. He's not even a grinder. He spends most of the first half of the story slumming on floors far beneath his level. It's no-nonsense Asuna who grinds hard, who tries to exploit the game mechanics, like when she proposes using NPCs to lure a boss. The plan makes logical sense, but logic is absent from Sword Art Online's ethos; Kirito rejects it, not on the grounds it wouldn't work, but because the NPCs would be killed. He prioritizes respecting the game world, while Asuna—at least initially—prioritizes respecting the game mechanics. Kirito's philosophy is ultimately proven right when he and Asuna adopt an NPC daughter who turns out to be sentient.

Meanwhile, Kirito's most impressive feat involves him ignoring the game's rules entirely. The one mechanic described in detail is that if you die in the game, you die in real life; when Kirito dies, though, he wills himself back alive to defeat the final boss.

The game, the experience of gaming, being a Gamer—none of these are part of the underlying ethos that guides the narrative decisions of Sword Art Online. Kirito didn't tell Klein, "I feel more alive playing this game." He said, "I feel more alive in this virtual world." Asuna didn't find happiness by exploiting the game, but by learning to live in it as though it were her real life. Kayaba didn't design Sword Art Online because he loves games, but because he wanted to make his world real.

This isn't a story about Gamers. It's a story about a virtual world. It's a story about the internet. It's a story about online community.

In his introduction to Speaker for the Dead (1986), Orson Scott Card describes the heroes of most science fiction novels as "perpetual adolescents": "He belongs to no community; he is wandering from place to place, doing good (as he sees it), but then moving on. This is the life of the adolescent, full of passion, intensity, magic, and infinite possibility; but lacking responsibility, rarely expecting to have to stay and bear the consequences of error […] Who but the adolescent is free to have the adventures that most of us are looking for when we turn to storytellers to satisfy our hunger? And yet to me, at least, the most important stories are the ones that teach us how to be civilized: the stories about children and adults, about responsibility and dependency."

Card, of course, wrote Gamer fiction long before anyone craved it. Ender's Game (1985) is obsessed with the mechanical minutiae of its titular game in a way Sword Art Online is not; its protagonist is successful in the mold of Asuna, able to understand and exploit game mechanics better than anyone else. But in this quote, Card describes Kirito perfectly. Kirito is, of course, an actual adolescent, emphasized by his character design and Columbine trench coat ("Don't show up to the GameStop tomorrow," you can almost hear him say), but his character is also adolescent in terms of Card's model. He spends the first half of the story as a solo player, wandering from floor to floor, doing good (usually), moving on. He lacks—or rather, avoids—responsibility. While Asuna is second-in-command of a top guild organizing high-level raids, Kirito is off on his own reviving some girl's Neopet.

When viewed from this perspective, Sword Art Online actually does have a coherent and comprehensible character arc for its otherwise inconsistent protagonist. Kirito develops as a result of his relationship with Asuna, finding through his marriage to her the responsibility that he previously forsook. When Kirito's error causes Sachi to die in Episode 3, he moves on, immediately abandons even his own trauma by Episode 4; Sachi is never mentioned again. (Of course not, since her story was one of the last ones written.) He feels no lasting responsibility for his actions. But later, Kirito realizes he could not brush off the trauma if the same thing happened to Asuna. It is through his responsibility to her that he joins the final raid and thus bears, shoulder to shoulder with everyone else, the cooperative responsibility of the entire virtual community of Sword Art Online. He has become an adult, with wife and child. He has become "more cultured, civilized[,] and empathetic," as Ebert would put it.

(And isn't that what Ebert is really saying, when he criticizes video games? That they are adolescent, childish, playthings?)

Through Kirito's character arc, and its underlying ethos about virtual worlds, Sword Art Online depicts online community via the language of marriage and responsibility that is traditionally ascribed to real-life community. This too resonated with its audience. After all, it wasn't just Gamers who craved recognition. Teenagers in 2012 had lived their entire conscious life in a world defined by the internet, and yet the "real world" considered online relationships and communities to be a joke. Sword Art Online, rather than legitimizing Gamers, legitimizes the virtual world, the internet.

But does it really even do that?

Immediately, Sword Art Online rejects the notion of online identity. Kayaba's first move upon trapping everyone inside the game is to force them all to look like their real-world selves. As per Sword Art Online's anti-logic ethos, he does not explain why he does this. Shortly afterward, Kirito looks at his real-world finger, which received a paper cut before he entered the game; he imagines it bleeding profusely, before saying, "It's not a game. It's real." By enforcing real-world identity within the game world, Kayaba possibly intends players to see the world as more real too, the way Kirito does. This fits the monomaniacal focus of Kayaba, and Sword Art Online as a story, on the importance of virtual space over any other aspect of virtual experience, and it's not surprising that Kirito tacitly agrees with Kayaba's decision when he and Klein tell each other they look better as their real selves than as their avatars. But it also alienates Sword Art Online from its connection to the reality of the internet, where personal identity is far more fluid.

Furthermore, despite his character arc, Kirito ultimately stands apart from his online community. At the end of the story, everyone lies on the ground paralyzed as he alone is given the privilege to duel the final boss, one-on-one. At this climactic moment, Kirito returns to being a solo player, while every other member of the community lacks agency, including Asuna. Especially Asuna. Shortly before the final battle, Asuna claims she'll commit suicide if Kirito dies, which is already an unhealthily adolescent view of marriage (as seen in Romeo & Juliet). Then, before the duel, when Asuna is paralyzed, Kirito demands that Kayaba "fix it so Asuna can't kill herself." Not only has Kayaba, the villain, stolen Asuna's agency over her own body, but now her husband is requesting he steal even more of it.

This, too, is part of Sword Art Online's ethos. Though the game has 10,000 people, nobody except Kirito actually matters. He is a "Solo Player" in the sense of Solo Leveling, the most popular airing anime, which has a mistranslated title; it should be "Only I Level Up." The implication of the real title is clear: Only the protagonist has agency. Kirito is the same. Only he plays the game, in any meaningful sense. The game—reality—bends to him; none of its rules, even death, constrain him.

It is total self-centeredness, a complete rejection of the responsibility to society that Card describes. This ethos pervades the show. Kirito is never wrong, even when he obviously is, like when he rejects Asuna's proposal to use NPCs as bait. The entire reason he realizes Heathcliff is Kayaba is because, during an earlier duel, Heathcliff beat him; Kirito (correctly) posits that someone who beat him must have been cheating. Everyone who likes Kirito is good, everyone who dislikes him is evil; Kuradeel, who chafes with Kirito initially over bureaucratic guild regulations, eventually unmasks himself as a sadistic serial killer. Every girl is in love with him, a harem rendered vestigial because Kirito is married to Asuna and expresses zero interest in Silica or Lisbeth or his sister or the second season's Carne Asada; but it's not about whether Kirito wants a harem, it's about the prestige of his ability to command one.

This is where the true face of Sword Art Online shows itself, what truly made it so popular, and where the core of its long-lasting influence remains.

Only the virtual world matters. Not the game, not the online community, not online identity. Only a different world, one that isn't the real world. And in this world, only Kirito matters. Sure, he'll fight to protect other people. Exactly like he'll fight to protect NPCs. In this world, real people are worth the same as NPCs, compared to Kirito. His wife is a real person; his daughter is not. But really, both his marriage and his child are a form of playacting, pretending at adulthood. When convenient, they are disregarded and trampled upon. Asuna spends the next two arcs of Sword Art Online sidelined—even viciously sexually assaulted—so Kirito can hang out with girls he doesn't even like, just because they're shiny and new; Yui is almost completely forgotten after the second arc, like a discarded toy.

This is an ethos of pure, distilled escapism. It is an escape from the real world to a false one, where every conceivable selfish fantasy is rendered real, where every desire can be granted and then disposed of when no longer wanted. It is an ethos without responsibility, without consequence.

And without shame. Sword Art Online is remarkably devoid of self-consciousness. It treats as real its virtual world, but doesn't feel the need to justify that world with logic. It doesn't feel the need to justify anything with logic; what it says is so, self-evidently.

In my Kill la Kill essay, I mentioned Sword Art Online's vast influence, and someone wrote (and sadly deleted) a well-reasoned response that explained how the aesthetics and tropes of modern isekai are much more heavily influenced by Japanese webfic that predate Sword Art Online, like GATE or Overlord or Re:Zero. That's true; I'd add that modern Gamer fiction, which is often obsessively concerned with the rules and statistics underlying game logic, is also not very similar to Sword Art Online on a superficial level. But Sword Art Online's ethos transcends genre. It can be found in isekai, Gamer lit, or even genres popular long before Sword Art Online, like battle shounen. Sword Art Online created the web fiction to light novel to anime pipeline, and in doing so popularized amateur literature and its decidedly adolescent mentality of shameless and solipsistic self-indulgence. "Only I Play the Game."

[stellifystari]

ASTRO NOTES: 001

These are more accurate in sidereal in my opinion

#1 — Scorpio and sagittarius energy in sidereal is such a good combination in my opinion. Most people go by compatible elements when it comes to compatibility but I feel like that’s a very outdated and textbook type of concept that just never seems to be accurate. I don’t think only “air and fire” or only “water and earth” are compatible. I do think most signs are compatible with most of their own elements signs though. Gemetria is something I’ve noticed is more accurate when it comes to finding the signs compatibility. I first saw people discussing it on twitter and it really resonated with me more than the traditional textbook astrology compatibility stuff. Might have to make a separate post on this topic.

#2 — Mercury in the 5th house can indicate having twins since mercury’s symbol is the twins and the 5th house is the house of children/fertility. If not twins though these people still do often have multiple children unless something in their chart conflicts this energy.

#3 — Virgo moons have to be one of the most anxious placements I’ve ever encountered. They constantly are apologizing out of fear that they’ve said the wrong thing, they’re always worried about things that probably would never even happen, and they seem to be super awkward due to social anxiety at times. I feel so bad for them.

#4 — Moon square venus people often care too much about their appearance and can become very emotional when anyone comments on it. Some people care more about people saying things about their personality but these people tend to take things more to heart when their appearance is attacked rather than their character. They also tend to feel as though their day is ruined when they don’t feel pretty. Often this is due to their upbringing. Someone from their childhood whether it was a parent or a bully may have made them feel judged a lot for how they look and made them feel like their appearance is the biggest part of what gives them their worth in life.

#5 — Venus square mars people can have a battle with differentiating love and lust at times. They may also be indecisive about ever taking action in relationships or knowing what exactly they want when it comes to multiple topics involving romance.

#6 — Uranus in the 10th house people often are the leaders of their friend group I’ve noticed. They’re usually close friends with everyone in their friend group and often will get dragged into fights and be asked to choose sides or be fought over by other people in their friend groups because of this. They sometimes have to be the balance of the group and try to keep things under control too.

#7 — The north node at 22° can indicate your main purpose is to build others up in life. This could be in multiple different ways it just depends on the rest of your chart. For example if you had a 3rd house and 22 degree north node you could build people up with things related to the voice or literature such as music, motivational speaking, writing, social media, and more.

#8 — Saturn at 16° indicates lots of karmic lessons in your life will be surrounding the ego and spirituality. In past lives you may have been manipulative or very egotistical and abused your power in life. It’s important to embrace spiritual growth and have more self awareness in this life.

#9 — Venus at 9°/18°/27° indicates a person cares a lot about their partners looks and can be superficial at times when it comes to love. They don’t tend to go for anyone that isn’t considered attractive to a lot of people. This is only because these degrees indicate insecurity meaning they can be extra insecure in this area of life when judged by anyone for who they’re dating.

#10 — I don’t believe in a “worst sign” however I do believe there’s naturally going to be certain energies that don’t work with our own. That doesn’t mean that entire group of people with that sign are just a bad person though which people fail to understand. I also think astrology is something that’s meant to show our positive and negative tendencies but often people want to ignore the negative or hate on people for talking about it when it’s very evident that it exists. That doesn’t mean we can’t learn from this challenging energy though. I just think majority of humanity does lack the self control to want to change and avoid these negative desires to put an end to their bad behaviors or actions.

#11 — Midpoints are so underrated in astrology. They’re often very accurate for me. I’ll definitely be making posts about them.

#12 — Having your 12th house ruler in the 3rd house can indicate experiencing lots of loneliness in life and not being able to make many friends as a kid. You’re more likely to find the right people in adulthood. This will turn you into someone who’s very sensitive to others emotions and selfless though because it allows you to experience what it’s like to feel alone and gain more empathy for others. This is a spiritual lesson you must learn.

#13 — Capricorn risings always have such a unique sense of humor and make everyone laugh. Definitely an underrated placement when it comes to being comedic.

ⓘ Stellify Stari Astrology

[writers-potion]

Writing Weapons (2): Knives and Daggers

Dagger vs. Sword

In many situations, daggers might be more plausible than a sword fight.

Dagger are eaiser to carry and conceal, lighter, faster, good for spontaneous action, suicide bids, self-defense and assassination.

Dagger vs. Knife

No clear distinction; terms used interchangeably

Dagger is more for thrusting with 2 sharp edges

Knife is more for cutting (slashing) with 1 sharp edge

Concealment

Carried in a leather sheath on the belt

Can be concealed under a cloak, in a bodice (sheath sewn into the bodice), in a boot, behind hari ornaments

Bodice daggers (popular in the Renaissance) had no cross guards.

Connotations

Beside its combat value, the dagger has lots of emotional and sexual symbolisms.

The closeness need to attack with a dagger creates intense personal connection. They are often used in fights where emotions are running high: gang warfare, hate crime, vengeance.

Due to its shape and the fact that it's usually worn on a belt made it a symbol of virility in many cultures and periods.

Sometimes it was the hilt rather than the blade: like in the case of bollocks daggers with two...balls on either side of the hilt.

Fighting Techniques

Stabbing:-

The dagger with long, thin blades are made to stab a vital organ like the kidneys, liver, bowel, stomach or heart.

Stabbing directly at the chest seldom works, since the blde may glance off the ribs. Position the dagger below the ribcage and drive it upwards, through the diaphragm and into the lungs. If the sword is long enough and your fighter is a professional, you can get to the heart.

If no professional, just keep going for the stomach and you'll get one of the vital organs eventually.

Slashing:-

When describing a slash wound, show a lot of blood streaming, or even spurting.

Slashing dagger fights are bloody - show your MC's hands getting slick with blood, grip on the weapon slipping.

The aim is to cut the opponent's throat or cut tendoms, muscles, or ligaments to disable. Slashing the muscles in the weapon-wielding arm is the most effective; insides of the writst or back of the knee is also critical.

Assassinations:-

Show good knowledge of the humna antatomy

Use a stabbing dagger

A single, determined, calculated and efficient stroke, probably below the ribs.

Self-Defense:-

Disable the attacker by slashing their weapon-wielding hand (elbow or wrist)

Quick, multiple stabs wherever the MC can get the blade to land; the attacker won't give time for careful positioning

If the blade is too short to do any significant damage, maek up for this by stabbing so ast that the pain and blood loss distracts the opponent.

Vegeance and Hatred:-

Someone who is motivated by raging emotions will stab the victim repeatedly, even after he is already dead.

The attacker may stab or salsh the victim's face, disfiguring it.

Contemporary street fights and gang warfare usually involves these.

Duels:-

If both fighters are armed with daggers, include wrestling-type moves as they try to restrict each other's weapon hand.

Show them trying to disable each other by slashing insides of writes, elbows, the back of the knees, etc.

Dagger + Sword

If the character is expecting a fight, they can hold a sword in their right hand, and a dagger in their left to fight with both

Sword + mace combination also common.

Blunders to Avoid:

Direct stabbing at the chest wouldn't work.

Hero cannot cut his bread with a stabbing sword

adapted from <Writer's Craft> by Rayne Hall

[winterdeepelegy]

Vanilla Gpose Tips

I get asked occasionally how I make my screenshots if I'm not using shaders or mods. The short answer: Patience. Gpose's suite of tools is a lot more robust than it used to be when it was first released. But if you want a screenshot to really shine without using third party add-ons, it's not something you can just go into gpose, take a printscreen and get back out. You might capture a moment with nice lighting that way, but it takes more than that. 1. Choosing a location and time of day is job one. What kind of mood are you trying to convey? Does your intended screenshot have a theme (or a prompt?) or are you just looking at your new glam and marveling at how fine your character looks in it? Does a lighter or darker setting suit the character better? Setting, time of day, and weather can affect this. 2. You can stop time and weather from changing. I keep this on by default because it can take upwards of 30 minutes IRL to fine tune a screenshot. The middle button below. Make sure it's highlighted.

3. Toggle battle effects on/off. It's the button right next to the time/weather stop, the icon of the guy holding the sword. If the icon is highlighted as it is in the screenshot, your battle effects are on. If you want to capture pure motion and not worry about battle effects, turn this off. 4. Wet effect. Use it, use it, use it. It doesn't just make clothes look wet and make skin glossy, it actually helps to bring out texture and detail on the character's outfit. Especially since the graphics updates in 7.1. I've found it also adds shine to hair and can help the eyes stand out more.

5. Sticker Mode. Yes, there are oodles of cute minion stickers, flags, and numbers, but there are also some great effects to be found in the Decorations category! Sparkles and twinkles, lens flare, among other things can help enhance metallic points on a glamour, AND they can be resized! So if you want a more subtle twinkle on the edge of your spectacles or earrings, you can tilt and downsize your desired sparkle. There are also cute flowers and hearts. 6. Quick Keys. If you're playing on a keyboard, the 1 on your top number row freezes the screenshot. This is extremely helpful if you're trying to catch a battle emote right at a specific moment. If you miss it, keep trying because emotes will continue to cycle until you change them. R and Scroll Lock will both hide/unhide the gpose controls. X will turn on lighting. Space Bar will toggle your character to stop them from facing the camera and vice versa. 7. Lighting Intensity is Dependent on Distance. The closer you're zoomed in on your character, the brighter the light is going to be when you turn it on. Try adjusting your zoom in or out and toggling the light to see if the illumination is to your liking. You can also adjust the RGB on the lights to fit the mood/environment. I also recommend turning on Manual Brightness. 8. Color Filter and Screen Effect. These two features, in my opinion, require the most patience. Not every color filter and screen effect will work well together in every scenario. Click through and preview all of them in your screenshots and see if some SE's work better with your preferred CF. You might find an unexpected combination that you love. Trailer and Echo color filters are great for flashbacks (no one uses Aetherometer, it's an eye bleeder). Use the Pencil or one of the monochrome CFs and Noise 2 SE to create a nice black and white film or photo effect. 9. Frames. Frames are one of the more limited features and not always needed in order to capture a great screenshot. Action poses benefit from the Cinema frames, however, while more lighthearted moments play well with the photo options.

10. Emotes. Before you enter Gpose, be sure to /groundsit to clear your most recent emotes. Summoning mounts and minions also count as emotes for the sake of Gpose. By the same token, you can use battle abilities before entering Gpose, and this is what it will cycle through. You can't activate a battle ability while IN Gpose. You will have access to all of your non-battle emotes and facial expressions, though. You can combine any emote with any facial expression by choosing the action first, and expression second, so you can /prettyplease and /awe at the same time to make your character look hilariously horrified. If you enter Gpose with an active battle ability, you can still apply a facial expression to it from within the tool. 11. Bits and Bobs. Enable Manual Focus and Depth of Field will help bring out the details of the background more, and will help to make a more cohesive screenshot. Manual Focus is great if you want your character in the frame, but you want to shift the focus elsewhere, to an object or another person in the background for example. In the same menu where you'll find emotes, click the second eye button to "Track Camera". Your character's eyes will follow the position of the camera. Lastly, again, have patience. Allow yourself time to play with all the tools Gpose has to offer. You're probably not going to get the winning screenshot after clicking Printscreen just one time, you should take multiple shots from different angles with different lighting and effects, then compare them all and pick the ones you like best. And remember, even if it's the true endgame, it's not a competition. Your screenshots are not "worse" or "boring" just because you're not using third party tools. I look forward to seeing what you create, and you should too.

[actiniumwrites]

patches

synopsis: even though you’re both self-proclaimed enemies, they can’t bear to see you hurt. or in which, you show up at your enemies door all bloodied and bruised and they’re forced to take care of you

characters: xiao, gaming, alhaitham, and arlecchino x gn!reader (separately)

warnings: angst to fluff, hurt/comfort, injuries, crying, enemies to lovers, some of them are kinda mean, extremely mild misunderstandings, probably swearing idk

notes: i’m in a massive enemies to lovers kick right now omg you guys don’t understand. this was also inspired by arlecchino’s voiceline from a heavy hit or something where she says, “wanted my full attention, did you?” she’s so fine i’m sobbing 😖

Xiao:

It was a relatively quiet night before you showed up at Xiao’s room at the Wangshu Inn. For the first time in a while, he had felt a semblance of peace. That was until the indistinguishable scent of blood forced itself in his nose and a weak knock sounded at his door.

Xiao opens it immediately. He doesn’t care to know who it is, but rather what they want with him at nearly three in the morning. No one ever bothers Xiao this late. Not unless it was serious.

“What do you—“ he starts harshly but stops mid sentence when he recognizes your face. You’re doused in blood, your clothes all ripped up. And god, you look so weak it almost makes him feel bad for you. “Get inside,” he grabs your arm harshly, but still manages to avoid all your injuries.

You start to speak, but your mouth is full of blood too. He can barely understand what you’re saying aside from a bunch of nonsensical, I’m sorries. And if your injuries weren’t enough to show it, the fact that you’re apologizing to him at all tells him something is seriously wrong. Most of the time you talk to him it’s a bunch of insults thrown back and forth, some even result in physical fighting. Neither of you have been able to get along for centuries, yet here you are getting patched up in his house.

Xiao remains mostly silent as he sets you on the counter and pulls out his medical supplies. First he cleans up all the excess blood with a cloth before tossing it aside and moving to work on the actual injury itself. You can’t help but watch him, feeling nothing but shame as you do. You couldn’t help it. There was no one else you could think to go to.

“You are unbelievably weak and irresponsible. It’s idiotic to think you could ever handle anything in this world, not even a few monsters,” he grumbles between stitches, “Pathetic.”

You just stare at him as tears well up in your eyes. You aren’t one to cry. In fact, you can’t even remember the last time something so bad happened that you did. But sitting here, terrified of the monsters that had you within an inch of your life combined with Xiao’s cold words made you completely shatter inside and out.

Quietly, you sob into your other half-cleaned arm, “I know. You don’t have to say it.” You begin to get up right after, mumbling about it being a mistake coming here but he pushes your knee back down before you can fully stand up.

Xiao looks up surprised from where he sits as he does, his hands drop the thread and needle against the counter. Without word, he stands up and furrows his brows. “I should not have said what I said,” he practically whispers, a twinge of embarrassment hitting him too. A darker look shades his gentle amber irises as he stares into yours, “I don’t entirely dislike you. As stupid as your actions may have been, seeing you injured makes me…upset.”

“They weren’t normal monsters,” you breathe out between the remaining sobs that still involuntarily leave your mouth. You know you don’t owe him an explanation, but you figured you could at least make it known you weren’t taken out by some random hilichurls. “I was down in the Chasm. Those…things weren’t anything like I’ve ever seen before. I didn’t even have time to react.”

Xiao nods and places the last bandage on your face, “You shouldn’t go down there by yourself. It’s too dangerous. The last time I was there I hardly escaped.”

“What do you mean?” you raise a brow, your interest suddenly peaked. Xiao wipes the remaining tears off of your face in silence before turning to walk away.

“Call for me next time and I’ll be there.”

Gaming:

Gaming and you had gotten off on the wrong foot when you first met each other years ago. As children, you always felt like he stole your spotlight and he never seemed to care. And as you got older, it never seemed to go away. You constantly bickered and loathed having to see each other whenever one another’s name was brought up.

Yet whenever you got hurt, he was always the first person you went to. Although normally, it was for small things like paper cuts and bruised elbows. Not for your face having a cut so deep you could barely see and an arm twisted out of place like today.

“Fuck,” you mutter as you bang on his door, hoping it was the right one. There was too much blood in your eyes. Every door in the village looks the same right now, and even if it is the right one, you aren’t sure he’s even home. “Please be home,” you pace back and forth. Gaming stopped asking questions years ago when it first started.

You were forced to go with him after a group of bandits had found and beat you up, taking nearly everything you had in your bag. Gaming had found you while on delivery, and like the sweet guy he is, he stopped and helped you even though you could both barely stand each other. He didn’t want to see you dead either.

You weren’t often hurt, but it became somewhat of a cycle whenever you were. You were a nice person, well liked by most, but you also enjoyed stirring up trouble and it often landed you in some pretty hot water countless times. You knew Gaming wouldn’t say anything to anyone or turn you away like other people would. And above all, you like the kinder side of him whenever he patched you up, which he was good at too.

“Gaming!” your fist pounds on the door again. It’s almost nightfall and a few villagers have begun staring. You almost go to knock again, but your body begins to give out. You mumble a few more curse words before the door opens and you fall forward, directly onto the very person you were looking for.

“Ow ow ow, oh my god my arm!”

“Sorry! Is that blood?! What happened to you?”

“I don’t know! Ask the guys who thought my joke wasn’t funny.”

Gaming picks you up off the floor in a state of panic and rushes you to the bathroom. Luckily for you both, his dad isn’t home to see all of this.

Gaming begins to wipe the blood off your face and examine the cut that runs all the way from your forehead to your cheek, narrowly missing your eye. “This is bad,” he says and begins rummaging through his drawers for medical supplies.

You scoff, “Yeah, you think?”

“You didn’t have to come here, you know. You should’ve gone to a doctor,” he bites back nicely. Sometimes you wish he would just be a little meaner to you. It was easier to hate him that way.

You quiet down and let him take care of your face, “I’m sorry. You’re the only one who I can actually trust to take care of me.”

Gaming hides a small smile while avoiding eye contact with you. Not that you could even see, but just in case. He’d never admit it, but he actually really enjoys when you go to him for help. He’s never resented you like you’ve resented him, but he never bothered to change it either. Somehow he hoped bandaging you up would make you change your mind about him.

“It’s alright,” he says softly, pouring disinfectant onto a small cloth and wiping the cut gently. You wince and he places a hand on your upper arm to silently comfort you, “If you want some good news, you don’t need stitches on your face.”

You breathe out a sigh of relief, having always hated needles, “Thank god.”

“But you will have to see a doctor for your arm. There’s no way for me to fix that on my own,” he says bashfully, “I can maybe…take you if you’d like?”

You peer up at him, shocked at the question. Perhaps this could be a new start between the two of you, and you’re not so against it.

“Yeah, I’d like that.”

Alhaitham:

It’s pouring outside when Alhaitham hears banging on his front door. At first, he ignores it thinking it was just Kaveh forgetting his keys again and he doesn’t care enough to let him in. But the banging persists and then comes the faint sound of pained sobs.

He slams his book shut and groans as he gets up and trudges angrily to the door. He swings it open only to be met with the sight of you clutching your waist, barely keeping yourself standing as the rain envelopes you.

“Please,” you whisper weakly.

Alhaitham scoffs, “Really? I’m not a doctor, go somewhere else.” He begins to shut the door, and he almost does so successfully before you collapse on the floor, blood beginning to mix with the puddle outside his door. And there’s a lot of it.

The next thing you know, you’re in your least favorite scholar’s arms as he carries you to his room. He sets you on a chair and you take the time to take in what his room looks like. It isn’t much different than you expected, yet you never thought you’d see it.

“Don’t move. I don’t want you making any more of a mess than you already have,” he sneers, walking off to the bathroom connected to his room to grab out a small bag of medical supplies. When he returns you’re blankly staring ahead of you, barely conscious as tears start running down your face. It’s like you don’t even know you’re crying. Alhaitham stares at you for a moment in utter disbelief before snapping in your face, “Take your shirt off.”

“Huh?” you snap out of your daze, confusedly wiping your tears as you do so. A few sniffles leave your nose as you do so.

“Do you want help or not?” he snaps again, losing his patience with you. He’s beginning to seriously regret not leaving you on his doorstep. You quickly follow his instructions, taking off your shirt to reveal a huge cut stemming from one side of your stomach to the other.

Alhaitham’s eyes slightly widen in shock, and he almost can’t pull them away. For a brief moment, you even catch them soften but it’s fleeting and doesn’t give you enough time to register that maybe the stoic scribe really does care for you, even just a little bit.

You both sit in complete silence as he begins working. You catch his eyes every so often, but he quickly looks back down at the injury before either of you can speak on it.

“Who was it?” Alhaitham grumbles as he finishes wrapping it up, his arms wrapped around your waist. The feeling of his hands distracts you from the question.

“What?”

“The people that did this. Who was it?” he repeats it, more anger this time around. You shake your head and look off to the side.

“I don’t know. It was too dark to get a good look at them,” you try to explain, but Alhaitham doesn’t have any of it. You’re not sure why, but he doesn’t seem like the normal him. The guy that normally finds any and every chance to torment you.

He gets up and grabs the bag, noting something down on a nearby piece of paper and shoving it in the left pocket of his pants before angrily walking out the door of his bedroom, “I’ll be back.”

“Wait! Don’t go,” Your hand reaches out and grabs his. You pull back suddenly, not realizing how impulsive your decision was until it was too late. You go to mumble a sorry, but before you can, you find your hand back in his.

You stare at him in shock, but he just squeezes your shaking hand. “Stay here,” he says somehow both coldly and warmly at once, pulling the blankets back and gesturing to his bed, “I’ll be back in an hour.”

“Where are you going?”

“To deal with the people that hurt you.”

Arlecchino:

You wince as the door swings open aggressively, not expecting Arlecchino to open the door before you could even think to knock.

“What are you doing here?” she asks, squinting her eyes so as to scale you up and down. For a moment, they linger over your bloodstained clothes and the already bruising cuts that litter your body. You don’t notice the way they widen in shock for a moment, too distracted by the adrenaline wearing off.

You still manage to crack an arrogant smile and sarcastically mutter, “Couldn’t think of anyone worth patching me up but you.”

Without waiting for a response, you push past her figure and let yourself inside already knowing where the infirmary is. Although, you don’t make it two steps before your legs give out and your body tumbles toward the hardwood floors.

The clicking of heels stops from just beside you before a strong hand grips your arm and aggressively pulls you up, “Don’t dirty my floors. The children worked hard to clean those today.”

“Yeah? Well they can clean them again tomorrow,” you grumble and weakly attempt to push her hand off of your body. Arlecchino doesn’t budge, however. She instead drags you all the way to the infirmary and sets you down on one of the beds.

“Wow these are surprisingly comfortable. Didn’t know you had it in you to be so accommodating to all the children you like to hold hostage,” you tease to keep yourself from focusing on the pain. She ignores you and instead places a firm hand on your uninjured chest and slams your back against the bed.

Immediately, she begins working on all the little cuts and gently wipes all the blood away, saving your bigger injuries to be dealt with in a moment. For now, she didn’t mind if you suffered for a little longer.

“So,” Arlecchino starts after a few minutes of silence, finally deeming it worthy to have a real conversation with you, “was this your way of getting my full attention? If you wanted me to notice you, you should have just said something.”

“What? No! I got attacked, I wasn’t trying to ‘get your attention’ or whatever.”

“You don’t sound so sure.”

“I really wasn’t,” you cross your arms and turn your head away from her, “I was scared, you know? I didn’t know who else to go to. Make fun of me all you want, but it’s the truth.”

“Oh.”

“Yeah.”

She doesn’t say anything more after the conversation takes its turn. You’re glad she doesn’t, not wanting to engage in the horrible embarrassment you already felt from having to show up here anyway. She was the last person you’d want to have see your weakness, yet here you are covered in the House of the Hearth’s bandages.

When Arlecchino is done with stitching up your leg, she moves to your face and gently brushes away the blood. And cut by cut, she heals each one and leaves you feeling brand new again. You stare up at her for a brief moment, unable to look anywhere else when the red X’s in her eyes are so focused on you.

“So who did it?” She asks suddenly, her tone a little more caring than before. It almost shocks you, but then again, deep down you knew she cared more than she let on. No matter how much either of you didn’t get along, you always had her back. Even if she didn’t know it. You always liked the think that she had yours too.

You sigh and scribble down a few names on a nearby clipboard left by the bed, “That’s only a few of them…the ones I was able to get talking before everything happened. I’m sure you’ll have no problem finding their leader though.”

Her eyes scan over the paper before she glances back at you and nods. She begins to walk away but stops at the doorway and calls out over her shoulder, “I’ll be back in the morning. My room is on the second floor, last door at the end of the hall. I expect to find you resting there when I return.”

[changbunnies]

Mint (18+)

♡ Pairing: Changbin x Fem!Reader

♡ Genre: fluff, smut, pwp

♡ Word Count: 2.7k

♡ Summary: It's the little things your boyfriend says and does that fills you with love for him; and you'll take any opportunity, no matter how small and mundane, to shower him with the love he deserves.

♡ Smut Warnings: light d/s dynamics (switch!bin and reader), vaguely plus size reader (because i am nothing if not self indulgent), light nipple play, oral (m rec), some begging from bin because i literally cannot stop myself from writing it lmfao

♡ Notes: this was supposed to just be a binnie drabble because it's been too long since i last wrote for him and i miss him, but i got a lil carried away as usual :') this is valentine's day fic in spirit only, there's really nothing thematically that makes it suit vday lol i truly just wanted to write something fluffy for bin even if it was small and plotless <3

♡ Disclaimer: please read responsibly, and remember that this work is fiction and meant strictly for imaginative fun. the idols used in fics are more accurately faceclaims and personality outlines for imaginary characters, and should not be interpreted as factual representations of existing people.

It starts with a giggle; the bashful kind Changbin always fails to suppress when you start kissing him stupid. They’re simple, repeated little pecks, and you can feel him trying not to smile too hard, lest you end up kissing his teeth instead of his lips.

His lips are as sticky as they are plump and soft, the result of a combination of indulging in strawberries & cream hard candies, and his healing mint chapstick. The taste is pleasant, and your own lips tingle from the healing mint transferring to you, as well as growing sufficiently sticky from having a candy of your own before kissing him.

He doesn't know what brought the kiss attack on, but there's nothing he loves more than being doted on and feeling your affection, so he happily (and greedily) takes all the kisses you offer him.

Still, Changbin's curious– so when there's a small lapse in the kisses due to your need to take a breath, he asks; "Why are you attacking me, baby?"

The question is spoken with evident joy, the hints of his previous giggles still lingering in his voice. And there's no "reason" per se– all he'd done was sit there on the couch with you, in his cute cable-knit sweater with his tamed (but still ever so fluffy) hair and wire-frame glasses, eating candy.

It wasn't so much a particular action he took, or a special instance out of the norm that caused you to bombard him with love. There was no grand gesture of affection, no pre-planned romantic intent, no shameless display of affection. Changbin loves to do those things, certainly, but this wasn't that kind of moment.

You were simply in your shared apartment, cuddling under your couch's designated throw blanket as you watched a movie together post-dinner, snow falling peacefully on the cityscape outside your windows. When you were shopping for ingredients to make dinner tonight, he couldn't resist grabbing a bag of candy when he noticed it on sale– because who doesn't love a treat when it's discounted?

And it was all made better by knowing they were a favorite of yours too– so when he tore open the bag, full to the brim of small, individually wrapped candies, he took one for himself before eagerly tilting the bag in your direction to take one. Changbin watched you take it with a sweet smile, turning back to the tv before unwrapping another candy to pop into his mouth; and the simple domesticity of his affection was reason enough.

He turned to you when you called his name, a question lingering on his lips as he felt you inch closer; did you want another candy? Did he accidentally leave the bag too far out of your reach? But within seconds, you were surprising him with a kiss.

It took him off guard, you could easily tell by the squeak he let out, but the corners of his mouth curling into a smile before he returned the kiss told you he was more than happy with it.

"Because I love you," you answer his question earnestly; it was all you thought as you pulled yourself closer to him, the only words lingering in your mind as you hastily pressed your lips to his.

A tiny blush crawls over Changbin's features as he smiles, as full and radiant as it ever is when you dote on him. His eyes squint beneath his glasses, his adorably round nose scrunching, and you can't help but smile too; his joy is infectious, after all.

And perhaps in some ways it's silly, but it's always the small actions he takes that remind you of how in love you are with him. It's always moments like now, when you're relaxing together, at peace and comfortable in his presence in a way you are with no other, that your heart swells with love for your boyfriend the most.

Slow moments, where you can really appreciate the man beside you, when the full weight of your affection for him can settle over you like a warm, fuzzy blanket. Moments where any problem you have melts away, fading to the background because Changbin is with you, and that's all you need to be okay. 

And for Changbin, it doesn’t matter if it’s the 1st, 100th, or 1000th time you’re kissing him– it always sparks something in him. He isn’t greedy about many things, but when it comes to you– that’s a different story entirely; he’ll hold you tight and endlessly drink in all you're willing to give him. 

Your lips taste similar to his– a more muted, subtle version of strawberries, cream, and mint; he indulges in it, his hands finding their way to you and leaving the bag of candies forgotten to the side. He hums pleasantly when you crawl your way onto his lap, obediently parting his lips when he feels your tongue slide against them.

It doesn’t take long for him to start chubbing up beneath his cream-colored pants– and how could he not? You’re in his lap, kissing him deep and slow, with your fingers in his hair. They glide easily through his soft, straightened hair, and while you can’t help but miss his natural curls, you do appreciate your fingers not tangling in them and pulling. 

Changbin would like it, you know– he’s strong enough to manhandle you without breaking a sweat, can flip you and hold you into any position and make you take it with ease; but in the same breath, he’s pliable, ready and eager to be molded into whatever you need him to be. He loves his body, and his strength, and the squeals he can draw out of you by using it– but what he loves even more is being good to you. 

But this moment isn’t about that– you aren’t looking to take control, nor to make your lover meek and pliant; it’s about showing him the depth of your love for him in the only way you can when words fail you. What else can you do when saying “I love you” doesn’t feel like enough? When the heat that’s building in your chest will burst if you don’t kiss him and kiss him and kiss him?

He isn’t hard enough for his erection to quite be “obvious” in his loose pants yet, but you’ve been with Changbin long enough to see when he’s getting worked up. His breaths come out harsher, and the pink tint to his cheeks spreading to his ears paired with the quickened beating of his heart you can feel just beneath your fingertips tell you all you need to know.

He has a dazed, lovesick look in his eyes when you pull away from him, paired with a goofy, beaming smile. “I’m so lucky,” he breathes as he hugs you, the squeeze so tight it almost feels like it could crush you– but Changbin knows the limit. “I’m crazy about you– you know that right? I love you so much.” 

You’re effectively trapped in his arms, but that’s no problem for you– you return his hug, giggling as he returns your affections. Your soft laugh delights him, and he shows it by peppering your cheeks in chaste kisses before moving on to your neck. 

“Bin, that tickles,” you whine between your laughter, his hands squeezing you as you squirm in his grasp. He laughs too, lifting his head to meet your eyes with the downturned smirk that tells you he’s amused.

He thinks to tease you; playfully peck you over and over whilst saying you attacked him first, so it’s only fair– but it melts away when you tenderly reach to his face, cupping it in your hands. Your thumbs resting on his full cheeks, you kiss him again, soft and sweet. It effectively turns him to putty, a content sound rising from his throat as his squeeze on you loosens. 

You take the opportunity to slip a hand into his sweater, caressing his plush stomach for just a moment before bringing it to his chest. You love the way he feels– bulking muscles under soft skin, pecs strong and well-defined but so easy to squeeze in your palms. He shivers under your diligent touch, your fingers always so soft and motions so purposeful.

He keens when you tweak his nipple just the way you know he likes, and he has to make a conscious effort to stop himself from unconsciously bucking his hips up. You can feel him, fully hard beneath you now and pressing into the fat of your ass.

On another day, you might tease him about it; coo over how sensitive he is, watch him squirm as his face burns deep red. But the way Changbin looks at you, so reverent and adoring with a haze of lust, never fails to fill your stomach with butterflies.

It's obvious with just a look that he's becoming needy; he’s expectant, wordlessly pleading, skin tingling with anticipation for what you’ll do next– and you’ve decided from the very start that you’ll give him anything he wants. 

“Ah–” his brain lags when you ask what he wants, if there's anything at all he'd like you to do, the air suddenly feeling heavy and thick around him. And it’s not because he’s shy, necessarily– it’s just that the loving gaze you hold for him while waiting for him to answer is making his mind feel fuzzy.

He swallows, and in the end his words are less than eloquent, but they're enough. “Your mouth– please?”

You smile at him sweetly, a shudder traveling the length of his spine when you dip your hand between your bodies to palm his cock over his pants. He sucks in a breath, shivering as you make quick work of freeing his erection from the fabric. The inside of his underwear is sticky-wet, the result of pre-cum steadily leaking from his sensitive tip.

His fists are clenched, breaths labored as he watches and waits for you to deliver on his request. You shift carefully off his lap, letting the blanket covering you both fall to the floor– along with the plastic bag of strawberries & cream candies that you entirely forgot were still there next to you. 

The clatter of them falling to the hardwood almost makes you jump, and you watch as some of the candies roll out of the bag, scattering in all directions. You stare for a moment, blink before you turn to Changbin and laugh. “I forgot,” is all you say, and he giggles with you, leaning over the couch to assess the damage. 

“We can clean it later,” he assures, grabbing your hand so you focus on him instead of on the mess. If there’s one saving grace, it’s that the candies are all individually wrapped– and you’re certain that getting your boyfriend's dick in your mouth is of much higher priority than picking up some spilled, but otherwise perfectly fine, candy. 

“Wait,” Changbin says after you sink to your knees, grabbing a cushion to place under them, “don’t want you to get hurt.” You smile and thank him warmly, getting yourself comfortable on the cushion– and he’s quick to reach to the floor where the blanket fell, wrapping it around your shoulders snuggly. 

“Changbin,” you giggle as he secures the blanket around you.

“What? I don’t want you to get cold either,” he says, and it’s so endearing you can think of nothing else to do but kiss him, just as before.

“What about you?” you ask, and he simply smiles while assuring you he’ll be perfectly fine. And you’re sure it’s true enough; Changbin tends to run hot, after all. Still, you get as much of his legs in the blanket as you can as you inch closer and settle in between his muscular thighs. 

You take his cock into your hand once more, the length short but impossibly thick in your comparably small fingers. The sight of it, leaking and throbbing as it silently pleads for stimulation, is always mouth-watering to you, and the change in your eyes is enough to make him squirm in his seat. 

You take your time planting slow, lingering kisses to his steadily leaking tip, coat your lips in his arousal and trail it down his length before slowly licking back up. You repeat– enough times to have him biting his lip and tensing his thighs, desperate pleas for something more just a breath away from being uttered. 

It’s a little cruel to tease him this way considering you said you’d give him anything he wants, but how could you resist? Still, a promise is a promise; so just before you think the thread keeping his restraint together is about to snap, and he’s ready to string together a babble of begs and pleads, you engulf his tip in your mouth. 

The relief is instant– a loud, shuddering whine leaving his lips as you lower your head, sliding the entirety of his length into your mouth. It’s always a stretch, even just for your mouth, but you’ve grown used to ignoring the ache in your jaw. He’s heavy on your tongue, but you’ve always liked that– and the moans you’re met with as you bob your head make any tenderness you’ll feel later entirely worth it. 

You can feel him tremble, the sound of your saliva pooling and dripping down his cock enough to make his head spin. Needing something to hold and ground himself, he desperately searches for one of your hands; you offer one to him quickly, let him squeeze as much as he needs once your fingers are intertwined. 

Your other hand caresses and squeezes over the meat of Changbin’s inner thigh, and his head falls back against the couch cushion, eyes closing as he releases another high pitched whine. Suddenly he feels much too hot, sweat threatening to drip from where it builds on his brow. You swirl your tongue around his cock to the best of your ability as you take it to the base, and it nearly makes him sob.

“S-So close, please–” he manages to choke out through a whimper, shivering when you hum and quicken your efforts. It’s utterly dizzying– how good your mouth feels, the salacious sounds that pour from it, the heady cry of his desperate, pleasured voice; overwhelming and baffling, almost, how a man as big and strong as him can be a weak puddle in your hands.

“Gonna cum– ‘m cumming, c-cumming for you,” he manages to stutter out just moments before his thighs and stomach clench and his eyes roll back. His back arches off the cushion as he writhes, his cum spilling down your throat, thick and pleasantly salty. The overstimulation as you continue to lick over his now softening length makes him gasp and squirm until you inevitably release his cock from your mouth with a pop, satisfied with your efforts cleaning him up.

Changbin is utterly breathless, but still quick to help you back to the couch when you move to rise; your knees ache from being stuck in the same position for so long, but it’s certainly not as bad as it would’ve been if he hadn’t offered you the cushion to rest them on. He smiles at you as you wipe the accumulated sweat from his brow, a sweet thing full of awe and adoration. 

“I love you,” he reminds you with a sappy, downturned smile and you giggle before offering him another kiss. ���And,” he quickly adds, effortlessly scooping you up into his arms now that his strength has returned and his body no longer feels like jello, “we’re not done yet.” 

“Binnie!” you can’t help but squeal, clinging to him tightly as he rises from the couch with you in his arms, as if you're light as a feather. He kicks the bag of fallen candy as he walks, and you giggle as you hear more pieces rattle and roll around on the floor and out of his path; you almost want to playfully scold him for worsening the mess. 

“We can clean it later,” he repeats, as he enters your shared bedroom. He carefully lays you down on the bed, crawls over you and kisses you with all the passion and ardor he can muster. His hand traveling slowly, purposefully down your body, until it finds its home between your thighs.

There’s a whispered promise then; that you’re not leaving the bed until he makes you cum again and again.

[causticsodaa]

Beyond the Surface of Suo and Sakura’s relationship

**MANGA SPOILER WARNING**

This is my first post on this website, apologies if theres anything incoherent here. This post is also very simplified and lacks some information as I wanted to keep it as concise as possible. If you would like a full-blown analysis about their relationship, do let me know. I may consider making a complete writeup.

Contrary to popular belief about their “lack of interactions”, Suo and Sakura share many important and pivotal moments together scattered across the story. They may not have that big impactful moment compared to other dynamics in WBK (examples being Chika calling Endo by his full name, or Nirei yelling at Sakura in Noroshi, but we’ll get to that later), however they are important to their relationship and for their individual characters. There’s too many to list here, so I will keep it short.

From the start of Wind Breaker, Suo has always teased Sakura; even lying to him when they first meet:

We all know that Suo is a very unserious guy, and this aspect of his character is highlighted the most when it comes to his interactions with Sakura. He constantly pokes fun at him; blatantly lying to him with the sole purpose to mess with him and just being a general tease.

These aren’t even all the instances when Suo does this! I got lazy while compiling images (yes, theres *that* many moments where Suo teases Sakura), but I hope this paints a good perspective.

This makes Sakura thinks of him as “untrustworthy”, in a more lighthearted sense.

Infact, out of anyone else in the cast, Sakura is the only person who actively questions Suo’s character. (I’m not counting Tsugeura because their confrontation was a one time thing)

But here’s the thing: Even if Suo takes advantage of the fact that Sakura is gullible enough to believe anything just so he can mess with him, Sakura still relies on Suo.

He relies on him to come up with a strategic plan for their war, partners with Sugishita despite his initial reluctance, and even follows his advice on how to fight with others people (which works in his favor immensely during the beginning of Noroshi and while he works with Sugishita)

Theres also another moment I’d like to showcase (which is very underrated imo):

Here, we see Sakura taking the support of Suo’s shoulder in order to kick Endo in the face. We also see Suo defending Sakura a few moments ago as well.

Heres’s the thing: Sakura is an arial fighter. He can easily jump to certain heights by himself, much less be able to kick his opponents mid-air. He doesn’t require any support to lift his body upwards.

So why would Sakura do this?

It’s simple: Sakura trusts Suo, whether it be direct or subconsciously. And as his vice captain, Suo also trusts Sakura. Why would he appoint him as class captain if otherwise?

Their mutual trust plays a massive part in their relationship. There are many instances showing this aspect, but for now I will just analyze this iconic scene:

Both Sakura and Suo immediately jump into action in order to protect their friend, Nirei, from any immediate threat (Endo). They exchange no words, only a knowing glance to each other.

I believe that this page shows the essence of their relationship: Despite their petty banter and occasional disagreements, despite how less ‘open’ their relationship is, they are more often on the same wavelength than not.

They care for and trust each other immensely. However, many of their nuances are in hidden between the lines of their relationship due to the guarded nature of characters.

And it is with all these aspects combined that makes the Suo and Sakura duo appealing to many people.

TLDR: Suo and Sakura trust and care for each other a lot, despite their personal shortcomings and Suo incessantly messing with Sakura.

Thanks for coming to my TedTalk. There was so much more I wanted to write about here (such as their flawed perspectives on each other, suo’s perspective on sakura, and how they uplift each other), but unfortunately Tumblr literally refused to upload most of my images and nuked half of this post bc it decided not to save the draft; hence the short analysis. If you have any additional thoughts, feel free to let me know :)

[jingyichickenwings]

This is less of a Deep Cut and more of a case of schadenfreude, but I love when various members of a creative team are messy in public about their high budget group project. Reality TV for nerds. It speaks to a profound lack of media training or fucks given. You guys realize that future employers can Google you, right? Unintentionally hilarious.

Linke and Yee were told in no uncertain terms that their season 1 storyboard was shit, so they hired Overton, who hired half a dozen actual writers, and they did basically a full overhaul. The script was objectively much better. But this was Linke's baby, and several years later you still see signs that he is Big Mad that he didn't get his way, and that he doesn't know or care about what actually became season 1 canon. I'm sorry that your Jewish stereotype villain didn't get to be a pedophile, I guess? Idk. Yes, yes, I am sure your version of Svengali is really innovative. Maybe someday, buddy.

Meanwhile they start writing season 2 in early 2020, while the season 1 air date isn't until November of 2021. So, they don't have public feedback on the script yet, just, yanno, actual writing professionals. Anyway, according to Overton, they needed to fire the non-management part of the writing team because of the pandemic?! Lmao babygirl you do your best and I respect commitment to the official PR excuse but nobody sensible believes this. Netflix writers average 110k/year, and you needed six or so from season 1. That is not a big part of the overall budget. Also, y'all could have saved money with Zoom meetings.

So the very thing that saved the season 1 script got line-itemed "because of the pandemic". That sounds like an extremely convenient excuse for Linke to be like, no, fuck you all, we are going back to Plan A, the rough draft of season 2 based on his shitty version of season 1. Honey. That ship has sailed. You already lost this argument.

So presumably some combination of Linke/Yee/Riot/Netflix was like, it's important that we have at least one actual grown adult writer on staff. So Overton gets to keep her job.

Now, I want to preface this by saying that season 2 would have been even worse without Overton. That being said, there is a reason they needed a deeper bench of writing staff. Overton and Linke over-connect with the characters Caitlyn and Jayce respectively, to a degree that they frequently forgot to evaluate how other characters would likely behave in certain situations. It led to contrivances, plot holes, etc. There is a lot I could add here but tbh go read any of the meta already out there.

In addition to the Mary Sue type behavior, Overton thought it would be Neat to make the writing more like Avengers, like multiverse time travel fuckery is a shiny beach pebble and not narrative napalm. What in the ADHD was she thinking? Even if they had the run time to world build enough for this, there was nothing in season 1 to even suggest this as an option. And let's be fucking honest, multiverse a lot of why Marvel is on a downward spiral. If Viktor can go to Build-A-Bear Workshop and 3-D print a million Jayces, why should I give a shit about his kill count? He can just be kind, rewind, and try again. Actions are decoupled from consequences.

Anyway, moving back to the topic at hand of the Arcane team. Apparently, Overton, Linke and Yee only half-wrote season 2?! Linke said something about how they "extensively collaborated with Fortiche on the story"? Which, it's not inherently a bad idea to get creative feedback from your art team, but ummm, maybe the writers and Fortiche should have worked to a point of agreement on basic story beats. Based on a lot of what Fortiche has said, the art for season 2 passive aggressively advances what they wanted the writing to be against Linke's wishes. They literally have just been straight up disagreeing with Linke and getting paid for it. Which, to be fair, I respect the sheer pettiness! Linke can't write his own damn show but wants to slow down the very expensive art team? When the actual writers that got fired "because of the pandemic" would have caught a lot of the season 2 issues?

So post airing of season 2, Overton is all about that girlboss copaganda, Linke is having multiple public meltdowns and getting fired by Riot(?), and multiple voice actors and artists at Fortiche are being like "yeah, we actually wanted something else so there are now multiple competing narratives for season 2". Which is hilarious. The way in which the show is messy is the same way in which the creators are messy. These bitches are a cautionary tale about hubris and the need to engage in team-building.

(EDIT MARCH 11: the fired rumors seem to be old/inaccurate, see comments for details)

[delaware-lemme-smash]

Sfw and nsfw HCs Poly relationship of Bakugou and Kirishima with their female reader?

An explosive combination!

Characters: Bakugou Katsuki/DynaMight, Kirishima Eijirou/Red Riot

Contents: poly!relationship, feminine pet names, afab reader, nsfw, oral, biting,

Bakugou Katsuki/DynaMight & Kirishima Eijirou/Red Riot

SFW

I'm going to go ahead and give Kirishima the credit for getting this little throuple together, because there's no damn way it was Bakugou. He's too hot-headed and there are too many feelings involved in the whole thing for him to sit down and think it through. Especially if there's been some jealousy and some miscommunications in the run-up to The Discussion.

So it was basically you and Kirishima who approached Bakugou and suggested giving the whole polyamory thing a try.

For a few minutes he just squints at the two of you, trying to work out if he should be pissed off or not. You wanna date him and Kirishima. What the hell, are you trying to say he's not enough for you?! Wait, but doesn't this mean he gets what he wants and he doesn't have to watch Kirishima mope around like some kind of boulder puppy?

Once he's done working through the Five Stages of Whatever, he turns a wicked grin on you.

"You think you need two guys to keep you satisfied? We'll see about that. Don't you dare underestimate me!"

"Dude, chill, it's not a contest," Kirishima says, trying to calm him down.

"Yeah? Sounds like loser talk to me."

And that was how your relationship started.

Given their busy schedules as Pro Heroes, it's likely you all live together to split the household chores and just to get an opportunity to see each other between missions and patrols. Bakugou had the nicest, largest place (and probably Kirishima already as a roommate), so it made sense for you to all move into his apartment. Something he bitched uproariously about, even though he knew it was logical and he actually wanted it too. Being pissy is like a reflex for him.

You got a nice big bed for the three of you. Bakugou rigidly enforces "his side", even if he's out on a night patrol. He grouches that your big head has deflated his pillow if you slept on his side. (And proceeds to shove his face in said pillow the next time he sleeps, 'cause it smells like you now.) You don't get a "side" per se, because your place is in the middle, the filling in the muscle sandwich.

Kirishima's the biggest cuddler, but don't let Bakugou convince you he's not almost as bad. He is, and he'll get moody if you point it out. Let him keep his delusions.

Kirishima wants you to wear his clothes. Those cute sleep sets you keep buying? Mysteriously disappeared (hidden in the linen closet). In their place? A bunch of oversized, faded Crimson Riot or "manly" t-shirts for you to wear to bed. Bakugou might get in on the action and chuck in some of his skull or Deep Dope shirts. Take the hint.

Bakugou's standard of cleanliness is higher than yours or Kirishima's. He's not the type to set up a cleaning rota and shifts though (Iida-like behaviour). He just blows a fuse and attacks it all at once. You'll come home to a spotless apartment and a fuming Bakugou in the kitchen, scrubbing the dishes. Picture Explosion Murder God: DynaMight in a pair of yellow rubber gloves.

He has different reactions to mess for you or Kirishima. If he finds Kirishima's socks on the bedroom floor, he'll ball them up and toss them as his friend's head. "Pick up after yourself, rockbrain." If they're yours, he'll still throw them at Kirishima's head, but address you instead: "Don't be so fucking lazy, babe."

I'd say all of you are fairly decent in the cooking department, but Bakugou's irrepressible competitive streak always gives him the edge. The stuff he cooks always looks the best, but he leans into his spices a little too much. A little too hot saucy. Kirishima can only really do basic stuff, but he knows all the good takeout places in the city—Fatgum showed him.

Movie nights are usually action movies. Wanna watch something different for once? Yell louder than the boys.

When it comes to gifts, Kirishima's are the cute and heartfelt, whereas Bakugou's tend to be cool, flashy, and expensive.

There's fitness equipment cluttering up what used to be Kirishima's room, and loads of tubs of whey protein and bulking powder in the kitchen. The guys are fitness freaks.

You're definitely a little spoiled. You just have to even vaguely move in the direction of the couch and there'll be someone grabbing your hips, pulling you down into their lap. It's a rare occasion when you sit on an actual chair.

NSFW

Oh, boy.

Let's begin by stating that, yes, your sex life is off-the-charts amazing. Bakugou and Kirishima are both young, strong, red-blooded guys with big personalities and dangerous jobs. There's a lot of testosterone, a lot of adrenaline, and a lot of man to go around. Their libidos are insane.

At the start of the relationship, sex tends to be a one-on-one kind of thing. You and Bakugou. You and Kirishima. But one thing led to another, and... Well, actually, Bakugou heard all those cute little noises Kirishima was drawing out of you in the bedroom, and he didn't feel like sitting in the living room playing video games anymore. Bakugou stalked into the bedroom, stripping off his shirt and growling that he wasn't gonna sit there like a cuck. It tends to be a group activity now.

You get groped. A lot.

As aforementioned, you'll be sitting on Bakugou or Kirishima's lap, and their hand will slide up to get a soft handful of titty, massaging it lightly through the fabric of your shirt. Bakugou in particular likes to slide one of his hands into your panties and just let it rest there, his calloused fingertip playing idly with your clit while he's watching a movie or an All Might documentary. When you start squeaking, it's time to hit pause, toss you over his shoulder, and take you to the bedroom, Kirishima whistling casually as he follows.

Trying to get from the bathroom to the bedroom after a shower is like running a gauntlet. When you're warm and dewy and smelling all fruity, it's like catnip to your boyfriends. You dodge Bakugou's casual swipe from the couch, gripping your towel as you almost make it to the bedroom. Only for Kirishima to block the doorway, grinning like a shark.

"Heeey, babe. Goin' somewhere?"

When you step back, you bump up against Bakugou's chest, who has silently crept up behind you. Great, now you're gonna need another shower by the time they're done.

Kirishima likes to bite. He's extra careful 'cause of his sharp teeth, but he likes to leave imprints on the fat of your inner thighs, biting down just enough to give you an exciting little pinch.

Bakugou's big on oral. He likes clamping your thighs around his head, his pulse racing in his ears while he lashes your clit with his tongue, sucking aggressively. He makes a lot of aggressive grunts and growls when he goes down on you, sounding like he's actually hungry. He doesn't stop until you're slippery wet after a couple orgasms, and he emerges wild-eyed, panting, his mouth and chin dripping with you.

Kirishima's a bit more versatile in bed. He can do the fun, loud sex that has you bouncing on the mattress, or the slow, intense, romantic sex where you're staring into each other's eyes.

Bakugou fucks. He bends you like a pretzel, hitting it hard and deep, his hands curled into fists either side of your head so he doesn't accidentally set off any explosions. Sex with him is hot, hard, sweaty, and primal. He's the one that gets you screaming (along with the ensuing noise complaints), biting, and clawing. He wears your nail drag marks with smug pride.

I hope you guys got that bed on a warranty, because their competitive streak follows you into the bedroom too. They keep a tally of who made you come and how many times before you tap out.