#but there are other characters. and other plots and relationships and arcs that have nothing to do with her

[twilightofthesandwiches]

Right from the start, Deltarune has established itself as a “Game Where Choices Don’t Matter”. Only having one ending has been core to its narrative and theming since day one. But it’s important to remember that it’s a concept that Deltarune has explored through several different ways, with two broad ‘main’ angles.

First there is the obvious way. That “Your Choices Don’t Matter” feels restrictive, oppressive, foreboding. The railroading that makes everything ‘safe’ in a way that feels just slightly insincere, the idea that making a real change in this world is impossible, the Darkners doomed to their Purpose to 'serve' the Lightners, the Prophecy that cannot be changed.

It's about the feeling of powerlessness, a lack of control. It's kinda creepy even when you're forced into a 'good ending' (like the Card Castle Darkners joining Castle Town even if you've been nothing but an absolute menace to them), but especially so if you're marching towards some inevitable and terrible fate.

But on the other hand of that spectrum, there is the matter of Player Agency versus Character Agency. Sometimes in Deltarune, your Choices Don't Matter not because the Choice was taken away from you by some Great Unseen Force - but because you, the Player, are the Great Unseen Force and the characters are asserting their Agency against you.

The general point here is that the Player's Choice often stands at odds with the narrative agency of the characters. Ralsei is the most accommodating member of the main cast and the one most likely to ask Kris (or rather the Player) what to do, and… he's also unhealthily selfless doormat who literally does not believe he's allowed to have opinions of his own and is the most fatalistic about the Prophecy. The biggest example of actual Player Choice in the game so far is the Weird Route, which requires tearing away the agency of both Noelle and Kris until they are tools for the Player.

Kris themself is also a factor in this. Being Literally Possessed means that they're really the perfect example of lacking in freedom and lacking in choices… And when they are asserting their own Agency, it's usually by taking away a 'Choice' from the Player. They often try and rebel, resist or wise-ass their way out of doing or saying something that they don't truly want to say or do.

And their most important moments are, of course, the ones they do of their own will.

It is all 'railroading' from an out-of-universe perspective because it is just the Game stopping you from doing things that will cause the narrative of the story to diverge too much, but within the fiction that the game created, it is a bold act of free will.

The characters' relationships and arcs are 'set on a path' and unchanging because they are dependent on the characters' personalities and experiences and their choices, and there's very little the Player can do to override that. Like, being discouraging towards Ralsei's character arc in Chapter 4 is a huge dick move on the part of the Player, but I doubt it will actually stop him from his path to growth. Because with Susie's support (and Kris' attempt to also support him despite our Choices)

his development is not in our hands.

Basically the one time the Player can meaningfully affect another character's arc and relationship… is Noelle in the Weird Route. And again, this is portrayed as a very dark act of manipulation that robs her and Kris of their genuine choices and will.

And nowhere is this concept more clear than with Susie. The most rebellious character in the entire cast, the one most likely to chafe against the railroady nature of the world and the inevitability of the Prophecy and also against the Player. A lot of the plot in this game has been the same, regardless of our choices, regardless of the Weird Route… because Susie's will and choices has been such an overwhelming leading force in the narrative, that the Player can do very little to change it.

We know Deltarune only has one ending, but I don't think that means we are doomed to get whatever terrible fate has been promised in the Prophecy. I think maybe there's only one ending because there's hardly any Choice a Player can make that will slow down Susie's unbreakable, unwavering, unchangeable fate-defying spirit, we will not be able to Choose to hinder her sheer Determination to break the Prophecy and give herself and all of her friends a happy ending. Susie herself is the real inevitability in Deltarune.

At least, that's the best we can hope for.

[timblriche]

Hear me out...

I think the reason some people are nervous about Byler not happening in S5—that the Duffers cater to the majority-straight GA and thus they wouldn't write something the GA wouldn’t anticipate—is actually exactly why they would want to write that twist that Will's love for Mike is requited. It'd reframe Mike and Will's already-intense relationship into a perfect romantic slow burn full of dramatic revelations and emotional payoff. The Duffers loooove that shit. They literally wouldn’t be able to RESIST delivering something that’s both that juicy and also perfectly set up. It would make waves and they know it. Plus, it was their final season, so they had nothing to lose bc renewal pressure didn't infringe on their creative freedom like it would've for every season prior. It makes sense they'd wanna wait til S5 to pull off this kind of twist.

That twist would also completely re-contextualize Mike’s out of character weirdo behavior in seasons 3 and 4 that the GA pretty much unanimously clocked and hated even if they didn't clock the queer subtext driving it. It would totally redeem the Duffers’ alleged 'bad writing' of later-season Mike by making it clear that those writing choices for him were actually part of a very carefully and intentionally crafted character arc that was confusing and red flaggy at the time but makes total sense in hindsight.

They wouldn't want it to be obvious to the GA at all, bc then it wouldn't be a good twist, they'd wanna be moving in silence... However, they'd still want all the clues and breadcrumbs (aka queer subtext lmao) to check out and hold up upon a series rewatch. Which totally would, given how intentionally all of that groundwork has been laid across 4 seasons (look no further than the thousands upon thousands of intelligent, logical, well-researched, in-depth write-ups and videos analyzing it all! it's not just a random ship, there's a significant amount of genuinely compelling evidence). The twist is only obvious to queer viewers bc they can watch the show without missing these gay af breadcrumbs that go over most of the GA's heads bc they're still blinded by their heteronormativity goggles. In other words, GA doesn't have Gay True Sight so they won't see this twist coming till Mike literally kisses Will on the mouth, but it takes a LOT less than that for a GA to immediately suspect a romance plot-line between two straight characters (something the Duffers already subverted with Robin and Steve in S3). The Duffers get to write the easiest fucking plot twist ever purely thanks to heteronormativity lol.

And anyway that’s exactly what makes it such an effective twist: not that it comes out of nowhere, but that it feels like a revelation only in hindsight bc the groundwork had already been laid. Here's an interview quote from Ross Duffer about writing good plot twists that convinced me Byler was planned to be a very intentional twist for the GA:

Interviewer: That was quite a twist, by the way. How hard was it to pull off?

Ross Duffer: Doing a twist is nerve wracking because just to … We talked about it a lot in the writer’s room and the best twists are ones that you go, “Oh, I should have seen that coming.” As opposed to the twists that go, “Oh, well that just came out of nowhere.” So, “Oh, I missed these clues along the way.” But you get nervous when you’re writing it because you go, “Well, to me it seems obvious that Henry, as a young child, doesn’t die. Why does he not die from Vecna?” And you’re just hoping that those little breadcrumbs that you’re leaving along the way aren’t so obvious that everyone starts to guess it.

some of my favorite byler moments that erase my doubt + a random thing thats make me question byler endgame

i wanted to come on here and share some of my favorite byler moments that make really all my doubt go away about them being endgame. i also want to share something that somewhat makes me doubt byler endgame, just to hear yalls thoughts on it.

3 moments that take away my byler endgame doubt:

☆mikes inability to hug will at the airport☆

this scene screams “i’ve thought way too much about how i feel about my best friend and i don’t wanna make it even more weird.” we’ve seen mike be affectionate with will before (especially in s2), and even with dustin in s4. so why couldn’t he just give will a real hug? will literally has his arms out. he’s ready. and mike just… gives him that awkward one-armed back pat? some people say “maybe mike knows will likes him and doesn’t want to lead him on.” okay, but mike doesn’t know will is gay. he doesn’t. and if he was worried about leading him on, then why is he being so soft and flirty in both bedroom scenes later? it doesn’t add up. the hug hesitation makes way more sense if mike’s trying to suppress feelings he doesn’t fully understand or isn’t ready to admit.

☆“you never say it” vs. “you didn’t have to” ☆

yeah, obviously. this was what convinced me personally to start shipping byler. because what clearer of a parallel do you need? watching mike and el’s fight scene vs. mike and wills bedroom scene is just pure perfection. we clearly see that mike struggles with affirming el’s needs, because he isn’t verbally able to say what she needs him to say. they struggle with communication in that way. in mike and wills scene, we honestly see the complete opposite. even without will saying anything to mike about how he was acting, mike still understood and didn’t even need him to say anything. there’s a mutual understanding between the two of them that el and mike don’t have. you all know this, idk why im explaining this lmao.

☆mikes reaction to el kissing him in season 3 finale☆

this one hit me hard. so let’s break this down: the girl he’s supposedly been obsessed with all summer kisses him, tells him she loves him too, and his reaction is… to keep his eyes wide open during the kiss and say nothing back? even though he knows she’s about to move across the country? and then when she walks away, the look on his face is just… not what you’d expect from someone who's finally “gotten the girl.” it’s not happy. it’s confused. and it’s not just the kiss, the whole final montage feels off. mike’s standing in front of a closet when she kisses him. el is literally holding will’s bear while they kiss. symbolically, it’s like will is between them. it doesn’t feel triumphant or romantic — it feels heavy and unresolved.

and now here’s a minor thing that kind of makes me doubt sometimes:

☆the duffer brothers having to cater to the GA. ☆

i 100% believe byler should be canon- and honestly, it would be queerbaiting if it doesn’t happen. but i have to admit, a lot of the GA don’t pick up on the subtle queer coding around mike wheeler’s character. i’m saying this from a somewhat biased perspective, based on what my own family and peers (who are very much part of the GA) have said about how they interpreted season 4. most of them picked up on the fact that will is in love with mike, and that he lied about the painting- which, great! that part wasn’t exactly subtle. but when it comes to mike, most of them interpreted his love confession to el as totally sincere, and a big turning point in their relationship. a lot of them say stuff like, “it’s sweet that will loves mike, but mike’s never shown interest back, so it wouldn’t make sense for byler to happen in season 5.” now obviously, we don’t agree with that- we’ve seen the deeper queer coding in mike’s behavior, his hesitations, his repression, the emotional weight of his moments with will. but the GA tends to take things at face value, and i can unfortunately see the duffer brothers trying to cater to them by going for an ending that feels “safe” or “clear” to the widest audience possible. and that would honestly really suck. i don’t want to believe they’d do that, but at the same time, i wouldn’t be shocked if they did.

[langfield]

every time i see a review of double exposure that harps on max’s and chloe’s characters only to then repeat the same criticism everyone and their mother has already said without actually elaborating upon the praise they do want to give de and without talking about any of the new plots, characters, or themes in depth i sigh a little. where’s some damn newness

[sskk-manifesto]

ಥ‿ಥ

[thewriteadviceforwriters]

🧪 Character Arcs 101: what they are, what they aren’t, and how to make them hurt

by rin t. (resident chaos scribe of thewriteadviceforwriters)

Okay so here’s the thing. You can give me all the pretty pinterest moodboards and soft trauma playlists in the world, but if your character doesn’t change, I will send them back to the factory.

Let’s talk about character arcs. Not vibes. Not tragic backstory flavoring. Actual. Arcs. (It hurts but we’ll get through it together.)

─────── ✦ ───────

💡 what a character arc IS:

a transformational journey (keyword: transformation)

the internal response to external pressure (aka plot consequences)

a shift in worldview, behavior, belief, self-concept

the emotional architecture of your story

the reason we care

💥 what a character arc is NOT:

a sad monologue halfway through act 2

a single cool scene where they yell or cry

a moral they magically learn by the end

a “development” label slapped on a flatline

─────── ✦ ───────

✨ THE 3 BASIC FLAVORS OF ARC (and how to emotionally damage your characters accordingly):

Positive Arc They start with a flaw, false belief, or fear that limits them. Through the events of the story (and many Ls), they confront that internal lie, grow, and emerge changed. Hurt factor: Drag them through the mud. Make them fight to believe in themselves. Break their trust, make them doubt. Let them earn their ending.

Negative Arc They begin whole(ish) and devolve. They fail to overcome their flaw or false belief. This arc ends in ruin, corruption, or defeat. Hurt factor: Let them almost have a chance. Build hope. Then show how they sabotage it, or how the world takes it anyway. Twist the knife.

Flat/Static Arc They don’t change, but the world around them does. They hold onto a core truth, and it’s their constancy that drives change in others. Think: mentor, revolutionary, or truth-teller type. Hurt factor: Make the world push back. Make their values cost them something. The tension comes from holding steady in chaos.

─────── ✦ ───────

🎯 how to build an arc that actually HITS (no ✨soft lessons✨, just internal structure):

Lie they believe: What false thing do they think about themselves or the world? (“I’m unlovable.” “Power = safety.” “I’m only valuable if I’m useful.”)

Want vs. need: What do they think they want? What do they actually need to grow?

Wound/backstory scar: What made them like this? You don’t need a tragic past™ but you do need cause and effect.

Turning point: What moment forces them to question their worldview? What event cracks the surface?

Moment of choice: Do they change? Or not? What decision seals their arc?

🧪 Pro tip: this is not a worksheet. This is scaffolding. The arc lives in the story, not just your doc notes. The lie isn’t revealed in a monologue, it’s felt through consequences, relationships, mistakes.

─────── ✦ ───────

🛠️ things to actually do with this:

Write scenes where the character’s flaw messes things up. Like, they lose something. A person. A plan. Their cool. Make the flaw hurt.

Track their beliefs like a timeline. How do they start? What chips away at it? When does the shift stick?

Use relationships as arc mirrors. Who challenges them? Enables them? Forces reflection? Internal change is almost never solo.

Revisit the lie. Circle back to it at least three times in escalating intensity. Reminder > confrontation > transformation.

─────── ✦ ───────

🌊 bonus pain level: REVERSE THE ARC

Wanna make it really hurt? Set them up for one arc, and give them the opposite. They think they’re growing into a better person. But actually, they’re losing themselves. They think they’re spiraling. But they’re really healing. Let them be surprised. Let the reader be surprised.

─────── ✦ ───────

TL;DR: If your plot is a skeleton, your character arc is the nervous system.

The change is the thing. Don’t just dress it up in trauma. Don’t let your character learn nothing. Make them face themselves. And yeah. Make it hurt a little. (Or a lot. I won’t stop you.)

—rin t. // thewriteadviceforwriters // plotting pain professionally since forever

P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages 👀 you can grab it here for FREE:

[waywardsalt]

:3

[jungkoode]

𝐅𝐔𝐂𝐊 𝐌𝐄 𝐔𝐏 | 21

˗ˏˋ birthday shots ˎˊ˗

"Jungkook’s friends, Jungkook’s birthday party… It’s all honestly not what you expected. But then again, Jungkook keeps twisting your expectations of him, once and once again."

next | index

⋆｡°✩ chapter details ✩°｡⋆

word count: 8,4k

content: jungkook having friends, feeling out of place, pretty girls, judgemental people, tae/hobi/jk protecting the peace, shared secrets, nicknames gaining an intimate layer, stubbornness with spicy food, drinking, doing shots and jungkook being both attentive and protective.

✧ author's note ✧

Aaaand we’re finally here. The party. The build-up. The chaos potential. The birthday. After 20 chapters of yearning, character dissection, awkward eye contact, and conversations that say everything and nothing at the same time… we are officially entering the next arc: actual real-world social interaction. Which, if you’ve been paying attention, is every character’s personal hell. Including mine.

First of all—yes, this is Jungkook’s party chapter. Yes, it’s a pivotal one. Yes, I was pacing around my flat in a hoodie muttering “okay but what would he wear” like a deranged method actor trying to get into character. And yes, there are about 15 new people here. But please don’t panic. You don’t need to memorize them all. This isn’t a fantasy war council. You’re not about to be quizzed on the name of Jungkook’s friend’s cousin’s dog. They’re not here to steal the plot—they’re here to color it.

Jungkook’s different social groups, clashing and blending like some unhinged Venn diagram of his life. They each say something about him and the many versions of himself he keeps—because, as always, this isn’t about the party. It’s about him and her, and us, and the very inconvenient reality of human attachment.

Now. Tessa (and yes, Toasty, when you read this… the name comes 100% from you hahaha).

Yup. That girl from the library. She’s here. She’s breathing. She’s talking. And she’s not a villain.

I know, I know, fanfiction is riddled with the evil-rival-love-interest trope. The girl who eyes you up and down with thinly veiled contempt. The passive aggressive bitch who “just happens” to sit on his lap or call him baby in front of you. The girl whose entire personality is “threat to the main couple.” And listen—I could never.

Tessa isn’t like that. Because most people aren’t like that. Attraction doesn’t automatically equal competition, and not every woman who talks to a man you like is an enemy. That’s such a tired, flat, boring cliche. I’m not writing this story to project misogynistic tropes onto women so we can feel smug about someone else being “the wrong one.” I don’t want you to root against her. I don’t want you to root against anyone, really. Maybe Mia, but that’s what she’s for. She’s your pressure valve. You need someone to hate. That’s what makes the rest bearable.

Tessa’s presence is not a betrayal. It’s just reality. Jungkook is allowed to be liked. He’s allowed to explore. And so is Nix. She’s not some pushover sainted martyr of “true love.” She’s a girl. She’s confused. She’s a little guarded. She’s still trying to understand herself.

There’s no jealousy because there is no claim. There’s no relationship, no commitment, no confessions, no secret “we’re basically already in love” subtext. There’s just this slow, painful, glacial slide into a kind of closeness that might one day become something else—but hasn’t. Not even close. This chapter is about a possible beginning of something resembling tentative friendship. We are barely out of enemies-to-mildly-tolerating-each-other zone. We are in the “do I text you or is that weird” era.

Don’t rush it. Don’t expect it. That’s not the story I’m telling.

Nix being unbothered isn’t character growth. It’s just honesty. It’s consistency. I’ve spent 20 chapters building a girl who’s emotionally guarded, private, and painfully aware of the dynamics she allows herself to engage in. She’s not “cool with it” to be cool—she’s just not invested like that yet. And that matters. We’re not jumping stages for drama. We’re walking, slowly, through the psychology of two people who don’t even know what they want. Let them be confused. Let them be messy. Let them take their time.

I’m writing slow burn with psychological realism at its core, and that means actions have context. If you came here expecting love confessions and possessive meltdowns and “he’s mine stay away” drama… wrong story, babes. I want you uncomfortable. I want you squinting at every interaction wondering if it means something. I want you to question how affection develops, really. Slowly. Subtly. Almost invisibly, until it’s all you can think about.

The story isn’t about dramatic betrayals or Big Plot Twists. It’s about tension. About two people orbiting each other in their own broken, stumbling ways. It’s about glances that last too long and words that don’t come out right and the way your heart knows something long before your brain does. It’s about patterns, and Jungkook’s are catching up to him.

You don’t need to like everyone. But you should understand them. And that’s what I’m asking of you here. Because these characters aren’t plot devices—they’re real to me. They’re studies. They’re messy. And god, I love them for it.

So yeah. Welcome to the party. The masks are on, the music’s loud, and no one knows how to behave when they’re being watched. Especially him.

Enjoy. Suffer. Stare at the page like you’re decoding a sacred text. That’s the vibe.

And as always…

You’re here to suffer. I’m here to deliver.

You’re welcome.

⋆｡°✩ read on✩°｡⋆

ao3

wattpad

You never realized a person could contain so many versions of themselves until you saw Jungkook surrounded by his friends.

"SURPRISE!"

The word explodes through the small ramen shop, followed by cheers and laughter as Jungkook freezes beside you. 

His fingers quickly pocket his phone, eyes widening with a genuine shock that transforms his entire face. 

Gone is the perpetually amused, slightly condescending roommate you've come to know. In his place stands someone younger, almost innocent—lips parting in stunned delight, eyes crinkling at the corners.

It's fucking weird is what it is.

"Holy shit," he breathes, a laugh bursting from him as Taehyung launches himself across the restaurant, wrapping Jungkook in a hug that nearly knocks him over. "What the fuck?"

Hobi follows immediately, bouncing on his feet like an overgrown puppy before throwing his arms around both of them, turning the duo into a chaotic tangle of limbs and laughter. 

Even Yoongi gets up, offering a slow clap before joining with a more restrained but no less genuine embrace—the kind with back pats that guys do when they want to prove they have exactly two emotions: hungry and sports.

You hang back, suddenly aware of how many strangers are packed into this place. 

The restaurant is full of people—at least a dozen beyond the ones you recognize—all focused on Jungkook with varying degrees of excitement. Some are already raising drinks in toast, others taking photos, a couple shouting things you can't quite make out over the general chaos.

"P-Kill! Happy birthday, man!"

"Proofs! You made it!"

"Proofy, get over here!"

What the actual fuck are these names? 

You frown, trying to connect these bizarre nicknames to the Jungkook you know—the one who leaves his dirty dishes in the sink and plays his music too loud and once tried to convince you that Kraft mac and cheese was "technically gourmet."

None of this computes.

Jungkook catches your confusion as he disentangles himself from his friends, eyes flicking toward you with that familiar half-smile that somehow feels like a private joke.

"Hey," he says, suddenly at your side again. His hand brushes your elbow briefly—not grabbing, just a light touch that seems oddly grounding in this chaos. "These are my friends. Guys, this is my roommate."

He says your name easily, no ‘Phoenix’ or ‘Nix’ in sight, and it's weirdly jarring—like hearing a song you know played in the wrong key. 

Not technically wrong, just... off.

The next few minutes are a blur of names and faces, most immediately forgotten as you try to keep track of who's who in this bizarre alternative universe where Jungkook is apparently the center of a large social circle. There's a group of guys—gamers, apparently—who keep calling him those weird nicknames.

"These three idiots," Jungkook explains, gesturing toward a trio of guys who look like they haven't seen sunlight in months, "are my Steam friends. My username is ProofedToKill, so that's where all the dumb nicknames come from."

Of course, that tracks. He's always yelling at the TV when he plays Call of Duty in the living room. You've had multiple arguments about it, usually ending with him putting on headphones and you turning up your music out of spite.

"Don't start," he warns, but there's no real edge to it. "I've already heard all your anti-shooters propaganda."

"It's not propaganda if it's true."

He rolls his eyes but doesn't take the bait, already being pulled toward another group by Taehyung. 

"Come on, there are more people you should meet."

You follow, because what else are you going to do? Stand alone by the door like some kind of abandoned pet? 

Besides, you're curious now. Curious about these other fragments of Jungkook's life that you've never been privy to before.

The space is packed, noisy in that way that forces everyone to talk slightly too loud. Sensory overload city. People keep touching Jungkook—hugs, shoulder claps, high fives—and he's letting them, which might be the weirdest part of all this. 

Since when does he like being touched by people who aren't naked?

"Jungkook!" a female voice exclaims, cutting through the noise. A tall girl with auburn hair moves toward him with the confident grace of someone who's never tripped over her own feet in public. "Happy birthday!"

She wraps him in a hug that makes you realize just how tall she is—like, almost his height tall—and beside her, another girl—smaller, with short black hair and glasses—offers a more reserved greeting.

"Hey Tessa, hey Diana," Jungkook says, looking genuinely pleased to see them. "Didn't think you'd be here!"

Tessa. 

The library girl. The one he was doing that group project thing with.  The one who kept laughing too loud whenever Jungkook said something that probably wasn't even that funny.

"Taehyung invited us," she explains, tucking a strand of hair behind her ear. "Hope that's okay."

"Of course it's okay," Jungkook says, and you hate how sincere he sounds. 

Where's the sarcastic asshole you live with? Who is this pod person?

"We brought you something," Diana says, holding out a small bag. "Just a little thing."

Jungkook accepts it with a thanks that sounds almost shy, and what the fuck? Since when is he shy about anything?

"Oh, this is my roommate," he adds, suddenly remembering your existence. 

He says your name again, and you force a smile because what else can you do in this bizarre social ritual?

"Nice to meet you," Tessa says with a warmth that feels genuine, which is almost worse than if she'd been fake. At least fake would make sense. "Jungkook's mentioned you before. You're in English Lit, right?"

He's talked about you? To her? 

What the fuck has he said?

"Yeah," you manage, because apparently your vocabulary has been reduced to monosyllables in the face of all this unexpected social interaction. "English major."

"That's amazing," she says, and she actually seems to mean it. "I'm in Film too, but I've always loved literature. What's your focus?"

Before you can answer—thank god, because you haven't prepared a thesis statement on your academic interests for a birthday party—Hobi appears with a tray of shots, announcing that it's time for the birthday boy to start celebrating properly.

So, of course, the whole crowd moves towards him, shots being thrown back easily. You find yourself suddenly on the outside of it, still standing with Tessa and Diana but no longer the focus of their attention.

It's a relief, honestly. 

You've never been good at this kind of thing—large groups, small talk, unfamiliar social dynamics. 

It's like being dropped into a play where everyone else knows the script and you're just… improvising. Kinda hoping you don't accidentally say the wrong line and reveal yourself as the impostor.

Your eyes wander around the restaurant, taking in the details you missed—it’s actually a cozy place, warm wood and soft lighting, with private booths along one wall and a long table down the center where most of Jungkook's friends have gathered. 

You can smell the sizzling of pans working through different ingredients—garlic, onion, ginger… But your eyes end up on Jungkook anyway.

He swallows down a shot, grimacing at the burn. 

Someone passes him another. 

Someone else claps him on the back. 

He's at the center of all this attention and he's... thriving in it. Laughing, talking.

It’s strange, seeing him like this. So carefree, so loud (although he’s always loud but this is a different kind of loud?)—so in his… element. 

You can’t help but feel out of place.

Because, truly. Do you even fit in here? Are you an element? Part of his element? Or whatever this is? 

This morning you were agonizing over whether you could be friends with the guy you've been fucking. 

Now you're standing in a room full of people who already are his friends, who've known him much longer than you have, who see a completely different side of him than the one you get.

It's... a lot.

You pull out your phone, needing something to do with your hands, but the screen stays dark. Okay. Dead. Fantastic.

"You okay?"

The voice at your elbow makes you jump. 

It's Jungkook, somehow back at your side despite the crowd still demanding his attention.

"Fine," you say automatically. "Just... observing."

His eyes scan your face, more perceptive than you'd like. "You look like you'd rather be literally anywhere else."

"Not true. I can think of at least three places that would be worse." You tick them off on your fingers. "The DMV. An insurance seminar. Dinner with my parents."

That gets a laugh out of him—a real one, one you seem to be getting out of him more and more often. 

“Fair enough. Come on, let me get you a drink. It'll help with..." 

He pauses, purses his lips as he tilts his head at you.

"With what, exactly?"

"The whole 'I'd rather eat glass than make small talk with strangers' vibe you're giving off."

"I'm not—" you start to protest, but he's already pulling you toward the bar, his hand warm against your lower back.

"It's fine, Phee," he says, the familiar nickname slipping out naturally now that you're momentarily separated from the crowd. "Not everyone's into the whole big social scene. You don't have to pretend."

You want to argue on principle—deny that he knows you that well, that he can read your discomfort so easily—but it would be pointless. 

He's right. 

You do hate this. 

And the fact that he noticed, that he came back to check on you instead of just leaving you to flounder on your own...

It's annoying. Or it should be. 

Instead, it feels weirdly considerate.

"I don't need a babysitter," you mutter as he flags down the bartender. "Go enjoy your party. I'm perfectly capable of standing in a corner judging people on my own."

"Maybe I'm enjoying my party more over here." 

He orders something you don't catch, then turns back to you with that half-smile that's somehow more familiar than the broad grin he's been flashing at everyone else.

“Besides, if I leave you alone too long, you might decide to ditch, and then who would I blame when I need an excuse to escape Hobi's karaoke demands?"

"Yoongi seems like a good scapegoat."

"Nah, Yoongi secretly loves karaoke. Just pretends to hate it so people will beg him. It's weird."

The bartender slides two glasses toward Jungkook—whiskey is one, by the look of it. 

The other one is… 

Vodka cranberry.

He remembers?

You lick your lips. Nervous suddenly. Maybe. Or not really. Just uncomfortable, because here it is again. Jungkook being attentive, doing these stupid kind things that completely shatter the reputation you have built for him in your head. 

"You really don't have to babysit me," you say again, but you take the drink anyway. "I'm fine."

His eyes search yours, more serious than usual. "I know you're fine. Maybe I just want to hang out with you."

Something shifts in your chest—a small, uncomfortable flutter. 

“Why? You have a dozen other people here who actually like you."

"Ouch." He presses a hand to his heart, mock wounded. "And here I thought we were making progress on the whole friendship thing."

"The jury's still out on that one."

"Uh-huh." He takes a sip of his whiskey, eyes never leaving yours. "Well, consider this evidence for the 'pro' column: I noticed you were uncomfortable and came to rescue you instead of letting you suffer in silence."

"Maybe I prefer suffering in silence."

"No one prefers suffering in silence, Nix. Some people just don't think they deserve better."

The way he says it makes something twirl uncomfortable inside your chest.

You take a large drink instead of responding, welcoming the burn as it slides down your throat.

“Make sure to finish that quickly. Get ready for the party games.”

"There are going to be party games?"

"That’s only the beginning."

"So," you say, swaying your glass slightly, watching the burgundy liquid catch the light, "ProofedToKill, huh? Didn't know I was living with such a badass."

"No? I thought you knew how badass I am.”

“You’re bad, and an ass. That doesn’t make you a badass. Different word.”

He laughs, low and warm, and you can’t help the smile that forms on your lips without conscious input.

"You know what it actually means?" he asks, leaning back against the wall. 

You raise an eyebrow. "That you're secretly a hitman with terrible grammar?"

"Hilarious." He rolls his eyes, but there's no real irritation behind it. "It's a baking term, actually."

"A what now?"

"Baking. You know, that thing people do with flour and heat instead of burning the place down.”

“If you bring up the candle incident one more time—”

He makes a zipping motion over his mouth, and your lips twitch with the effort of chuckling. 

“Wait, are you seriously telling me your super tough gamer name is about... baking?"

He sighs, looking down at his glass. "When you're making bread—sourdough specifically—there's this stage called 'proofing.’ It's when the dough rises, develops flavor. If you overproof it, it collapses. If you underproof, it's dense. But if you get it just right..."

"You've... proofed to kill?" you finish, unable to keep the disbelief from your voice.

"Exactly." He grins, clearly pleased that you've made the connection. "Perfect proofing. Killer bread. It's a whole thing."

You stare at him, genuinely speechless for perhaps the first time since you've known him. 

This man—this infuriating, cocky roommate who struts around like he owns every room he enters—has a gamer tag based on fucking bread-making. 

And he's admitting it. 

Voluntarily. 

"So let me get this straight," you say slowly. "Your badass online persona, the one all your friends call you by, is actually a baking pun?"

"In my defense, it's a really good pun. And most people assume it's about, you know, being good at shooting things. Which I also am." He shrugs, cockiness slipping back into place.

“You’re so weird,” you mutter, but you know he doesn’t take it seriously.

"Been doing it since college. The whole sourdough thing at midnight." He confesses, glancing around briefly, like he's checking to make sure no one else is listening, then lowers his voice. "My mom taught me. She had this whole recipe she'd developed over years, this perfect sourdough method. Made the best bread you've ever tasted."

Again that softness, almost reverence when he speaks about his mom. 

It always catches you off guard. You've never heard him talk like this before. Never heard him talk about his family at all, really.

"After she..." he continues, then stops himself, shaking his head slightly. "Anyway. I keep trying to recreate it. Haven't quite nailed it yet."

Neither of you speak for a couple of beats. His gaze is still fixed on his drink, and then he takes a sip, like his mind is somewhere else completely.

“Is that why you stress-bake at 3 AM? Trying to get the proof right?"

His eyes meet yours, surprised.

Maybe a little grateful for the redirect. 

“You’ve noticed?”

“I mean, I just went to the bathroom one night and saw you fighting the dough, so…”

He chuckles, gaze back on his glass. “Yeah. It's... meditative, I guess. Helps me think."

"Weird way to think, but okay."

"Says the person who reads the same depressing Kafka story fourteen times and calls it 'processing.'"

"It's a good story."

"It's about a guy turning into a giant bug."

"And it speaks to the alienation inherent in modern existence. Your point?"

He laughs again, shaking his head. "God, you're such a fucking English major."

"And you're a secret bread nerd. We all have our crosses to bear."

His smile shifts into something different—softer around the edges, almost vulnerable. "Don't tell anyone, okay? About the username thing. I have a reputation to maintain."

"What, you mean your friends don't know your tough gamer handle is actually about your sourdough obsession?"

"Only Yoongi knows. And now you." He drums his fingers on the glass once, twice. "That's enough oversharing on my part for the day, I think. Sooner or later it's going to have to be your turn, you know, Pyx?"

Great. A new variation of your nickname. Does he ever stop coming up with them?

"My turn for what?"

"Sharing something real." His eyes hold yours, steady. "Friendship goes both ways, Nix."

You scoff, ignoring the way your heart rate picks up slightly. "I share things."

"Like what? Your coffee order doesn't count."

"I told you about the IUD."

"That's medical, not personal."

"It's literally inside my body. How much more personal can it get?"

He sighs, but he makes it dramatic this time. "You know what I mean. Something that matters to you. Something real."

You do know. That's the problem. He's asking for exactly the kind of vulnerability you've spent years carefully avoiding. The kind that gives people ammunition, that creates expectations, that leads to disappointment when you inevitably fail to meet them.

But he just told you about his mom. About bread and baking and usernames that mean more than they appear to. He offered something real—small, maybe, but genuine.

And isn't that what this whole friendship experiment is supposed to be about?

You open your mouth, not entirely sure what's going to come out, when a crash from across the restaurant saves you. Hobi has somehow managed to knock over an entire tray of drinks, and the resulting chaos immediately draws everyone's attention, including Jungkook's.

"Shit," he mutters, already half-moving. "I should go help before he makes it worse."

"Go," you nod, equal parts relieved and strangely disappointed. "Your public needs you."

He hesitates, eyes still on yours. "We're not done with this conversation."

"Pretty sure we are."

"Pretty sure we're just getting started." He stands fully, but doesn't leave immediately. "Come join, okay? Whenever you’re ready.”

You watch him weave through the crowd toward the spill, already calling out something to Hobi that makes the other man laugh despite the mess. It's strange, seeing him like this—in his element, surrounded by people who know him in ways you don't.

ProofedToKill. A baking pun turned gamer tag. A piece of his mother he carries with him, encrypted in plain sight.

You take another sip of your vodka cranberry, wondering what else about Jungkook you've been missing all this time.

Eleven people crammed around a table is basically psychological warfare in restaurant form.

You're somehow stuck directly across from Jungkook, because apparently the universe has a shitty sense of humor. 

Next to him, Tessa has claimed her territory, her long legs perfectly positioned under the table while yours are already cramping from the weird angle. Of course.

At least you've got Yoongi on your left—a silent, grounding presence in the chaos. When you'd awkwardly hovered near his chair, he'd just grunted and shifted slightly to make room. 

In Yoongi-speak, that's practically a formal invitation with calligraphy and shit.

Diana sits on your other side, petite and prim, her small hands already arranging her napkin with quick movements. She keeps glancing at Tessa across the table with an expression you can't quite decipher—somewhere between admiration and mild disapproval.

The menu in Yoongi's hands looks worn and slightly sticky, but your stomach is basically staging a revolt after hours of nothing but ibuprofen and vodka. You lean over, scanning the options without asking permission because fuck it, you're hungry.

The spicy ramen section catches your eye immediately. 

Your stomach gives another impatient growl.

"I want those," you announce, pointing at the spiciest option on the menu.

Yoongi barely blinks. "Cool. I didn't ask."

You roll your eyes and lean back in your chair because, okay, whatever. Rude ass. Though honestly, there's something almost refreshing about his complete lack of social polish. 

At least you always know where you stand with him, which is approximately nowhere.

A movement across the table draws your attention. 

Jungkook's eyes have lifted from his own menu, catching yours with an intensity that feels weirdly intimate in the crowded space. His gaze flickers down again almost immediately, but not before you notice the corner of his mouth tilting upward.

What's he laughing about? Stupid. He's stupid.

"I kinda wanted the spicy ones too," he says, looking up again. "Maybe we can share?"

You squint at him suspiciously. "Huh? No. I want the bowl entirely for me."

Diana makes a soft sound beside you—half laugh, half disbelief. 

“I can't believe you can eat all that."

The words hang there for a moment while your brain processes the judgment packaged in her innocent-sounding comment. 

Did she just really—

"C'mon Diana," Tessa cuts in swiftly, laugh warm and genuine, "not everyone has a small stomach like you."

Diana scowls, her delicate features pinching together. "I just think that's a lot to eat."

"Bro, I could eat two bowls in one sitting," Jungkook says.

"Make that three," Taehyung adds from Jungkook's other side. "You're a fucking goblin, Kooks."

"Three? Amateur," one of the gamer guys—Steve? Sean?—chimes in from the end of the table. "Remember that time after the tournament when you ate four bowls of ramen and then threw up in my car?"

"That was food poisoning," Jungkook protests. "Totally different situation."

"Your face was poisoned."

"What does that even mean?"

"Your face... poisoned... my eyes," the guy finishes lamely, clearly losing his train of thought.

"Ten points from Slytherin for that weak-ass comeback," Hobi declares, raising his beer like a wizard's wand. "Jungkook requires better trash talk in his honor."

"Oh shit, we're using Hogwarts points now?" another one asks. "When did we switch systems?"

"Since I just decided, and I'm the dungeon master."

"That's D&D, you uncultured swine," Taehyung sighs, long-suffering. "Completely different franchise."

"Whatever, they're all just wizard nerds," Hobi says with a dismissive wave.

"That's wizard king to you, peasant," Jungkook corrects, puffing out his chest.

“Do you all... actually play these games?" Diana asks, voice faintly disdainful.

"Only when we're not busy with our super cool and important adult lives," Taehyung says, deadpan.

"I just don't get the appeal," she sniffs. "Sitting inside all day, staring at screens—"

"Yo," Hobi cuts in smoothly, somehow managing to sound both friendly and firm at the same time, "different strokes for different folks. Some people climb mountains, some people slay digital dragons. Both valid." 

Diana shifts uncomfortably under his gaze. "I guess."

"Besides," you find yourself saying, "it's literally his birthday. Maybe, I don't know, let him enjoy things without the judgment?"

The words come out sharper than intended, surprising even you. 

Since when do you jump to Jungkook's defense? Since when do you care if someone judges his nerdy gaming habits?

Jungkook looks equally surprised, eyebrows raised slightly as he studies your face. Then his expression shifts into something softer, almost appreciative.

"Exactly. Today's about celebrating you," Tessa adds, turning to Jungkook with a warm smile. "And apparently your inhuman ability to consume ramen."

"It's my superpower," he says solemnly. "With great appetite comes great indigestion."

A ripple of laughter moves around the table, breaking the awkward moment. Diana still looks sulky, but at least she's dropped the subject.

The waiter appears then, ready to take orders, and the conversation splinters as everyone tries to decide what they want.

"You really getting the level five spicy?" Yoongi asks quietly while the others debate.

"Yeah. Why, think I can't handle it?"

He snorts. "Just checking if I need to order extra water for when you inevitably start crying."

"I do not cry from spicy food."

"Everyone cries from spicy food if it's actually spicy."

"Well, we'll see, won't we?"

He shrugs, a barely perceptible movement of one shoulder. "Your funeral."

"Comforting as always, Yoon."

The ghost of a smile flits across his face before he returns to his default expression of mild disinterest.

Across the table, Jungkook is in the middle of a heated debate with Taehyung about... something involving a game you've never heard of. His hands move animatedly as he talks, face lit with genuine enthusiasm. One of his friends keeps trying to interject, but Jungkook and Taehyung are in their own world, talking over each other and somehow still understanding perfectly.

He looks so unguarded.

So... normal. Like any other twenty-something guy arguing about video games with his friends.

Not that you care. It's just an observation.

"So you're Jungkook's roommate," Diana says, drawing your attention back to her. Her tone suggests this is somehow both surprising and slightly concerning.

"Yep." You keep it brief, hoping she'll take the hint and drop whatever line of questioning is forming behind those judgmental eyes.

No such luck.

"And how did that happen exactly? Through the university housing board?"

"Craigslist, actually."

Her eyebrows shoot up like you've just admitted to finding the apartment through a demonic summoning ritual. 

“Oh! Isn't that... dangerous?"

"Not really. The apartment was already Yoongi and Jungkook's. I just answered the ad for the third room."

"Still," she persists, "moving in with two guys you don't know. That's brave."

The way she says ‘brave’ makes it clear she means ‘stupid,’ but you're not in the mood to defend your housing choices to someone who probably thinks spicy ramen is too adventurous.

"Not really. Yoongi's background check was pretty thorough," you deadpan. "Only had to provide three references, a blood sample, and my complete genetic history."

Diana blinks, clearly unsure if you're joking.

"It's true," Yoongi confirms without looking up from his phone. "Her midichlorian count was acceptable."

"What’s… midichlorian?" Diana asks uncertainly.

"It’s a real scientific test," you say, keeping your expression perfectly serious. "Very exclusive."

She frowns, increasingly confused, and you feel a small, petty satisfaction at her discomfort.

"They're fucking with you," Taehyung calls from across the table, apparently tuned into your conversation despite seemingly being absorbed in his argument with Jungkook. "It's a Star Wars reference."

"Oh." Diana forces a laugh that doesn't reach her eyes. "Right."

"Ignore them," Tessa says kindly. "They operate on their own wavelength sometimes."

"Especially these two," Hobi adds, gesturing between Taehyung and Jungkook. "Like an old married couple, but with more shouting and fewer financial benefits."

"What do you mean fewer financial benefits?" Jungkook protests. "I've been carrying his broke ass in-game economy for years."

"That gold farm was my idea!"

"Your idea crashed the server and got us banned for a week!"

"Details," Taehyung waves dismissively. "The point is, I'm the brains of this operation."

"And I'm the beauty," Jungkook fires back, striking a pose that makes Hobi snort water through his nose.

It's all so... easy. The banter, the inside jokes, the casual way they navigate each other's personalities. They've clearly had years to develop this rhythm, to learn each other's edges and how to fit together despite them—or maybe because of them.

Something twists in your chest, sharp and unexpected. You busy yourself with your water glass, suddenly very interested in the condensation gathering along its sides.

The waiter returns with drinks, setting them around the table. You're grateful for the distraction, for something to do with your hands besides fidget awkwardly.

"Alright," Hobi declares once everyone has a drink, lifting his glass. "To the birthday boy! May your K/D ratio remain impressive and your hairline unreceded."

"Here's to another year of Jungkook being Jungkook," Taehyung adds, raising his own glass. "God help us all."

"To Kooks," Tessa says, her voice softer but no less sincere. "Happy birthday."

Glasses clink around the table, a chorus of echoed sentiments following. You lift your glass automatically, catching Jungkook's eye as you do. He's watching you, before he smiles—small and surprisingly genuine.

"Thanks for getting me here," he says quietly, just for you.

"Don't mention it," you reply, equally quiet. "Seriously. Don't. I'll deny everything."

His smile widens, and for a moment, it feels like you're back in that booth from earlier—just the two of you, everyone else fading to background noise.

Then Taehyung jostles his arm, demanding his opinion on something, and the moment breaks. 

You take a sip of your drink, trying to ignore the strange feeling that's settled in your chest.

It's probably just hunger. Or the vodka from earlier. 

Or the fact that you've been in this loud, crowded restaurant for what feels like hours now, surrounded by people you barely know, playing a role you're not quite sure how to perform.

Yeah. That's definitely it.

The server arrives with a ridiculous number of bowls balanced along his arms like some kind of food-based Cirque du Soleil performer. Steam rises from each one, carrying scents that make your stomach growl with embarrassing volume.

A massive, angry-looking bowl lands in front of you, the broth practically glowing red. It looks like someone liquefied the sun and threw in some noodles as an afterthought.

Perfect.

Two bowls slide in front of Jungkook—your spicy demon soup's twin and something much more reasonable looking, probably miso based on the color.

"Hungry much?" you ask, eyeing his double order.

"Growing boy," he shrugs, already reaching for chopsticks.

Taehyung, meanwhile, receives... a plate of curry rice? 

"Seriously?" You can't help the judgment that leaks into your voice. "We're at a ramen place and you ordered curry?"

He shoots you a look that could curdle milk. "Some of us have taste beyond 'hot noodle soup.'"

"Some of us aren't afraid of flavor, dickasso."

"Bold words from someone currently holding weapons-grade capsaicin," he fires back, gesturing at your bowl. "Does your taste even function, or did you burn it all away with your sad little Hot Pockets diet?"

"At least I'm not too precious to eat what the restaurant specializes in."

“This is objectively superior."

"Only if your objective is being a pretentious dick."

"I prefer 'discerning connoisseur.'"

"You would."

You hate that banter with Taehyung is starting to become more and more comfortable. Like verbal sparring with someone who actually knows how to return a serve, instead of just standing there getting hit in the face with the ball. 

Not that you like him or anything. His whole vibe—artsy, too cool for school, judgmental as fuck—is objectively annoying.

But maybe also a little entertaining. 

In small doses. 

Very small.

Across the table, Hobi watches this exchange with undisguised amusement, head swiveling between you. 

"I feel like I'm witnessing the beginning of a beautiful friendship," he says, grinning widely. "Or a homicide. Hard to tell."

"Definitely homicide," Taehyung and you say in unison, then glare at each other for the coordination.

You turn your attention back to your ramen, inhaling the spicy steam before digging in. The first bite hits like a kick to the teeth—pain followed immediately by pleasure. 

It's fucking delicious despite feeling like you just licked the surface of the sun.

"Good?" Yoongi asks, watching your face with what might be the ghost of amusement.

"Incredible," you manage, already reaching for more.

Across the table, Jungkook dives into his own spicy bowl with enthusiasm, slurping noodles with zero concern for how it looks. A drop of broth escapes, clinging to his lower lip.

You're about to say something—point it out, make fun of his complete lack of eating etiquette, something—when Tessa reaches out, casual as anything, and swipes her thumb across his lip.

"Messy," she says, the word warm with affection.

He tilts his head toward her, smiling in a way that can only be described as flirtatious. 

“That's my brand."

You purse your lips, returning your attention to your own food. 

Whatever. Let him preen over a pretty girl paying attention to him. His loser ass probably never gets that chance.

Although... that's a lie and you know it. 

The guy is annoyingly good-looking and he knows it. He's probably used to girls fawning over him, cleaning his face like he's a toddler who can't be trusted with utensils.

"Whatcha looking at, Phee—" He cuts himself off abruptly, eyes widening slightly. "—asantly surprised by how spicy that ramen is? Your face is getting red."

Smooth recovery. Not.

"Just thinking about how long it's been since I've had decent ramen."

You grab your water glass, suddenly very aware of the burning sensation spreading across your tongue. 

It's fine. Totally manageable. Nothing to worry about.

"Knew it," Yoongi mutters beside you.

You set the glass down with more force than necessary. "It's not spicy."

"Uh-huh." He doesn't even bother looking up from his own bowl. "That's why your face is the same color as the broth."

"It's warm in here."

"Sure it is."

"I can handle spice."

"Never said you couldn't."

"You implied it."

He finally glances at you, expression as bored as ever. "I implied you're a liar, not a spice lightweight."

"I'm not—" Another wave of heat crashes through your mouth, cutting off your protest. "Fine. It's a little spicy."

The corner of his mouth twitches in what might be a smile on anyone else. "A little."

"Shut up and eat your boring miso."

Amazingly, he actually laughs—a short, quiet sound that's there and gone so quickly you almost think you imagined it. 

But no, that was definitely a laugh. From Yoongi. Directed at something you said.

Huh.

You return to your ramen, determined to finish it despite the way your sinuses are starting to protest. 

It's a matter of pride now. You said you could handle it, so you'll handle it, even if it kills you.

Which it might. But what a way to go.

You glance up, seeing how Jungkook and Tessa have their heads tilted toward each other, engaged in what looks like a very amusing conversation based on her laugh. She keeps touching his arm, casual little points of contact that seem to arrive at perfectly timed intervals.

She's good at this, you'll give her that. The whole flirting thing. Not too obvious, not too reserved. Just the right amount of interest without seeming desperate.

Huh. He might get laid tonight then. Not by you. 

Good for him. 

"You're staring again," Taehyung says, his voice pitched low enough that only you can hear. "Plotting his murder or just generally disapproving of his existence?"

"Just wondering how someone with the personality of a half-deflated balloon animal manages to function in society," you reply smoothly.

"Years of practice and an excellent support system." He gestures between himself and Hobi, who's busy trying to convince one of the gamer guys that yes, there is in fact sake in the sake bomb he just drank. "We've been managing his personality disorder since freshman year."

"Sounds exhausting."

"It is." His eyes drift to where Jungkook is now showing Tessa something on his phone, both of them laughing. "But he has his moments."

You turn your attention back to your food. Halfway through, you make the tactical error of taking a large bite just as Hobi says something particularly funny, causing you to inhale sharply—and sending a piece of chili directly into your windpipe.

Coughing. So much coughing. 

Your eyes water immediately, turning the table into a blurry mess of colors and shapes as you desperately reach for your water again.

"Easy there," Yoongi says, actually sounding a little concerned as he pushes your glass closer. "Small sips."

You manage to get the water down between coughs, the cool liquid offering minimal relief to your burning throat.

"You okay?" Jungkook asks, leaning across the table with a frown.

Great. Now everyone's looking at you. Perfect. Just what you wanted. All the attention.

"Fine," you rasp, waving a hand dismissively. "Went down the wrong pipe."

"Maybe you should try something less lethal," Diana suggests, eyeing your bowl with thinly veiled judgment. "Like the mild shoyu."

"I'm good with my life choices, thanks."

"Not all of them, I hope," Taehyung mutters, just loud enough for you to hear.

You kick him under the table, aiming for his shin but probably hitting the table leg instead based on his lack of reaction.

"If you die from ramen, I'm not cleaning out your room," Yoongi says matter-of-factly.

"Noted. I'll make sure to haunt you specifically."

"Bold of you to assume I'd notice the difference."

"What, between me alive and me as a ghost?"

"You already have a resting bitch face and make weird noises at night. How would I tell?"

You choke again, this time on your own surprise. 

"I do not make weird noises at night!"

"The walls are thin."

Heat creeps up your neck, and it has nothing to do with the spice level of your food. 

“I don't—that's not—"

"Relax. I meant the way you talk in your sleep."

Oh. That's... marginally less mortifying.

"I talk in my sleep?"

"Constantly."

"About what?"

He shrugs. "Mostly nonsense. Something about pencils last night. Very intense opinions on pencils."

"I don't have opinions about pencils," you protest. "Intense or otherwise."

"Tell that to your subconscious."

The conversation shifts as one of the gamers—Ryan? you think?—slams his empty sake cup on the table with more force than necessary.

"Yo!" he announces, loud enough to get everyone's attention. "We should do shots. Birthday shots for the birthday boy!"

A chorus of approval goes up around the table. Even Diana looks on board with this plan, probably because alcohol is the one thing that might loosen up whatever's holding her personality together.

"The birthday boy needs birthday shots," Hobi agrees, already signaling the waiter.

Taehyung groans. "Please tell me we're not doing that ridiculous 'one shot for each year' tradition. I'm not carrying his drunk ass home again."

"That was one time," Jungkook protests.

"One time too many. You kept trying to pet dogs that weren't there."

"I was seeing through the space-time continuum to where dogs would eventually be."

"You threw up in my shower."

"I cleaned it!"

"With my loofah!"

"I replaced it!"

"After I used it!"

You watch this exchange with growing amusement, the rapid-fire back-and-forth almost dizzying in its intensity. It's clear this is a well-worn argument, trotted out for entertainment value rather than actual grievance.

"Fine," Taehyung concedes dramatically. "Birthday shots. But I'm not responsible for any hallucinated canines or bathroom incidents."

"Deal," Jungkook grins, then turns to Tessa. "You in?"

She laughs, tucking a strand of hair behind her ear. "I should probably pace myself. Early class tomorrow."

"Responsible," he nods, mock serious. "I respect that."

"Unlike some people," Taehyung mutters, glancing pointedly at Jungkook.

"It's my birthday. I'm legally exempt from responsibility for twenty-four hours."

"That's not a law."

"It's the law of birthdays, Tae. Everyone knows this."

Ryan—definitely Ryan—flags down the server successfully this time, ordering a round of shots for the table. 

“Even for the responsible ones," he insists when Tessa tries to decline. "Just one. For Proofs."

She relents with a smile, rolling her stupid pretty eyes. 

"You too, Miss Spicy Ramen," Ryan says, nodding toward you. "Unless you can't handle your liquor either."

Is that a challenge? It sounds like a challenge.

"I can handle my liquor just fine," you say.

“Debatable,” Jungkook mutters, the menace.

"Oh, fighting words," Hobi laughs, clapping his hands together. "I sense a story here."

"There's no story," Jungkook says quickly.

"I think we've found the first drinking game of the night," Hobi declares. "Most embarrassing Jungkook stories. Winner gets... I don't know, bragging rights and my eternal respect."

"That's not fair," Jungkook protests. "I'm the birthday boy. I should be exempt from humiliation."

"Birthday boy gets birthday roast," Taehyung counters. 

Even Yoongi cracks a smile at that, which might be the most shocking development of the evening so far.

Five shots in and the room has developed that particular tilt that makes everything both sharper and blurrier at the same time.

"Next round!" Seth announces, grinning as he surveys the damage he's caused. 

Seth, as you've learned through increasingly slurred introductions, is one of Jungkook's film school friends—tall, blonde, and way too enthusiastic about drinking games for someone his size. 

"Embarrassing stories! Laugh and you drink!"

Groans mixed with cheers ripple around the table, which has somehow gotten messier and louder with each passing shot. Empty glasses create a small army between plates. Someone knocked over the soy sauce earlier, and no one's bothered to clean it up.

"Oh, oh, OH!" Taehyung practically bounces in his seat, raising his hand like an overeager student. "I have one."

"This'll be good," Yoongi mutters beside you, the most he's spoken in twenty minutes.

Taehyung clears his throat dramatically. "Picture this: Eighth grade. School talent show."

"No," Jungkook groans, head dropping into his hands. "Not that one."

"Yes, that one." Taehyung's grin is borderline evil. "Our boy Kooks here decides he's going to impress Minah Park with a dance routine."

"I'm begging you," Jungkook says, voice muffled through his fingers.

"To what song, you ask?" Taehyung continues, undeterred. "None other than 'Milkshake' by Kelis."

Ryan lets out a bark of laughter, immediately reaching for his shot.

"Oh my god," Diana whispers, eyes wide.

"Did he know what the song was about?" Tessa asks, already giggling.

"That's the best part," Taehyung says, pausing for dramatic effect. "He thought it was literally about making good milkshakes. His mom helped him with the routine."

The table erupts. Even Yoongi snorts, reaching for his shot glass with resigned dignity. You're trying—genuinely trying—to hold it in, pressing your lips together, but then you make the mistake of looking at Jungkook's mortified expression and it's over. Laughter spills out, and you grab your shot, tossing it back with a wince.

"His mom found out what it meant halfway through the performance," Taehyung continues, wiping tears from his eyes. "Her face—I wish smartphones existed back then."

"I hate you," Jungkook mutters, but there's no heat behind it. "So much."

"Did Minah like it at least?" Hobi asks, still chuckling.

"She transferred schools the next week," Taehyung says solemnly. "Unrelated reasons, allegedly."

Another round of laughter, another round of shots.

"My turn," Hobi declares once the chaos subsides. "Let me tell you about the first time I met this guy."

"Which version are you telling?" Jungkook asks warily.

"The true one," Hobi says with a wink. "Picture it: 2021. Dance studio on 8th. This scrawny kid walks in, says he needs to film a project for his class."

"I wasn't scrawny," Jungkook protests.

"You were a twig with hair," Hobi dismisses. "Anyway, he sets up his equipment, very professional, very serious. Then my advanced hip-hop class starts, and halfway through, he abandons his camera to try and join in."

"Oh no," Tessa whispers, delighted.

"Oh yes," Hobi confirms. "He jumps in, full confidence, absolutely sure he can keep up. Two eight-counts later, he slips, takes out my star student, and they both crash into the mirror."

"It didn't break!" Jungkook interjects.

"It cracked," Hobi corrects. "Still there. I call it the Jungkook Memorial Spiderweb."

You laugh despite yourself, drinking quickly to hide your smile when Jungkook shoots you a betrayed look.

"What about you, Yoongi?" Seth asks, refilling glasses with alarming efficiency. "How'd you meet the birthday boy?"

Yoongi regards the question like it's asked him to explain quantum physics. 

“Music production seminar. He needed help with a film score." He shrugs. "He wasn't completely terrible."

"From Yoongi, that's basically a marriage proposal," Hobi stage-whispers.

"Wow, such a beautiful story," you deadpan. "So moving. So detailed."

Yoongi raises an eyebrow. “Not all of us need a thousand words to make a point."

"Clearly." You snort, then immediately regret it when the room spins slightly. 

"What about you, new girl?" Seth asks, suddenly focused on you with an intensity that feels both flattering and vaguely predatory. "Got any good Jungkook stories from the roommate archives?"

All eyes turn to you, expectant. 

You scramble for something suitably embarrassing but not too revealing.

“Oh, I’ve got plenty,” you say, the alcohol making you bolder than usual. “But I have to live with him, so I’m weighing the entertainment value against the revenge factor.”

“Coward,” Taehyung coughs into his hand.

"Yeah, tell us the real dirt," Seth presses, leaning forward with a grin that suggests he's hoping for something scandalous.

You narrow your eyes, suddenly protective of the weird dynamic you share with Jungkook. These people don't get to know about the late-night arguments over the TV volume, or the silent coffee maker standoffs, or the way he sometimes hums in the shower when he thinks no one can hear.

"Sorry to disappoint," you say with exaggerated sweetness, "but I value my security deposit too much to reveal his darkest secrets."

"Cop-out," Seth accuses, but he's smiling.

"Another round!" Ryan announces, refilling shot glasses with something that smells vaguely like cinnamon and regret. "Tessa, you laughed at the dance story, you owe one."

“I didn’t!” she protests, but she’s fighting a smile now. “I was just… appreciating the story.”

“Liar! Your lips twitched. That’s a drink.”

She shakes her head, still smiling. “No way. I have that early class, remember?”

Before Ryan can argue further, Jungkook smoothly grabs her shot and downs it in one fluid motion. 

“Problem solved,” he says, setting the empty glass back on the table with a decisive clink.

Something about the gesture—casual, protective, maybe a little possessive—makes your stomach twist in a way that has nothing to do with the alcohol or spicy ramen. 

Seth slides another shot toward you. “Here, you need a refill.”

You stare at it, trying to do math through the fuzzy haze of alcohol. 

How many shots have you had? Four? Five? You've lost count, which is probably not a great sign.

But everyone’s looking at you, waiting, and you’ve never been good at backing down from a challenge—especially when you’re already tipsy and your judgment is shot to hell.

You reach for the shot, hesitating only slightly. It burns going down, making you cough and sputter in a way that is definitely not attractive, but whatever. You can handle it.

Probably.

“Another round!” Seth calls. “Funniest pet stories. Go.”

And so the new game continues, stories flying around the table with increasing volume and decreasing coherence.

You lose track of who’s talking, everything blurring into laughter and voices and the clinking of glasses.

“Oh, and remember when Jungkook tried to sneak into that bar with his cousin’s ID?” someone is saying—maybe Ryan? The faces at the end of the table are swimming a bit. “The bouncer took one look at the picture and said, ‘This says you’re 5’4” and Filipino.’”

More laughter, more shots. The room spins again when you tilt your head back to drink.

“Another one for you,” Seth says, sliding a fresh shot in front of you after you laugh at something Hobi said. His hand lingers near yours on the table, fingers almost but not quite touching. “Don’t tell me you’re backing down so soon?"

The challenge in his tone hits some stupid part of your brain—the part that's been responsible for most of your worst decisions. 

So of course you grab the shot.

"Just getting started," you declare, tossing it back with more confidence than coordination. 

Seth grins, clearly pleased by your response. "I like you. You're fun."

"I'm a goddamn delight," you agree solemnly, which makes Taehyung snort into his drink.

The next round comes with someone telling a tale about Jungkook getting locked out of his dorm freshman year wearing only a towel. Hobi recounts the time Jungkook tried to learn breakdancing and sprained both wrists. Jungkook retaliates with something about Taehyung and body paint that has everyone howling and reaching for their drinks.

You keep pace, determined not to be the one who can't hang, even as the room develops an interesting spin and your tongue feels increasingly disconnected from your brain.

"Another one!" Seth declares, sliding a fresh shot in front of you.

You stare at it, hiccupping slightly. The thought of one more makes your stomach perform an acrobatic maneuver. 

"I don't know..."

"Come on," he urges, eyes bright with that specific drunk intensity people get when they're determined to make everyone else as wasted as they are. "Don't quit now."

You hiccup slightly, staring at the shot with growing uncertainty. 

Your stomach churns in warning.

But your pride is a stubborn, stupid stupid thing.

Before you can decide, Jungkook’s arm shoots across the table, grabbing the shot and downing it in one quick movement. His eyes find Seth’s, narrowed and unmistakably warning.

“I think she’s good,” he says, voice deceptively casual.

Seth raises his hands in mock surrender. “Just keeping the game going, man.”

You stare at Jungkook, confused by the intervention. He catches your look and shrugs, a simple ‘what?’ in his expression that somehow makes you frown harder.

The game shifts again, someone suggesting “Never Have I Ever” as a change of pace. Your brain struggles to keep up with the new rules, everything moving a little too fast, a little too loud.

“Never have I ever…” Seth taps his chin thoughtfully, eyes finding yours again. “Been skinny dipping.”

You groan internally. Of course he’d pick something designed to make people admit to being naked. Typical.

Those who have done it drink, including Jungkook, which makes Tessa raise her eyebrows in a way that seems both surprised and intrigued. 

You remain still, glass untouched, which somehow feels like a victory.

The questions continue around the table, growing progressively more suggestive as everyone’s inhibitions lower. 

A fresh shot appears in front of you, courtesy of Ryan, who’s moved on from the game and is now just passing out alcohol indiscriminately.

“Drink up!” he declares. “We’re celebrating!”

You stare at the shot, swaying slightly in your seat. The room feels too hot, too crowded, too everything. Your brain is sending out warning signals, but they’re muffled under layers of alcohol and stubbornness.

Jungkook is watching you, expression unreadable but lips pressed together in what might be concern. 

He knows you shouldn’t drink that. 

You know you shouldn’t drink that. 

But admitting it feels like losing somehow.

So you reach for the glass. Fingers clumsy.

Suddenly it’s gone—snatched away by a hand behind you.

“She doesn’t want any more, broski.”

You whip around so fast the room spins alarmingly, but there’s no mistaking that voice, that attitude, that general aura of ‘fuck around and find out.’

Yeji throws back the shot with 0 problem, slamming the empty glass on the table with a decisive clink. 

Behind her, Irya and Jimin hover like backup, taking in the scene with varying levels of amusement.

“Surprise.” Yeji grins, sharp and protective. “Happy birthday, dickhead,” she adds, nodding at Jungkook. “Mind if we crash the party?”

goal: 600 notes

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© jungkoode 2025 no reposts, translations, or adaptations

[rowie264]

If someone criticizes something, it doesn't mean that they hate it. It also works the other way around. If you like something, it doesn't mean that it's done well from an objective point of view.

I love Jinx. Her design, her story, her personality, her character arc... I was just fascinated by her. Jinx has become one of my favorite characters in media in general. It was the continuation of her story that I was waiting for the most.

Jinx is still my favorite character in season 2. I love almost every scene with her. How she did Sevika's arm and the subsequent fight with the Smeech, the fight with Vi in Act 1, the prison break, search for Vander in the mines, epic appearance during the battle against Noxus.

I got a lot of positive emotions while watching s2 and especially during Jinx's appearance on the screen. But… an emotional response and objective assessment are two different things. And objectively, Jinx's character in season 2 is OOC and poorly written.

Removing very importand part of her story and personality. Her mental issues almost completely disappear. This is a very important aspect of her character. And no, Isha's presence and a "more favorable environment" would not heal her, the whole 2nd act is completely unrealistic and looks stupid, since all her problems with her mental health were magically solved off-screen;

Irrelevant piece of plot. Her arc of "Zaun symbol" passes by her - she becomes a symbol by accident, ignores the consequences and directly encounters all this revolutionary mood only during Isha's saving from Stillwater (at the same time saving her followers - an indirect action, not a purposeful one). So this arc is kinda about her, but she doesn't seem to participate in it herself, and it ends with literally nothing (like the whole Zaun revolution);

Making her more appealing to wider audience. Her hatred of Piltover and Caitlyn just disappeared. Yes, while she was with Vi in the mines she said "piltie goons who murdered mom and dad," but… that's all? Jinx doesn't kill a single enforcer in the entire 2nd season (although, for example, she could have in Stillwater) and tells Caitlyn "I didn't know your mother was there." Let me remind you that Jinx literally giggled in s1 when she killed a dozen enforcers during gemstone kidnapping, killed enforcers on the bridge without any care, she hated Caitlyn fiercely because she "stole" her sister from her, and she couldn't not know that Cassandra was a councilor. It isn't showed how and why she changed her opinion and this is important thing to her character, you can't explain such change with microexpressions or parallels;

Unrealistic happy family reunion. The reunion of Jinx, Vi, and Vander is a spectacular moment from Disney. Do you remember how Jinx reacted when Vi returned? Yes, she was happy but as soon as she spotted Cait she freaked out and immidiately thought that Vi betrayed her. Imagine what would happen if her supposedly dead - bc of her btw - father had returned and now looks like some animal;

Silco mattered much more to Jinx. A very "subtle" replacement of Silco for Vander in the role of father (Jinx calls him father, sniffs Vander's jacket and not Silco's), although Silco played probably a bigger role in this? And Jinx remembers about him like 2 times? Although it's been about 7-10 years since Vi's "death" in season 1, Jinx was still triggered by just a similar appearance. Apparently, Silco wasn't that important to Jinx (which is not true); I could still keep talking about Jinx, but let's leave it at that.

I love Jinx even in season 2. I like watching scenes with her. But my emotional attachment doesn't stop me from seeing that Jinx's character in s2 is not a continuation of Jinx's character of the end of s1. Her image is broken, the arcs are not completed, the relationships with other characters are poorly written.

[bitegore]

I made a character sheet to plot your OC's development over time! (There's supposed to be a character name in the big white space next to "over time" but it got eaten a little lmao)

You can use this for whatever you want, and you don't have to credit me. Feel free to change or edit anything you feel like. Please don't tag me if you credit me - just link to the original post.

Credits, explanations & a transparent version under the cut :D

Credits:

The actual image was made with the free NBOS character sheet creator, which is a sort of dated but free and solid text-layout sheet maker intended for ttrpg style character sheet creation.

Fonts used were Bisdak (titles) and Rockwell (body). Both are free! You can use them to fill it out if you like.

Inspired by a comment @maybe-solar-powered-calculator made on this other post about filling it out for characters at multiple points along their arcs. Thanks for putting the idea in my head :D

This is explicitly released under a CC0 1.0 deed, ie: you can do fucking whatever you want with it and I don't care and you don't have to tell anyone where you got it from and no one gets to stop you.

-

Last time I made one of these I got a bunch of questions on all manner of things, and I can never keep up, so I'm just appending a set of notes for how to use it and a glossary because I know some of these phrasings will be confusing.

Ignore or change anything you don't feel like works for you here. You can do whatever you want forever.

Suggested / intended use & general notes:

This sheet could work for something story-level, if you want. But it's really only good for individual arcs; if the character goes through multiple arcs in your story, then they're going to fit poorly here. In that case, you're probably better off doing versions for each arc, or just adapting this to a different format more suited to your thing.

Also, if your arc has a nontraditional structure - divorced from the typical "rising action - climax - conclusion" type of structure where there's a clear 'important turning point' - it may not work as well either.

The mindset section is meant to come at it from a 'golden mean' standpoint - that is, everything on either extreme of the slider is 'too much' and therefore bad. It's not bad-to-good! The far right side is a flaw too. They're only grouped the way they are on basis of the specific OCs I personally had in mind when I put it together.

Growth is labeled 'worse'-to-'better' but it means, like, active decrease in that area vs active increase; if nothing changes, it should stay at the center even if it sucks. The category is about contrasting changes, and sometimes changes are for the worse!

The entire sheet is very deliberately subjective. It should really be answered from the character's perspective - how they feel about it, not what's necessarily true. Technically you can do whatever you want and I can't stop you, but it's a better tool if you approach it from the point of view that the character may believe things that aren't true - that will define their behavior way more than the objective facts of the story.

-

Definitions:

This part is long as hell - recommend using ctrl+f to find the specific words you're stuck on. I defined everything.

General categories:

Mindset: how your character thinks about themself and how they act. Their understanding of their own approach to life. Attitude, viewpoint, decision-making process, that sort of thing.

Circumstances: the relationship between your character and the world around them. Where they are, what that place is like, and how they feel about it.

Growth: how the character and their impact - their attitude, their behavior, their immediate surroundings - changes over time.

Outset: the start of the character's arc.

Present: the 'center' of the arc. If you're planning something ahead of time and it hasn't 'happened' yet, then this is the near future.

End-game: where they are after the conclusion of the arc.

Mindset terms:

Center of the world: "If I have a problem, it's the only thing that matters to me." Self-centered, self-absorbed. Doesn't necessarily mean anything beyond that - they don't necessarily have to be unpleasant to be entirely focused on their own life.

my life isn't relevant: "Everyone else's problems are so significant, I don't pay any attention to my own". Someone who ignores or neglects their own life in service of some other thing, or doesn't consider their own behavior to have any real importance.

Only see enemies: Paranoid. Everyone's out to get them. Anyone who seems nonthreatening is hiding their potential for danger and everyone who seems threatening is a threat. The character must remain ever-vigilant, lest the cashier at the 7/11 suddenly stab them, or their best friend turn out to secretly be trying to poison them to death.

Only see friends: Naïve. Everyone is a good actor who wishes everyone else well, and if they don't seem like they're acting from a place of kindness or care then you probably don't understand what they're up to. The character is pretty sure the stranger holding that knife is, like, someone to chat up maybe, they're clearly only hanging out in this dark alleyway because it's a nice spot and no other possible reason.

overthink everything: Ten thousand thoughts per every single action taken. Maybe they never get around to acting at all. They have to consider every possible outcome. What if by eating lunch they accidentally trigger the apocalypse?! Who's going to think about these things if not them?!?!?!

impulsive to action: Act first, think never. What do you mean "consequences of actions"?

Unilateral decisions: "I will make every choice and no one else's opinions or thoughts are relevant". Discounts outside suggestions. Firmly convinced that they know best in any situation, and will brook no disagreement with their views when it comes to actually doing things.

Command me, please: "I don't know what to do and I don't know what to even start with, someone please tell me what to think". No confidence in their own views. Will not make any decisions unless forced and even then will beg someone else to please tell them what to do. Has no idea what's best and is pretty sure anyone else will have a better idea.

can't ask for help: No one will ever help the character; they have to do everything themself, even the things other people have repeatedly offered to do for them and have much more experience with. Doesn't necessarily mean that no one will help them or that they are explicitly barred by some real-world circumstance; just that, for whatever reason, they refuse to ask for help. This is an attitude thing - will they ever reach out? No? Then they're here.

too reliant on others: Have they ever solved a problem alone? Do they believe they're even capable of doing so? The character all the way at this end of the scale absolutely never expects to be able to do anything themself, has no trust in their ability to solve a problem, and needs someone else to come save them from it. The kind of person who needs ChatGPT to do their homework. Again - doesn't actually mean anyone will help them, or that the people they're relying on are reliable - just that they think they are helpless without ... well, help.

Weapon maker: This has to do with problem-solving strategies and not actual weapons. The weapon-maker is a character who views every situation as a conflict that cannot be de-escalated or solved by cooperation, and responds appropriately. The most fundamental weapon maker character turns everything into an argument, a fight, a war, etc. There are a bunch of other responses to conflict, though - they might avoid problems that need solving because they avoid conflict generally too. Fundamentally what you want to answer here is: when they see a locked box and they don't have the key, do they respond to it the same way they'd respond to someone telling them "you can't open this box"? And how do they respond to that? Typical weapon-maker approaches: - brute-force the box open or try and then give up if it doesn't work; and also get into an argument that might turn physical with the hypothetical person - shrug and give up immediately, in both situations so on and so forth. Another hallmark is that they kind of suck at problem-solving and give up if brute-forcing a problem doesn't work. This is not someone who is picking locks unless someone else told them to - they have one solution, it's to make everything into a conflict, and then to win that conflict by beating them or to give up because they think they'll lose.

Tool maker: This person approaches every situation like it's a puzzle, not a fight - up to and including actual fights. Tool-maker characters generally assume that a situation can be solved by just finding the right approach and doing it the clever way. There's the same fundamental question as above - if your character sees a locked box and has no key, would they approach it differently than someone telling them they're not allowed to open the box? 'Typical' tool-maker approaches: - I can trick the person into giving me the key by saying the right things, and I can also pick the lock because fundamentally there are 'right answers' to both of these - If i make friends with this person, they might change their mind, because now we're cooperating. I can still pick the lock because there are 'right answers' there. - The person has a reason for wanting me not to open the box, so I can definitely figure out what that is and solve the reason so then they'll let me open it. I can take whatever it is even if they really want to keep it if I just find the right answer. I'm going to break this box into little pieces because that's the easiest way to get into it but I could probably open it some other way if that wouldn't work.

A note - the center of this bar is someone who generally has different responses to different kinds of situations - like, in the box example, they'd approach the box and the person with two different general attitudes and processes - but generally responds to those situations using the same kind of decision-making process for each category every time. Most people are nowhere near either extreme. Characters tend to be classifiable into weapon-maker and tool-maker because they are fictional and it's easier to define one kind of approach than many. Approximately average approaches: - pick the lock if no one's around, but give up if someone is there because someone telling me not to open the box is a conflict i think i'll lose but a locked box is just a puzzle that i can solve - argue with the person, but give up on the box, because they're approaching the box as a puzzle and they don't think they have the skill to get into it, but the person is someone who can be convinced or bullied into handing over the key

I made this particular dichotomy up, which is why I think I get a lot of questions on it whenever I put it into anything, but I also don't know of any other snappy way to describe this sort of thought or approach variance, and it's genuinely useful for character writing in my opinion.

Pessimist spot-finder: Generally a downer but not necessarily. This kind of character just approaches everything with a close eye for problems, issues, reasons to find fault. If they're miserable, it might be why, but like, they can be a cheerful spot-finder if you want, I just wanted to get at "the glass is half empty" and "the glass is half full" more than anything.

Optimist upside fan: The opposite. "The glass is half full". If there are problems, they can find something about them that's not so frustrating or bad to focus on. Pretty damn good at overlooking minor issues if there's no reason to fixate on them. Not necessarily cheerful.

Abysmal company: could not give less of a damn about treating people the way they 'should' be treated. Maybe they take pride in that. Maybe they just think it's irrelevant. Either way, they know they treat people badly and they don't see any reason to stop. Does not necessarily mean that they treat people badly if they think they're doing the right thing and are wrong. Doesn't mean they're actually pleasant or unpleasant to hang out with, either, unless you really want it to mean that.

Decent to others: treats people well as a matter of course, or at least they sure think they do. Makes an effort. Would probably care and/or consider changing their behavior if someone said they were treating someone poorly. As before - they can be completely un-self-aware and just think they're doing right by people while treating them completely horribly.

Morality is irrelevant: 'abysmal company' for broader approaches to life and problems. Maybe they just know they're myopic and don't think other people's problems matter. Maybe they just gave up on trying to differentiate between 'good' and 'bad' and outsourced it to someone else or stopped paying any attention. Maybe they just like to take morally unjust actions and can't be bothered giving a damn when someone points out that they're morally unjust, or maybe they're proud of it. Kind of a villain trait generally, but not necessarily - it doesn't have to mean they act badly, just that they don't care if they do. Also, this is about how they choose their own actions and view their own behavior. They can think morality is relevant for other people as long as they ignore it when they act themself.

Always in the right: feels morally righteous in every decision they make. Standard superhero type of trait. Doesn't necessarily pass judgement on others, doesn't necessarily act well according to everyone's moral code (see: blue and orange morality), but they are extremely principled and will never deviate from the moral code they personally believe in. And they do genuinely believe in it.

Circumstances terms:

Generally terrible to generally excellent: how subjectively decent is your character's situation, overall? If they think everything is horrible, but the situation is charmed to everyone except them, then it's generally terrible.

Need for changes to passive tolerance: will they do something about it? Do they feel like they have to?

No agency in action to decisions are huge: agency being "how much power do I have to make changes here?", this just asks how much they have. No agency means that, no matter what they do, nothing will happen - they might be locked in a cage or somehow otherwise completely unable to use any sort of power at all, even the power of just leaving. The other end of the spectrum is where every decision the character makes makes a huge difference, not just to themself but to everyone around them as well. They can start wars, they can have anyone they want killed, they can do anything whenever they feel like it. If they think they have no agency even though they do actually have agency, they don't have agency here. If they feel like they have all the agency in the world and can do anything, then they do even if it's not true. It's perceptual again.

Stakes are deadly to mistakes solvable: what are the consequences of failure? Will you die, will you lose status you can't afford to lose, will you lose belongings, will you have to apologize, will nothing happen at all? Mistakes solvable is where they think every mistake is solvable forever - the character pushes someone through a woodchipper and they come out and to fix it, maybe an apology has to occur, but not much else. Does not necessarily mean no one gets hurt or killed as long as the character thinks there are no permanent consequences. This is the most important one on this section to keep subjective because it will greatly influence how your character approaches situations. A character who thinks everything is deadly-stakes may go to cartoonishly-extreme lengths to avoid turning a report in a day late. A character who thinks all mistakes are always solvable may push someone through a woodchipper and then just assume they can say they're sorry and it'll all go away. The setting and their approach do not need to be applicable.

Needs go unmet to attended with care: how do the people around them treat them? Do they pay attention when the character needs something, or do they ignore it? Does the character have to do everything themself around here, or are there people who will help out?

Regarded poorly to regarded well: how do they think other people see them? Are they respected, are they liked, or are they disliked? Do people broadly trust them or are they pretty sure everyone regards them with suspicion?

Nothing changes to changes in seconds: functionally the 'stability' meter of your setting - is the situation generally stable, or are things constantly changing? Does your character feel like every five minutes, there's a new problem that needs dealing with, or do they feel like nothing has ever happened ever?

Growth terms:

Changes in place: do they go somewhere else? Does the physical setting otherwise change (eg; earthquake, war, etc) ? Are there any other reasons that the 'vibe' or 'experience' of the place is different from before?

Change in power: does the character's percieved agency (see: no agency in action to decisions are huge) change? Alternately you can use it if they've gained or lost power in some percieved way (deposed, assigned a commanding position, etc).

Change in bonds: do their relationships with people change? Have they made new friends, lost old friends, changed the nature of their relationships with friends or partners, etc?

Change in beliefs: straightforwardly, have their beliefs, morals, etc, changed?

Change in hurts: have they undergone some horrible experience? Do they have past trauma from some pre-arc horrible experience they're healing from and/or discovering they're more powerfully subject to? Did they experience a physical injury that they're recovering from or which materially changed their life? Did something recent dredge up old issues? So on and so forth.

Change in hopes: Do their desires for the future look the way they used to? Do they care about different things now? This is something the character is not actively working for, but may be tied to actual goals.

Change in fears: are they overcoming fears? Growing past them? Gaining new ones? Are they scared of shit different from how they used to be?

Change in goals: Not the same as a hope because it needs to have a specific, achievable outcome the character is actively working toward. Do those material goals look different? Perhaps they no longer want to work against something, maybe they didn't have any goals and now they do. Or maybe they've realized the goal is impossible, or something has happened to make that goal unachieveable. Whatever it is, if there's a change, it's a change.

Change in self-awareness: their beliefs about who they are and what they're like, and what their circumstances are. Have they gotten more self-aware, have they gotten less self-aware, or has nothing changed?

Change in relationships: their relationships' overall health and resilience, as far as the character is concerned - which doesn't mean they're necessarily good, just that the character thinks they're how they're supposed to be. Have they improved? Have they gotten worse? Have they not changed?

Change in knowledge: do they feel like they know more about the world, their place in it, the people around them, etc? Not necessarily how to do things - just general information and awareness.

Change in social standing: how does others' regard for the character change over this part of their arc? Do people like them more or less? Are they respected more or less than before? Has nothing changed? And so on.

Change in skills and abilities: do they feel more skilled than they were before? Do they feel like they know how to do as many things as before? Again - not necessarily rooted in reality - a classic example of a character being wrong about this is a 'big fish in a small pond' character who used to be the high school sports star going to college on a sports scholarship and discovering they're not the best any more, and suddenly feeling like they're the worst - when they're better than they've ever been in an objective light. Use a subjective viewpoint for this.

Change in agency in life: how does the character's percieved agency change? Do their decisions matter less now than ever? Do their actions make way more happen than before? (See: no agency in action vs decisions are huge)

Change in outlook: Here's the upper/downer part. Are they more or less hopeful for the future? Do they think things are more terrible now? Are things improving as far as they're concerned? Or has that not changed?

Change in goal progress: how do they feel like they're progressing on the goals they've set for themself? Are they getting further and further away? Are they getting closer?

If some of this doesn't make sense and you want a clarification, you will have to tag me to get my attention, because I'm turning notifications for this post off the minute it leaves my immediate social circle.

Transparent version: (sorry you had to scroll so far)

[maythedreadwolftakeyou]

over the last 3 months i have seen myself called (and sometimes blocked for being assumed to be):

a racist/a bigot

homophobic/queerphobic/transphobic

ace/demi-phobic

a fascist

for expressing opinions such as "I found the characters and background stories in Veilguard weaker and less interesting than previous Dragon Age games" and "i miss the amount of tension and conflict that we used to get to explore with the player character depending on their in-game background and life history" and "i did not feel Lucanis' character and romance arc was fully satisfying while I was playing through it".

and since this all started we now have:

seen the entire DA staff laid off from Bioware

heard many now-former bioware devs talking about how toxic the workplace was during the development of DA4

seen allusions to Bioware/EA executives overriding plot/plans that the Dragon Age writers/devs would have preferred

extracted large amounts of cut content from the games that show things like increased emotional response range for Rook, or alternate endings for companion arcs (NOT concept art content, but actual written and even voice-recorded dialogue in the game files), or increased impact from decisions you could make in the game

IN ADDITION to what we ALREADY knew about how many times the game changed direction/leadership changed/the mid-process layoffs, etc.

so can we maybe not keep putting "people who come into the Dragon Age universe from a place of love and were ultimately disappointed with the latest installment" in the same trash bucket as "dudes on twitter who were mad there were trans/nonbinary characters in their AAA game". can we FUCKING as a community acknowledge that there are many reasons someone might not jive with a change in direction other than jumping to "they disagree with me so they must obviously be horrible people, whose opinions shouldn't be counted anyway" (<-if this is your first impulse maybe examine that also).

i am so tired and i am never gonna get an apology for any of it but NOW that a lot of the people who were posting/reblogging these sentiments are hearing/seeing all these other things add up. it's like suddenly now it's "acceptable" to have problems with aspect of Veilguard or want more from it, because the writers/devs have shown they probably did too during it's creation. whereas when I said these things right off the bat (because the only thing we had was the game we got. not the game we can pretend they wanted to make instead) it WASN'T because apparently expressing opinions on my personal tumblr counts as "being mean to/harassing devs who worked hard on the game" or, again, assumed I am a racist/bigot/facist/queerphobic.

you're allowed to still like Veilguard. it's fine i promise. you can love the game if you love it and my not loving it has nothing to do with your own relationship to this piece of media. i am happy there are people who truly can enjoy it without massive Caveats. but i am still seeing like 3-5 posts Per Week express those opinions and it is really destroying my love for the community i once enjoyed.

[catboy-beckett]

Someone on the Tokyo Debunker subreddit brought up ships for MC (as in, not just the characters players like/are attracted to, but ones we actually think would go well with the protagonist) and I haven't stopped thinking about it. I find it an interesting question, because my preferences for myself are pretty noticeably different from who I think she would like! So here are my compatibility assessments!

Disclaimer: I have only played through most episodes once, so my memory of TDB lore may be lacking in certain areas. I also have not completed all affinity stories and have not spoiled myself on them. Also note I will be using "you"/"me"/"us"/"I"/etc. to refer to MC interchangeably with "MC"/"her" because that's just how I'm used to talking about video game protagonists. Spoilers avoided for newest episode but only newest episode.

JABBERWOCK

HARU: I honestly think he is MC's favourite! He's the one she's most often happy to see, and in return he is always grateful for her help. MC seems to volunteer at Jabberwock reasonably often and with little prompting; this isn't necessarily because she's infatuated with Haru, but rather I think it shows they have similar priorities.

REN: He's giving a whole lot of nothing. A lot of the opportunities given to him in-story to bond with her, he outright rejects. He doesn't seem interested in getting into a relationship, or even forming a friendship that could lead to a relationship. I'm all for "enemies to lovers" but you've gotta show the attraction from the beginning! Otherwise it just feels like a shoehorned-in plot twist.

TOWA: Very romantic. Very mysterious. Compelling, and they clearly like each other. My biggest complaint here is that Towa is someone who needs more screentime for an arc. He's not a simple character. I also think MC would be a little afraid of him if it ever really clicks for her what he's capable of. (Both power-level-wise and morals-wise.) I know fans love Towa's yandere tendencies but MC shows no enthusiasm for that type of man.

SINOSTRA

TAIGA: My favourite man! Terrible for MC. She is pretty much trembling in her boots whenever he's around. I can't see a romantic future for them. Taiga's ideal wife is Romeo, and MC just doesn't have the backbone to be Romeo. That said, I think MC having an inconvenient physical attraction to Taiga would be narratively interesting (and fuckin' hot), as who doesn't love the tension between a dangerous violent freak and a shivering field mouse? There are a couple of other points in Taiga's favour too: the fact that he's the ghoul who seems to react to MC's personality the most (he's always noticing how timid she is and seems to find that cute/attractive) and the fact that he eats anomalies (😳) set him apart from most other love interests. Taiga is down to fuck but he's not really a viable option to date.

ROMEO: This might be controversial but I think Romeo is one of those ghouls who has his own love interest, and it isn't you. I'm not even sure he likes women. I've never once felt like Romeo had an interest in my character and the only time he flirted with us was to make Kaito jealous. Honestly that felt more like ship teasing between him and Kaito if anything. As for how MC feels about him, I think she's about as intimidated by him as she is by Taiga, though it's slightly easier to get Romeo to Not Murder You than it is Taiga. Romeo can at least be reasoned with.

RITSU: Never shows an ounce of attraction or even warmth. Even when he smiles at someone, it feels more like professional courtesy than a reflection of his feelings. How would someone like Ritsu fall in love? It's a fascinating question, but the game is not yet interested in giving us an answer. He tends to bully MC into doing what he wants just like Romeo does. He uses social pressure rather than violence, which I think she finds preferable to Romeo's method, but not pleasant. There's also the fact that Ritsu is dedicated to becoming Taiga's lawyer, and I honestly think he would continue trying to defend him if MC ever wanted to press charges for, say, the time he shot her, or the time he tried to throw her out of a train. Taiga's romance potential is already shot because of these things; what can we say of someone who would take Taiga's side?

FROSTHEIM

JIN: Oh boy. Okay, this is the "canon" ship. Jin gets all the tropes, all the sparkly panels of heroically rescuing MC, all the jealous NPCs treating MC like she's already his girlfriend, the works. They could not be pushing this any more clearly. And... it's serviceable. It feels a little out of place in a game like this, and maybe that's why I'm not fully on board, but it works when it works. I just think Jin doesn't have enough screentime to really make the "canon bae" thing stick. Does he KNOW how close we've been getting with 20 other ghouls while he's been absent for several chapters in a row? Does he know he's on a 1-year timer for his slow burn bullshit? I like Jin, and he's one of the most shippable-with-MC characters for sure, but I just think it could be better. It should also be noted that MC is scared of Jin in a similar way that she's scared of Taiga or Romeo. I think honestly she would pick one of the men who hasn't threatened her life yet.

TOHMA: Like Romeo, I judge him one of the "does he even like women?"/"I think he's just using me to get to his husband" type ghouls. He has a flirty manner, but he uses it with everyone, so it means nothing to me when he talks to MC with that same expression. That said, he's more of a simp than Romeo, so while I think Romeo wouldn't care if you fucked his husband, I think Tohma wants you to. I think Tohma is into MC in the way that a stalker might be into a pair of dirty socks once worn by their crush. (And, on a less perverted note, he wants MC to pull Jin out of his depression since he realizes he can't do it by himself--especially now that they're fighting.) I don't think Tohma/MC works as a ship unless it's a complicated situationship with Jin.

KAITO: I don't think MC likes Kaito. She might just be very oblivious (very very VERY oblivious), but she's had many opportunities to respond to his advances and she just kind of no-sells them every time. To me, that kills off any possibility of romance. If MC were more of a self-insert avatar for the player, this wouldn't be an issue, as it would be up to the players to decide whether they liked Kaito or not; but TDB MC has her own thoughts and feelings, and we see them frequently during the episode where she meets Kaito, and the lack of reciprocation is deafening. Another, more possibly controversial point: I don't think Kaito likes MC. I think Kaito wants a girlfriend, and he has gotten it in his head that MC Is Girl, Therefore Perfect For Be Girlfriend. He treats her in a way that he's heard you are "supposed to" treat girls. He doesn't even NOTICE her suspicious behaviour when they meet because he's too busy metagaming the situation; he even gets it into his head that she's "nice" while she's lying to him. He never updates this perception of her. There is nothing about the character, or the way that players play the character, that Kaito actually LIKES. He just wants a girl. Any girl. Bad ship.

LUCAS: Another character who never really expresses attraction to the player character or anyone else. MC has a better relationship with him than she does with Kaito; Lucas doesn't freak out or get jealous or play 4D chess trying to get MC to fall in love with him, so MC can speak to him more honestly. That said, I believe Lucas isn't the sort of person to hide his feelings from MC (or even be able to), so I can't help but read his complete lack of flirtation as a lack of interest. I could believe MC has a one-sided crush on Lucas (which would also make for a really funny group dynamic), but that's about a best-case scenario.

HOTARUBI

HAKU: He really is just "the nice, chill guy" of the roster. Normally those don't compel me at all but Haku is really enjoyable. He's also, at unpredictable points, one of the more horny/flirty characters. Definitely has an attraction to MC, which is a big plus. MC never really gets the chance to respond to his advances, which in this type of game is the closest we get to a canonical attraction from her. (Because of course, they don't want to force players into a romance they might not want.) Good ship! Hard to write about or anything considering Haku is such a mysterious character, but I believe the attraction is real and not part of a dastardly plan, at the very least. Haku definitely puts MC at ease and I think she needs that in a partner.

SUBARU: Another "not sure if he even likes women" situation. Subaru doesn't even come close to the way he acts around Sho, when he's around MC. Subaru is a very cute-and-flustered-around-crushes type, and I think if he were into MC at all, we would see it. I think MC likes Subaru okay as a person but that's it.

ZENJI: This is going to be my most subjective one yet, I think. Zenji is very in his own head. What do I mean by that? I think he would compose seven love ballads for MC and none of them would really be for her. I think he's more attached to the artistic value of love than the feelings themselves. This harms his compatibility with anyone, MC included. As for MC, she actually seems to like Zenji more than the average person does! Or at least more than Haku does. Haku seems to mostly tolerate Zenji, while MC shows enthusiasm for his art in campus stories. Note: this ship becomes untenable in the event that Jiro demonstrates feelings for MC, as I don't think Zenji would compete with him.

MORTKRANKEN JIRO: Does not demonstrate feelings for MC. There are crumbs there, but you have to squint and squeeze to make a ship out of them. I could see MC being attracted to tall, gentle, reliable men, especially ones who made her feel secure during a difficult time in her life... but all we know for sure is that she didn't want to watch him undress for the bath.

YURI: I can see this guy as being the #1 strangest relationship she has with any of the ghouls. At times, he bullies and belittles her, like Ritsu or Romeo or Jin do. Other times, he is working tirelessly to cure her condition and taking the curse more seriously than she's seen anyone else do. He is a very confusingly-supportive love interest. I do not think MC would realistically find romance with him; tsundere that he is, she would need to be more active to really get through to him, and she's a pretty passive person. For Yuri's part, he is embarrassingly infatuated with MC. The man goes beet red when she grabs his hand, for fuck's sake. This is very funny as a one-sided ship and would be equally funny if Yuri decided to actually try confessing, but he is not the best match for MC.

VAGASTROM

ALAN: What do you get when you cross two shy people? Nothing whatsoever, that's what! Alan likes MC but has trouble expressing it and worries about hurting her. MC has a tendency to make herself small and placate people. I'm not sure their relationship can get off the ground in the first place, but if it does, I expect them to have communication issues right away. Mutual conflict-avoidance is not a great foundation for a relationship.

LEO: A great ship for MC if you hate her. Leo is toxic for anyone, but he openly hates MC and wants to get rid of her. If they get into a relationship, it will be one of those dastardly plans I warned of in the ancient scrolls (Haku's paragraph). Has the potential to be really hot though. I don't think MC hates Leo, but I think she avoids him because he seems to hate her. She could be easily manipulated if Leo is so inclined.

SHO: Viable! Sho has never been anything but nice to MC, and it shows in the way she greets him without hesitation. Sho in turn seems to actually like MC, in contrast to Leo. I can't say whether there's any attraction, but there's mutual trust.

OBSCUARY

RUI: Easily one of the most viable ships! There's the romanticism of their mutual curses (as is immediately pointed out by Rui), Rui's open flirtation with MC, the convenient excuse for why they can never hook up (because as stated before, when the excuse is botched it just makes it look like one or both characters isn't interested), and in addition to all that, Rui is one of the nicest and friendliest characters, which is something MC responds well to.

EDWARD: Definitely also a viable ship. MC isn't as intimidated by Ed as she is by characters like Taiga or Jin or even Yuri. The fact that he can overwrite her curse by making her a vampire adds to the intrigue. Ed is both openly horny for MC and expresses interest in being with her forever. The only potential speedbump here is that MC doesn't seem to consider Ed's offer a significant option; her default fear is still "I'm going to die/become a kyklos" rather than "I will have to become a vampire".

LYCA: Has a little potential, but once again the attraction is lacking. I could see Lyca growing to have feelings for MC over time, but it doesn't seem to be the case yet. MC seems to trust Lyca even if he is capable of violence.

In summary BEST SHIPS FOR MC: Haru, Rui, Ed MOST INTERESTING SHIPS: Yuri, Leo WORST SHIPS FOR MC: Taiga, Romeo

[clericsandpaladins]

I find Season Four to be quite interesting in that the Duffers have confirmed that originally it was meant to be the last season, but they had to split it for the sake of pacing. Season Four is less of it's own season and more of the set-up for Season Five and that tells us a lot about the plots in Season Four.

I've seen a lot of people argue about the purpose of the California and Russia plotlines considering that they are so disconnected from what we could call the main plot, which is Vecna. But the Duffers are NOT bad writers. They had an extra six months to work on and revisit their scripts. Everything in Season Four was very intentional, which is why I choose to give the California and Russia plotlines the benefit of the doubt. Do they seem pretty pointless? Yeah, right now they do. But when you think about it, we are only seeing half of the story here. Season Four and Five were meant to be ONE season.  Hopper's prison break is only half of the story, we don't yet know the true purpose for reviving him and spending so much time getting him out. We needed to get Hopper away so that El could spend this season continuing her ongoing arc of self-discovery and independence. What we don't know is why we need Hopper back and that's the question I think will be answered in Season Five. You don't kill and revive characters for no reason because it takes away the stakes in your story. By doing that, you're making your audience less invested in the safety of these characters because they KNOW there are no consequences. So then why did the Duffers spend a quarter of Season Four getting Hopper back, despite it's irrelevance to the plot until the very end where they help to defeat Vecna? That's the question that Season Five will answer. The California group go on a big road trip trying to find El. Seemingly the only purpose for this is to be able to find El so she can get to the pizza freezer and help Max, making the rest of the stuff they do pretty irrelevant. Right? Wrong. Because, once again, this is set-up. We are only seeing half of the story the Duffers wanted to tell. So then what is actually happening in this plotline? Certainly nothing much with Jonathan. But what we do spend most of this plotline doing is showing the development of Mike and Will's relationship. They start off awkward, they argue, they have heart-to-hearts. The majority of this plotline is dedicated to showing us how Will and Mike interact and behave around each other. You know how it all ends? With a chekhov's gun in the form of Will's painting and his veiled love confession. If the Duffers are indeed good writers, then they have to address this is Season Five, once again showing us we are only seeing half of the story.  Because of the chekhov's gun, we know that Will's feelings for Mike have to be addressed in Season Five. If they aren't, then what was the point of the painting in the first place? We didn't need it for Mike to confess his love to El. El dying should've been enough for Mike, but it wasn't. Will reminding Mike of what happened in the van is what lead to his love confession. The painting has a purpose, it just hasn't been addressed yet. Similarly, if this emotional arc with Mike and Will ends with no change in their relationship, then what was the point? There was no need for Will to be in love with Mike to show his queerness. They could've introduced a new love interest for Will like they did with Dustin and Robin. But they didn't. Will's inevitable confession to Mike needs to result in a change for the California plotline to have a purpose, otherwise the narrative wasted all that time building up to nothing. Not to mention the fact that Will is the key to tying up Mike's arc. Mike feels like he isn't needed by El and this is a major insecurity for him. He spends most of Season Four worrying about this and so in order for his ending to be satisfying, we need to resolve this insecurity and prove him wrong. Yet, Season Four ended with El realizing she had value as a person outside of her super powers and that she doesn't need another person to feel whole. She is her own superhero. But you know who does need Mike? Will. In conclusion, these plotlines aren't useless. They are set-up. EDIT: I wrote this at 2am lol. Wish I would've waited and edited the post a bit but alas 2am thoughts are never edited.

[starbylers]

“Stranger Things is about supernatural stuff not romance! There’s no time for Byler or any romantic drama in season 5, they have to focus on defeating Vecna! Byler makes no sense anyway because it hasn’t been built up and it’s too late to start now!”

The truth: the reason people think this is because what they’re interpreting as "romance" is the few & far between overtly romantic scenes and nothing else, as opposed to recognising the stories of the numerous different relationships on the show as being the point. This is how we can infer that Byler is the end goal. These writers don't do fluff. They build up romances by focusing on the things that actually make a relationship strong: teamwork, emotional connection, and overcoming problems. They show "romance" in every pairing effectively working together, in how much they understand each other emotionally, and in their conflicts & how they handle them. It’s not about displaying "romantic” behaviour between characters but about the narrative of the relationships; who these people are, why they are right for each other and what they go through to be together. And all of this stuff happens alongside and intertwined with the supernatural action.

Overt romance is shied away from in the characters who are in love. For example in season 1, Janc.y are basically shown as “detective partners” with a little tension & one cheek kiss at the end. In season 2 they have the same working together plot, they just also show Jon looking after Nancy when she's drunk; that one hand touch & brief sad exchange about how she didn’t wait for him after s1; and then the (offscreen) hook up after Murray grills them, that you could call overtly romantic but even then it really doesn’t take up much time and—aside from their time at Murray’s when everything between them finally pays off—is very subtle. In season 3 they’re shown waking up together to establish that they’re dating, then I believe they kiss once a little later, and the rest of the season there’s (unpleasant) tension & arguing about work before they reconcile & fight alongside each other….and at the very end they get an affectionate goodbye with one kiss. Max 3 overt moments there (and 2/3 really are moments not even scenes). Then in season 4 their entire story is about their conflict & there’s literally no “romance” outside of them telling other people in the beginning that they love each other although they’re having issues, and then their reunion at the very end after they’ve both gone through separate journeys but again…that’s is their romance. It’s not about showing them off as "being a couple" or "being in love" (even though we know they are), it’s about telling a story grounded in reality, the story of Jonathan and Nancy and their relationship. That’s how the Duffers do it.

Then there’s Joppe.r! They don’t have any “romantic” scenes until s3, and even in s3 it’s mainly about them being friends & working together, building from that same foundation from the first two seasons. The romantic implications are just more textual at that point because of the Enzo stuff & Murray clocking them, and I believe they have one more intimate scene when they’re in the Russian base at the end but the majority of their bond is built via their teamwork and general closeness. Then in s4 same as Janc.y they’re completely separate until their reunion & long earned kisses, and the "romance" is in them fighting to get back to each other & keep their promises.

Romance is very much part of the show, it’s just mostly subtextual and focused on larger arcs. And as I said: all of this stuff happens alongside and intertwined with the supernatural action. There is absolutely always time made for it and there will continue to be in season 5. People appear to see romance as some sort of separate entity to the rest of what’s going on when it’s literally just another form of character relationship and that’s like…as important to the success of the show as the supernatural. Romance is not some superfluous unserious thing it’s a legitimate part of what often brings the necessary heart & humanity to a story (along with platonic love), otherwise it would all just be mechanical and clinical with little reason to care what happens to these people. And don’t just take my word for it:

“People talk about mythology and the Upside Down, and all that is huge, but the magic of season 5 are the characters who find a sense of belonging with each other and through that connection, become heroes.” ~ Shawn Levy

I think maybe it’s also that people don’t see how plot ≠ story. Simplistically I would say plot is the action we are seeing unfold, story is what this action is telling us (story is the "show", plot is more "tell", if you will). This is precisely why I don’t care about the fact that Mike & Will don’t have textually romantic scenes, and I don't buy into what often feels to me like Bylers warping certain moments that are about building a connection/building the storyline between Mike & Will into being romantic when—although through an analytical lens you can recognise it as build up—in-universe they’re pretty much not romantic at all yet. And they don't need to be. We don't need Byler to have been "romantic" the whole time. That’s not the Duffers M.O., they like to build relationships largely on, as I've explained: friendship, being a team, intimate conversations and hints of something more until it pays off eventually (and then even when couples start dating they introduce more conflict). They seem to be of the mind that everything else is fluff and are very sparing and intentional with it. But I concede it’s not to everyone’s taste and I can see how it might lead someone to think ST doesn’t focus much on romance. (And they don’t mind you, it’s not a romance show, but it’s inaccurate imo to claim it's not given importance. It is, just in a very show-don’t-tell manner over any cutesy stuff. In fact the tipoff is they use that stuff to demonstrate to us who the unserious couples are 👀*.)

Byler have their Duffer-style build up (close friendship, teamwork, deep conversations and hints of tension), albeit less obvious/more complicated because they’re boys in the 80s and it’s meant to be a twist (and on top of that people just having a harder time seeing it due to heteronormativity). A complicated/imperfect but deep friendship, spent a season facing supernatural stuff as a pair & being there for each other emotionally, spent a season with the character-focused parts of their (California) plotline almost entirely dedicated to them having six whole different heart to hearts & emotionally supporting each other again (tied into/alongside the plot), moments of tension & feeling that anyone would recognise as potential for romance if they were straight…it’s all there. And no, it doesn't matter that Mike was caught up over El in s4 or that she was often part of their conversations. Nancy was caught up over Steve early in the show while Jonathan was there for her. The point is what these scenes show us about their relationship i.e. how much Will cares for Mike’s happiness, how he’s the only one Mike feels safe opening up to and being comforted by, and how Will makes him feel confident in himself (obviously there's much more to that storyline that points to Byler but I'm just trying to get a point across). So yeah ST has its romance, it just does it in a mostly subtle, story-focused way. And that's how we can see Byler has had build up, and why there was always going to be time for said build up to continue & culminate next season.

*Keep reading if you want to see how Mileve.n, Stanc.y & Bob/Joyce do not fit this pattern at all ⬇️

Mileve.n completely breaks these rules btw: no friendship foundation to their insta-romance, have never had a story about working as a team, have legitimately zero deep conversations after one brief exchange in s1, and there’s absolutely no subtlety with them: they constantly cling to each other & make out & go on a (very forced given the context) date & engage in showy gestures like flowers and El’s Mike shrine 😭 & have a recurrent plot point about saying ily until Mike has to give a melodramatic monologue. Same goes for Stanc.y: no friendship foundation, no teamwork, no deep talks. Just kissing/sleeping together, partying and drama about saying ily. And Bob/Joyce even though it’s a little different because they’re adults: not friends before dating, lack of teamwork because Joyce is so reluctant & refuses to fully let him in until she's forced, and a focus on couple-y stuff like making out, dates & dancing, and talk about moving in together. We know the fate of those last two couples so…

[thenationofzaun]

Thoughts on Act 1 of Arcane Season 2

The positives:

- The animation is fucking incredible.

- Jinx and Sevika teaming up watered my crops and cleansed my skin.

- Underwater goodbye with Jinx and Silco. That scene was made specifically for me.

- Jinx's voice actress continues to be excellent.

- Loved the designs of all the Chembarons. The glimpse we got of the gang wars was also interesting. Unfortunately, too tiny a glimpse. Which brings me to...

The negatives:

- Too many plotlines. They stuffed the season with too much shit which is why each individual plot gets a much shorter screentime than it should. Smeech is introduced and killed in the same episode. Chembarons' gang wars, a huge issue which has repercussions on the entire Undercity, gets only one musical montage before moving on. And this is coming from someone who loved that montage, as well as the song. My favourite on the soundtrack so far. But musical montages shouldn't come at the expense of the story and definitely shouldn't replace the story. There are just way too many music video scenes in general that feel like a way to condense a storyline into the sparknotes version because they don't have the screentime to flesh it out. And they would have the screentime if they cut out all the extra stuffing. Look I'm happy for the League fans who are excited for the Black Rose and all that, but what the hell is it doing in a Piltover/Zaun show. And with zero foreshadowing in Season 1 too. It would definitely be easier to swallow if they had at least hinted at it in the first season. They could have kept Ambessa's beef with this magic cult for a Noxus show. The P/Z narrative has enough to deal with, enough characters to handle already.

- The new side characters are uninteresting and generic. Maddie and the two other enforcers (we don't even know their names after three episodes LMAO) are bland. We know nothing about their characters or personalities. Maddie looks like a rookie, and one of the dudes is an alcoholic, yet they get chosen for an elite strikeforce to capture Jinx? Isha is pretty generic too - the token cute kid that needs protecting. I get the role she will play in Jinx's arc. But that's the problem - she should be a character in her own right, not just a vehicle for someone else's character development. A good example is Mylo. He died for Jinx's arc, but when he was alive he was a distinct character with his own personality. We had a sense of his insecurities, his goals, who he was as a person. Name a single personality trait of Isha and Maddie other than "generically nice person". That's right. You can't.

- Whatever the hell is going on with Viktor. He wakes up from his coma and immediately rejects Jayce so quickly that it was funny. Apparently disapproves of Jayce using the Hexcore to save his life, but then immediately goes to use the Hexcore to save random Undercity people. Bruh. I also don't really like the way the fridged woman from last season seems to be his motivation so far. Nor the way he seems to have no agency in his Machine Herald arc. Instead of Viktor himself believing in transhumanism and mechanizing himself, Jayce does it for him. Instead of Viktor having an ideological drive and wanting a "Glorious Evolution", he is driven by guilt over Sky. Meh. Also he's not even mechanized, instead he's weirdly fleshy?? In a magical way?? More like The Magic Herald :(

- Vi. Her whole character is a mess. Insanely rushed arc which I find unacceptable for one of THE main characters and one of the faces of the show. She and Jinx are supposed to be the leads, their relationship the heart of the story, but so far only Jinx is a well-written fleshed out chaacter with a believable arc. I have too much to say about Vi so I'll expand more on this on another post.

- So much nuance and detail is missing. How does Heimerdinger feel about his ex-colleagues being killed? Does he care? Does he feel guilt? Relieved that he wasn't in the chamber when the bombing happened? No clue! Let's have comedy Mission Impossible instead! How does Ekko feel about the Council attack? Does he approve of it? Think Jinx went too far? How does he feel that she even survived their fight to begin with? No clue! Here, have him joking around with a Councilor for a bit (someone whom Ekko logically should despise), then he can talk Science with Jayce and all three get sent to another dimension together. Yay. What does Vi think happened to Ekko? The last time she saw him, he was fighting Jinx to the death to give Vi and Cait time to escape. He could be dead for all she knows and she doesn't give a fuck. Doesn't even think about him nor mention him once. It's like the writers forgot they're childhood friends. What does the entirety of Zaun make of Silco's death? I assume they heard about it from Piltover (who heard about it from Caitlyn), but how do they think it happened? His body is gone and to Zaun it seems he just mysteriously disappeared. Are there conspiracy theories? Conflicting accounts and rumours? So much nuance that would give the world and characters more depth, sacrificed so we can pack in more rushed subplots and music videos.

- Caitlyn "Wifebeater" Kiramman. And Caitvi in general. So far Caitlyn has guilt-tripped Vi, manipulated her into joining the enforcers, insulted her and then physically abused her. After Vi sacrificed everything for Cait, wore a badge she hates for Cait, even let Cait kill her own fucking sister (and only intervened when the random kid got involved). Why should I give a shit about such a one-sided relationship lmao. "B-but Cait's mom is dead so she's sad about it", every other fucking character in this show has dead parents. Half the cast has faced unfathomable amounts of trauma and pain that make Cait's pale in comparison. Nothing justifies her hitting Vi. "B-b-but it's a parallel to when Vi hit Powder", a shit parallel then. Because the circumstances are not even remotely comparable. "God forbid lesbians do anything🤪", give me a break with this corny bullshit. Be serious for a second. I'm not even a Vi fan and I think she deserves better than this mess of a relationship. The power dynamic between them makes it worse. The way Caitlyn is one of the richest people in the city and Vi is broke. The way Caitlyn is highly educated and Vi never went to school and spent her entire teen years locked in a box. Did the writers think about all this when writing their relationship? Keep in mind, Vi met Caitlyn like a week ago. She barely knows this chick. She's been out of prison FOR A WEEK. Where she was physically abused every fucking day. Putting her in a relationship with a cop who hits her would certainly be a choice! Do I have faith this show will handle it with care? Not really, no. They already ignore Vi's prison trauma. Most likely they will make Vi forgive Cait way too easily because "muh mummy muh grief".

[writingwithfolklore]

What kind of writer are you?

There are about a million different ways and styles to write, and they’re all valid. But if you’re in a space in which you need to market yourself or your writing, it’s helpful to be able to put terms and descriptions to your way of writing, so here’s a handy little quiz to figure out which terms fit your writing best.

Planner vs. Pantser:

Planners plot out their works, from an outline to character development and arcs, worldbuilding, and everything in between.

Pantsers start with nothing written down, letting themselves be guided by inspiration as it strikes.

You may also be a mix. Maybe you plan out some aspects while leaving others to inspiration in the moment.

Commercial or Literary:

Commercial writers focus on engaging, fast-moving plots and equally engaging characters. Think The Inheritance Games, The Maze Runner, Divergent, The Hunger Games. They have clear genres and stick to the expectations of their genre (fantasy, mystery, etc.) and they tend to sell well.

Literary writers focus more on beautiful language and challenging the reader, usually commenting on people or society. These pieces are seen as works of art that hold a deep, important meaning in society—they say something. Think To Kill a Mockingbird, The Great Gatsby, The Secret History, Flowers for Algernon.

Upmarket is a mix between commercial and literary writing—with a fast paced, accessible plot and deep characterization, but also the lyrical, beautiful prose leanings of literary writing. Also known as Bookclub fiction, upmarket is considered the best of both worlds.

Target Audience:

0-8: Children’s.

              Includes board books (0-3), picture books (3-8), early reader (5-9), chapter book (6-10ish)

8-12: Middle-grade

12-18: YA

18-~29: NA

29+: Adult

Genre:

Crime: Focuses on justice, on putting right a wrong usually through puzzles, and usually against high stakes. Read more about crime here.

Fantasy: Features magical and supernatural elements. Subgenres include urban fantasy, magical realism, high fantasy, low fantasy, which all contain a different balance of realism versus ‘fantastical’ elements. Read more about fantasy here.

Horror: Intended to scare or thrill. Typically focuses around a central villain that reflects a society’s fears. Includes subgenres such as found footage, Lovecraftian, psychological, slasher, which all center down a different ‘other’ that plays the central villain. Read more about horror here.

Thriller: Takes the basics of crime/mystery and adds a deeper element of danger. Also, your protagonist may not be a traditionally trained detective, but may still have helpful knowledge to the case. Read more here.

New Adult: Characters and intended audience are a bit older, from 18-25ish. Tends to deal with issues surrounding with technically being an adult but not old enough to have the wisdom that comes with it—a ‘new’ adult, you could say. Read more here.

Romance: Focuses on relationships between characters, but can vary across many subgenres such as: commercial romance, romantasy (romance-fantasy), erotica, historical romance, LGBTQ+ romance, etc. Read more here.

Science Fiction: Surrounds real or imaginary science and technology as a core part of its plot, setting, or theme. The science, while it can be fictional, is depicted as based on real scientific principles, rather than magic. Read more here.

Speculative: An umbrella term that covers all fiction that breaks from reality—can include elements of fantasy, sci-fi, horror, etc. But remarks in some way about the future (or current nature) of society—thus, speculation. Read more here.

YA: Written for readers from 12-18. Tends to focus on challenges of youth, but can also delve into other genres (romance, fantasy, etc.) Known for being mostly written in commercial style—fast paced plots, engaging characters. Read more here.

(see my post word count matters)

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[tobiasdrake]

Got Buffy on the brain.

Spike is an example of the magic of long-running series, which has more or less died out in the streaming era. Specifically, what happens when plans go awry. Because Spike? Spike is a plan that went very, very awry.

Spike was supposed to be a setup arc villain. That's it. That's all he was ever meant for. He's introduced in season two as the new scary Big Bad Evil Vampire. He's got a lot of charm and wit and some interesting characteristics but also he's killed two Slayers and is looking to add a third to his list.

Plan was that we have the Spike arc, then Buffy kills him in the midseason finale. Drusilla takes over as Big Bad Evil Vampire until surprise twist Angelus turns up as the true season villain. And that's it. Buffy fights Angel's entire little vampire sect and overcomes them and that's the season.

But Spike was spared his fate when he was just too likable to dispose of so quickly. He became a loose thread, kicked into the void for later seasons to figure out what to do with. Because this was back in the day when "We'll have another season to figure this out, we don't have to solve it now," was a thing you could reasonably rely on.

And then Angel got a spinoff, and they had to write him out of the show. That means we now have a void in the series. We need a new sexy vampire boy that the protagonists can have a fraught and snarky but generally positive relationship with when it really counts. And. Like. We have this loose thread over here....

And, as luck would have it, Spike had been written from the beginning to be a hopeless romantic. A vampire entirely capable of human affection, loyalty, and even selflessness for the people he loved. So it was really easy to slide him into a protagonist role and have him just pack-bond onto the protags now. All he needed was a restraining bolt to keep him from vamping it up. And hey, we're doing this arc about government labs and demon research soooooooo....

Spike is one of the show's most popular characters, and one of the things that makes him so interesting is the simple fact that he was an accident. He wasn't supposed to be here. He wasn't planned from the start, like Angel and Buffy were. Creative circumstances contrived to make Spike the path of least resistance.

And in-universe, he is a cosmic accident. His capacity for affection and loyalty defies conventional wisdom about vampires, which says they are just soulless husks incapable of true emotion. But the way it manifests as the series progresses is possible only because of the restraining bolt placed on him, which no other vampire has ever experienced, behaving in a way that it was not intended to function.

Spike is, both in and out of universe, an anomaly for multiple reasons. This was never the plan, and nothing about him as a character or plot point works the way it feels like it's supposed to. He is a walking contradiction of the roles he occupies and the rules of the setting. He's not supposed to be here, and moreover, he's not supposed to be.

And that is precisely what makes him so interesting, and captivates so much of the fandom. It's something that more tightly written series, with a limited number of episodes planned from the beginning, can never truly experience.

With other characters, with Angel or Buffy or Giles or Willow, there are surprises to be had. But they often fit very comfortably into their particular roles. But with Spike, you never really know what you're gonna get. Even his creators don't.