#like; especially from a character dynamic/interaction perspective

[leederpfucker]

I'll elaborate on this later but I feel like a Welcome Home and DHMIS crossover would both work and not work

[bigmomma25]

Character Analysis of Pete Dinunzio (Comic Vs. Pilot)

Disclaimer: This is by no means a very good or professional analysis or anything, this is just me whipping out my Honors English high school powers for fun, to put these guys in a jar and shake them. Getting as much content out of this comic as possible even if it means yapping. Pete goes first because he's easy, lol

The Comics Highlight His Flaws

The first difference I noted when watching the pilot first and then delving into the comics is; Pete is aggressive. Much more aggressive. He's the most argumentative member in the first few panels, with most of his comments being rather pessimistic or sexual in nature. He always has some sort of retort or comeback to defend himself and his views, and his passions come out mostly in anger.

There's also a silent shame that comes with his behaviors, much more likely to complain about what he doesn't like than happily explain what he's passionate about. When he does have passionate moments, it's because these things that make him very vulnerable are being criticized, and he gets defensive. Like his love for Christopher Lee.

Without any prior knowledge of these characters, it can be assumed that Pete comes from an abusive household. His behaviors are major signs. He's most likely so combative because he's used to constantly being under fire, especially with (I think) 8 other siblings who are implied to be mostly older men. If he didn't have a slick comment or keep up this "tough" persona, he'd be their personal punching bag - figuratively and literally.

All Pete really knows is aggression, being canonically the poorest member (he states that he couldn't even afford to be in the Boba Fett conversation in the comics). It's been shown that the club lives in a shitty area in Staten Island. Plus, they're heavily bullied. It's shaped the way he communicates and interacts with the world around him. Even his obsessions - he likes seeing people get ripped apart to the point it becomes a kink.

Even the way he speaks sets him apart. Not necessarily his accent, but his word choices are usually much simpler and his points are very blunt. He's not portrayed as booksmart, and his swagger comes off more as a performance (both of masculinity and of nonchalance) than a natural way of being.

It's also worth noting his position in the very first panel of the comics. Bill is head of the table, of course, it's his house and he's the leader. (I'll get to that symbolism in Bill's analysis). But Pete is sat right next to him, lower than Bill and somewhat distant from him, but still seeming closer and getting more focus than Jerry and Josh.

His position is meant to draw your eye from an artistic perspective, he is unconsciously trying to secure himself a good spot for control and stability. If you're on Bill's bad side, you end up like Josh (I'll get into the lolcow-ification of Josh later on too), but Pete gets the least shit from Bill. Pete is not a pushover, and he feeds into Bill more. Their bickering seems almost comedic.

Totally different dynamic than he has in the pilot, so them getting along so well may be retconned. He has much more of a moral compass in the pilot, and while both versions show Pete *attempting* to be a mediator and a voice of reason, the pilot shows it more. Almost like Pete didn't want to be there, much preferring Jerry's company since they were both reasonable.

Bill and Pete's dynamic also goes to solidify Pete's relationship with his father and the toxic masculinity he displays constantly. Pete has the urge to stray and separate himself from the obviously immoral tendencies of his father, but still seeks approval from an authority figure in which he admires. Someone he sees as "cool" and capable, teeter-tottering between loving him and fighting him. His father is very authoritative, Pete was never allowed to question anything. He associates anything "girly" with pain - like how Bill associates women with sexist stereotypes, expecting to be hurt by them because of their shared experiences with bullying and Bill's mommy issues. Except Pete had it literally beat into him.

Him connecting masculinity to being capable and independent leads directly to his tendency to make choices on the fly. In a house that's always arguing, someone has to make a decision. And Pete wants to be seen as the macho man who knows what he's doing, but also doesn't care that much. So he mainly makes decisions with common sense, emotion, and whatever he's compelled to. A very "pull yourself up by the bootstraps" mentality from living in a conservative household.

Though I do feel that most of his decisions come from a place of shame. If you're secure, you usually don't have to make it a point, or brag about it, or defend it so vehemently. You just... are secure. This directly ties into his canonical bisexuality along with his horror passions. His whole life he's been told everything about him was fundamentally wrong, and he's trying to run from it. Which is why he tries to separate his personal love for horror makeup and SFX from traditional gay and drag art forms. Those things are looked down on. He hates being looked down on. Which is why he uses gays, along with Josh, as scapegoats.

The Pilot Highlights His Positives

From the first 25 seconds of the pilot, Pete is already a more positive version of his comic alternative. He's more successful in diffusing the bickering between Josh and Bill, and is more level-headed and goal-oriented. He's calmer, seeing things go wrong and actually wanting to find solutions instead of dwelling on the small details and who-did-what. He almost feels like a disgruntled mother with more humor. His independence also shines, but so does his tendency to run into danger without thinking.

Pete also sits much farther in the pilot at their meeting table. He's at opposite ends of the table, like the other head, or leader, willing to criticize Bill and never really seeing eye-to-eye with him. He tries to lead before Bill does, starting with the "Sexy Sirens" tape, and has a little bit of a power struggle. He's leaning back, to distance himself, and his nonchalance is more natural, it's just who he is. Josh and Jerry seem closer to Bill than Pete is, which is a total 180 from the comics.

A big point of Pete's character in the pilot that isn't touched upon at all in the comics is his sense of justice. He wants things to be fair - from the trivia-off in Joe's shop, to the DnD game. He tries to break up fights but will hit back if he's being hit, or someone else is being hit unjustifiably. Much like a shephard dog instead of a guard dog, like his comic alternative. But only to the club, he's still a menace to his general environment.

His trauma is shown more subtly but it is still made a point - while Pilot Josh is unconcerned when Bill's mother is yelling at the club, Pete seems the most worried and distraught, the first to start sweating and holding his head. His body language screams abuse. His introduction panel also shows he's relatively used to beat downs, seeming silently resigned and defeated rather than horrified like the other characters.

His sexuality also seems more on-par with a teen boy and less hypersexual, and there's less sexist comments. He's definitely still a little freak, shown with his creepy little faces, clawing at the glass, and his comments about "Battle Broads" the series, but he's not trying to repress nearly as much.

Combining the Two

Since the point of the comics was to be an exaggerated version of real life incels, I'd say the pilot is a more realistic representation of who Pete is as a person. But with such a short run, it didn't get to show the entirety of his character, which would have to be fleshed out across multiple episodes. The comics is a satirical piece mocking and displaying the worst of the worst, and t pilot is a commentary on the societal failures that lead to children with this kind of behavior.

There are some parts where they undeniably intersect though. Like Pete's tendency towards violence to solve his problems, and one specific comic panel (which I can't exactly find right now) where Pete comments that sewing's for sissies, and Jerry insists that he's not. Pete's reply is "Of course not you, Jerry, you're a wizard. Keep it up." This can be seen as him just wanting his clothes repaired, but it can also be interpreted as Pete putting his own insecurities and internalized feelings aside because he loves and respects his friends too much. It shows that he doesn't actually believe what he's saying to the degree he insists. Pete is the second most likely to have the capacity to change his ways, if he ever so chose.

Honestly, it's up to interpretation how these traits are combined. Some fans like the comics more, some fans like the pilot. Though Evan seems to be leaning more into the pilot interpretations of the characters now than the comics, showing a possible reboot or retcon of their old traits, just like the retcon of Epilogue Pete.

Summary (MBTI, Enneagram, etc.)

I'm gonna use my general knowledge of personality quizzes to get my point across, lol.

I honestly believe his MBTI is ESTP, as someone who studied it for a very long time and spent way too long on PDB. But he is a very unhealthy ESTP that never found an outlet for his more creative attributes, and lives in unhealthy environments that disrupt his peace.

On the good side, he can adapt easily, read his environment and the people in it well, and he is extremely passionate. He's pushed by his love of horror and film, seeking out people with the same interests and motivation to get things done. He's very experience-based, seeking out adventure, and has a lot of energy. He's very down to earth, lives in the moment almost too much, can easily improvise and comes up with decisions very quickly. He's a quick thinker, but thinks after he acts, not before, and is very life-smart. He's a good communicator, he's practical, hedonistic, and fair.

Deep down, he seeks validation from his peers, wanting to be seen as competent, talented, valuable. At his best, this helps him connect with others in a meaningful way like he craves. But he never really gets there, which leads to him forming a persona he believes will get him that respect. He's actually a very sensitive person in that way, not necessarily emotional but very touchy when it comes to what he loves. He's prone to pessimism, doesn't think about the consequences of his actions, and doesn't see himself in a world in which he's truly successful.

He's selfish, rude, doesn't trust others, has an intense aversion to rules, and doesn't look at any information that goes against what he believes. He can be bossy at times, or judgemental of others who don't meet his standards, and doesn't keep other people' feelings in mind. This leads to an internal struggle with seeing everyone as fake or not as dedicated, but also wanting, needing connection with other people. This can lead to him being rather conspiratorial, which leads to the whole "Jock vs. Nerd" conversation.

I also think he's a sp/so (self-preservation social) 8w9. His biggest fear is being hurt and betrayed by the people he loves, so he seeks out control and stability so that can't happen. He tries his best to be self-reliant so he has no need to open up to others and make himself vulnerable, and he's hard to warm up to. But once he likes you, he's loyal for life. He isn't very loud about these traits, trying to maintain an air of calmness while also being no-nonsense. He doesn't want to lose control of his anger, but also has a tendency to do so, leading to small outbursts of strong aggression. While he craves connection, if he has too many failed relationships, he may start to see them as a waste of his time and become very introverted, like how he became in the epilogue.

__

Yep, that's it, enough yapping for me. Those are all the things I noticed, hopefully it's entertaining to somebody lol.

[letmetellyouaboutmyfeels]

So You Wanna 'Revive' Your Show

Hi Tim. This took me like ten minutes because I actually have two brain cells to rub together. <3

Give the 911 call center more to do. Linda and Sue especially in my opinion.

Go back to what made the show great in the first place which was the core characters becoming/being a family.

Mix up the dynamics. Remember Chim and Bobby's friendship in season one? Hen and Athena's bestieism? Bring that back along with some lesser seen dynamics. I want more of Chim and Karen's friendship. Have Maddie and Bobby work together on something. Pair Athena and Eddie together and have Athena realize just how like her husband Eddie is (and maybe in doing so they help each other get perspective on other things).

Give Bobby a promotion and have him deal with that (although so soon after he quit being an advisor and was clearly enjoying being captain might not work but something to consider).

Have Athena retire and become a private investigator.

More fun filler episodes. A bottle episode where they have a boring day at the station. An episode made up entirely of B shift or the non-firefam members of A shift like SG-1's The Other Guys. An episode entirely from Jee-Yun's point of view showing a young child's perspective of crazy silly adult drama. Boys Night Out/Girls Night Out a la Leverage. "Alternate universe" episodes like Bones' season four finale and Castle's Blue Butterfly episode.

Keep Buck single for a while and give him a safe haven baby. Another way to bond with Hen and Karen over adoption, another way to bond with his sister, and another way to bond with Bobby by making him a grandfather. And oh, hey, Eddie, you want to help me coparent?

Maybe stop having all of Eddie's important shit happen offscreen, I don't know if there's BTS beef or what but grow the fuck up and keep it out of the script. Professionalism, heard of it?

Make Buddie canon. Yes my bias is showing but it's what a large percentage of your audience and media reporters have been clambering after for years. Put guns to heads if you must. Jesus. You want to revitalize the show that's literally the number one way to do it. You dumbasses.

Okay I always said I didn't want it and I still don't but fine. fine! do a musical episode! if that's the price of Bobby's life I'll fucking pay it!!!

Maybe relearn the concept of arcs that last an entire season and not just two-three episodes.

Michael and David have a destination wedding and every single firefam member encounters some kind of emergency, either life-threatening or comedy-of-errors, that means they all show up looking like they got run over by trucks.

RASHOMON EPISODE. For either dramatic or comedic effect. Or both.

Everyone loved the heist episodes like The Taking of Dispatch 9-1-1 and Ocean's 9-1-1. Like come on you fuckwit let the show be fun again.

Actually commit to giving any of the main characters a pet. I know everyone wants Buck but it could be Athena and Bobby, Hen and Karen, Maddie and Chim... personally I would love to see Eddie get hit by the Cat Distribution System.

Firefighters do charity drives all the time, go to schools to do talks about fire safety - show the team interacting with the local community more. Show the parents interacting with their kids' schools or the parents of their friends' kids a bit more. I want to see Eddie and Karen fight the PTA.

It's not hard. That's what gets me. You don't actually worry about the show becoming stagnant. You just wanted to do a really big shocking holy shit episode that everyone would be talking about, forgetting that truly good shows earn those. Shit shows that pull that kind of nonsense lose their audience and get cancelled. You did it because you're a mediocre, boring, never-quite-popular-enough egotist with an inferiority complex who was luckily born with a dick so you fell upward your entire career, and you orgasm to other people's pain.

And for once in my life? I hope cast/crew do know my tumblr. I hope they are on here. I hope they fucking read this, and I hope they print it out and tape it to your office door and every other door on set they can manage like Martin fucking Luther. I want you to go to bed at night knowing you are despised and that a starving barely-breaking-even idiot who wrote a stripper!Buck fanfic knows more about television writing and comes up with better ideas than you do.

To quote David Lynch, fix your heart or die.

[wickworks]

Lancer Tactics dialogue layout crisis of faith

(from this month's backer update)

Every so often, I'll run into something in development that eats away at me until it pushes me to a crisis of faith and I have a breakdown, burn down a bunch of work, and build something better from the ashes. These are moments of transformation and we're almost always able to come out the other side with something much better than what we started with.

This all sounds very dramatic until you take a step back and see the issue in question is just, like, the layout of a menu. But if medieval priests were able to have schisms over angels on pins I can have strong feelings about graphic design, dammit!

This month's episode revolved around how we're doing character dialogue. For reference the plan was to do a standard 4-slot visual-novel talking heads layout. I call it a 4-slot because there's usually four positions that characters can stand; two on the left, two on the right:

I had it ingame, and it was working. But... something felt off. Do you see the difference between every one of the above examples and this?

It's all about perspective, baby.

Answer: all the character art in those examples are drawn at a slight angle so they can be flipped back and forth to be made like they're looking at each other.

Trying to do this with the perspective we chose early — straight on — makes for a chorus line of weirdos who are looking directly into your soul as they ostensibly chat with each other. Credulity is strained; the illusion of these puppets interacting in the same space is paper-thin.

(I was skeptical of choosing this perspective for this reason, but we ultimately went with it to make the customizable assets in the portrait maker easier to fit together)

We tried a bunch of different layouts, but they all at least one of these problems:

they'd stare into your soul while ostensibly directing comments elsewhere.

they felt like text messages; this would be fine if that's what we were going for, but we wanted something that could represent face-to-face conversations. (Tactical Breach Wizards was able to pull this style off because they had little 3D dioramas to go along with it)

or, most damning of all, they felt like zoom calls.

So, my heart aflutter and spirit in want, I spent a day doing a research dive into various dialogue layouts (bless the Game UI Database!) to see if any other games had managed to pull this character art perspective off. I ended up with this massive non-chronological taxonomic tree:

(fullsize here)

The type of layout that particularly caught my eye was this style where each character had their own little box. These layouts borrow a concept from comic books called "closure" where the space and time between characters are left blank. Freed from the constraints of trying to simulate a single space, these layouts allow the reader to fill in the blanks with something that feels more true-to-life than anything we'd be able to render ourselves.

I was especially impressed with the dynamism of Tales of Symphonia and The World Ends With You; rather than sticking to single slots they would animate the entire panels moving around to indicate motion an relative position of characters.

So we threw out the old code and copied them. Here's what we've come up with:

We'll be able to have portraits interact, like smacking each other (I felt like a kid hitting two action figures together, lol)

We can also apply effects like princess-leia-holograms and full-screen "lighting" effects like warning banners:

Carpenter and I came up with a number of arrangements that the portraits can smoothly transition between:

I've also implemented support for choices during a dialogue, potentially leading to branching paths.

Overall, I feel SO much better about this system than our initial designs. It might feel a little more cartoony, but I think we're making a cartoony game so that's not a problem.

Whew. We bit a lot off to chew with this project. I feel like I just made a second visual novel game engine inside of the first. Fingers crossed that it all ends up worth it.

[asidian]

One thing I haven't seen talked about is Crystal's character arc, and specifically the way the timing of it interacts with Charles' arc. They stumble over each other in the worst possible way en route to their respective character growth, and from a narrative perspective, it's absolutely genius.

I'm going to preface all this by saying: none of this is a criticism of Crystal. Part of what makes her such a dynamic, refreshing character is that you don't get to see women in fiction written the way she's been written. You don't get to see women with her flaws that aren't throw-away mean girls or villains. You especially don't get to see women with her traits who learn and grow and become better people. So yeah, I'm going to talk about Crystal's character flaws. No, this isn't Crystal hate. We love our girl in this house. Okay? Okay. Let's start.

Crystal's character arc, at its heart, is all about her learning to be a better person because she has good influences that love and support her for the first time.

When the show starts, Crystal is not a nice person. She's abrasive in a way that's specifically designed to push people away. She's used to getting her own way, and it shows. She's used to having no meaningful connections with anyone, and it shows. She's breathtakingly selfish, in the very literal sense of the definition. She is focused on her self. Her problems are front and center to her; everything is about what she needs, and what she wants, and how she's struggling.

Jenny calls her out very early on. In episode one, Crystal is complaining about the boys, and Jenny, for all her cynicism, strikes right at the heart of the problem. She tells Crystal, "Everybody is always thinking about themselves, all the time." People only care about their own problems. And she says, correctly, that that's what Crystal is doing, too.

This moment is a revelation for Crystal. For the first time, she considers what her behavior looks like from another person's perspective. As she says, she gets mad at herself over it, and that awareness allows her to do something selfless for the first time in the series. She takes a step back and insists that instead of focusing on her problems, they go to help a little girl. It's a big moment for her.

But importantly, she's not done growing as a character here. She's only just getting started.

On my first watch through, I didn't realize how often, over the next few episodes, Crystal redirects things to her problems during conversation, but it's quite a lot. She's still focused on herself – selfish, in that most literal definition of the word. The issues most important to her are her issues. She's starting to learn to think about other people, but she's not there yet. The process is still underway.

Which brings us to Charles.

Charles' arc is a different sort of self-reflection. He's terrified that he's a bad person the way his father was and the way the boys that killed him were.

During the course of the show, he gets systematically stripped of his confidence and made to feel helpless, and just like Crystal needs outside influences to help her reach a more stable place, Charles does, too. He desperately needs reassurance that he isn't everything he's afraid he is.

But my goodness, the timing in their arcs is such a trainwreck when you put them together, and it is brilliant.

Let's start with the Devlin House.

Crystal has some amazing character growth here. She displays genuine concern about Charles, makes an attempt at comforting him, and learns to work with Edwin even though she still doesn't particularly like him at this point.

Charles, meanwhile, is beginning to fall apart. He's just had the worst night of his afterlife. He's been viscerally reminded of how helpless he is. He couldn't stop the Devlins from being killed over and over, just like he couldn't stop his own father's abuse. He messed up his attempted rescue so badly that he was completely out of commission until the case was finished. He managed to help not one single thing. He made no impact at all. He couldn't help those girls any more than he was able to help himself, while he was still alive.

So they get back to the butcher shop, and what do we see? Monty immediately coopts Edwin. Niko doesn't know what's happened because she wasn't there and Charles has been all fake smiles with her. And Crystal goes off with Niko, leaving Charles to flounder on his own in the wake of everything. She's still learning how to support other people. She isn't there yet, and it's extremely on display in this moment.

Then we get the lighthouse episode, and they both get put through the wringer here. Crystal gets her hopes and expectations jerked around by the Night Nurse in the very worst way, and Charles gets hit with a whole pile full of trauma. All that helplessness wells to the forefront again. Combined with being forced to relive some of his worst memories and the desperation to keep Edwin safe from hell, Charles lets himself act on his anger for once.

And what does he get in the aftermath? Horror.

Everyone who cares about him is horrified by what he's done. Edwin goes so far as to call it extreme. They don't know the half of it, of course; they haven't seen what the Night Nurse just put him through. But in this moment Charles is at his absolute lowest, and all he sees is confirmation that he's exactly as terrible as he thinks he is.

That's why Charles shrugs off Edwin's attempt at comfort, here. When he needed to be able to do something to protect Edwin and also himself – when he needed to believe that he could be better than what his father always was – all he sees is the confirmation from the people he cares about most that when push came to shove, he really is a bad guy.

Then comes the aftermath. And this moment is such a brilliant, awful clash of both of their character arcs. It is so delightfully messy.

Because Charles starts to open up to Crystal here. He starts to lay himself bare, the way he ends up doing with Edwin in episode 5. He's on the verge of admitting something that he's been worried about for literal decades. He tells her, "I've been angry for such a long time."

And what does Crystal do? She's still in the midst of her own character growth. She's still struggling to support other people. She's still learning how to. In a lot of ways, though she's made progress already, she's still that selfish girl that Jenny called out in the very first episode.

And she shows it here it with the absolute worst possible timing. No sooner has Charles started to talk about what's bothering him than she cuts in with her own problems. She's tired of riddles and spirits and demons and not knowing who she is. And the look on Charles' face. The moment when he visibly sets aside his own problems, because Crystal doesn't need any more disasters on her plate? It's heartbreaking. You can actually track the subtle change in his expression there. The actor does a phenomenal job.

And then comes the kiss. And what spurs it? Crystal saying she needs something real.

This moment isn't about light-hearted attraction, the way the earlier flirting is. It's Charles setting aside what he needs – comfort and reassurance and a moment to talk through the things that have been tearing him apart – to give her what she says she wants. He can't even feel it. And Crystal isn't far enough along in her character growth here to realize how selfish she's being. Like Jenny said way back in episode one, she's only thinking about herself.

And then comes the absolute unmitigated disaster of episode 5.

Straight out the gate, Charles leans in for a kiss. From his perspective, they have something together; there's affection there. Charles "I think I'd miss kissing" Rowland, who has been starved for meaningful physical contact for thirty years, is not in a hurry to give this up.

But Crystal is fresh out of a nightmare where she conflates Charles with her abusive ex. She withdraws; she calls what they had a distraction. She cuts it off almost as soon as it's started, so focused on her own worries here that she misses how damn fake Charles' smile is, to cover up that he's coming to pieces.

To be clear, she's absolutely not in the wrong here. It is 1000% her prerogative not to jump into a relationship again while she's still struggling to work through what happened with David. But the arc of her narrative is still early enough that she does it all without so much as the awareness that her focus on her own issues has hurt Charles terribly.

And then the episode really kicks off, and both of them are in shambles in very different ways.

Crystal is projecting her issues with David onto Charles. She has a lot of history, and David seems as though he's exactly the right sort of toxic to leave lasting a lasting impact. But Charles hasn't done anything to deserve her assumptions, and he takes the brunt of her temper here and throughout the episode.

Charles is desperately projecting onto the dead jocks. He very badly wants them to be good guys, because he sees himself in them and he needs himself to be a good guy. He snipes back at Crystal for the very first time in this episode, and he does it in the worst way possible, accidentally prodding her where it will do the most damage.

They're both hurting. They both say some truly painful things to one another.

She does not need to hear that she has unsorted hangups about David still plaguing her while she's unable to move past them. He desperately does not need anyone to tell him that he has rage issues while he's still struggling to think of himself as a decent person.

They apologize, in the end. They start to move past it.

But it's telling that Charles doesn't try to open up to Crystal again. He goes to Edwin instead, even though Edwin is the one who called his actions regarding the Night Nurse extreme. He gets the reassurance he needs so badly; he gets the connection he was looking for with Crystal from Edwin, instead. (I have a lot of thoughts on why Charles initially tries to open up to Crystal so quickly, but it is very much an aside, and this is already extremely long, so it will have to wait for another write-up.)

But the important thing here is, Edwin is the one to offer Charles what he needs to overcome the self-doubt eating him alive. Edwin provides the physical affection Charles was seeking in the form of that long-overdue hug. Edwin is the one who's able to reaffirm for him that he's not just a good guy, he's the best person Edwin knows.

And for all intents and purposes, Charles' major character arc ends here.

Charles has a few last little moments to go on the path to rebuilding his own self-image, after this, but for the most part his concerns have been resolved. He saves Crystal in episode 6 and Edwin in episode 7, proving to himself that he's able to make a difference in the face of overwhelming odds. He's not helpless, no matter what the Night Nurse told him; he can be a force for good in the world. By the end of the series, his crisis of self-doubt seems to have been largely overcome.

But it's the conversation with Edwin at the end of episode 5 that really allows him to work through his most pressing issues. Edwin is there to help support him when he stumbles. Edwin provides him the comfort he was looking for while Crystal was too worried about her own problems to notice how badly he needed the help.

Crystal, meanwhile, still has a ways to go after episode 5. The last three episodes are where she does her most important character growth.

In episode 6, she learns some hard lessons about keeping secrets and letting people help and appreciate you even when you can't offer them anything in return. And Charles, importantly, is there for her every step of the way. He consistently offers her physical and emotional support. He models for her, in a very real way, what it looks like to have someone prop you up when you need the help.

And in turn, Crystal steps in to save the boys. She's the big damn hero at the end of this episode.

The breakthrough continues into episode 7. She's so intent on helping to get Edwin out of hell that she literally goes to face her own demons, not for herself for once – not for her own purposes or needs or wants – but because she wants to help someone else.

And episode 8, at long last, brings her to the culmination of her character arc.

Crystal is at her absolute lowest here. Her family, the people who were supposed to love her unconditionally, didn't even realize she was gone. Her precious memories, that she's spent the entire series trying to regain, have showed her that she's not the person she hoped she would be. She's overwhelmed enough that she means to flee, to cut herself off from her new friends entirely.

Then the boys get kidnapped. And just like that, she makes up her mind.

For the first time since the start of the series, she sets aside her most important issues in order to let what other people need take precedence. She disregards all of her own personal concerns and focuses instead on others. She's finally stepped out of those selfish impulses that Jenny calls her out on, all the way back in the first episode. She's finally learned how to support other people when they need it.

Crystal has finally figured out how to be there for others, despite having troubles of her own.

It's a lovely arc, and it's beautifully done.

Charles' is just as touching.

And god damn, but it was a brilliant narrative choice to have their character arcs line up in exactly the wrong way.

[introboy]

So so excited to share my @mcytblrholidayexchange gift for @follow-the-compass-home! My concept was to combine a bunch of prompts together into one AU.

The premise is a modern-fantasy roommate situation where Tango, Bdubs, and Etho live together in an apartment. The only issue is that none of them are human, but they're all trying desperately to blend in, even though they don't really understand humanity as a concept.

More information can be found below the cut, and an introductory fic snippet can be found here (x)!

Downstairs Neighbors AU

Prompts used as inspiration:

Focus on Tango, Etho, and Bdubs

Include Boatem

Story told from Grian's perspective

Hybrid/inhuman AU

Angst with a happy ending

Emphasis on character dynamics

Here's a summary!!!

Tango, Etho, and Bdubs found each other by looking for roommates on Craigslist. They live in a 4-bedroom apartment together.

Tango is a spirit who wanted to interact with the world in a physical sense, so he built himself a body. He's basically just a ghost possessing an android (but unlike ghosts, he was never alive; he came into being as a fully-formed spirit). He doesn't adhere to normal bodily necessities like food, water, or sleep, which is convenient but also heavily concerning from an outsider's perspective.

Etho is a specific kind of shapeshifter called a mimic. He doesn't have a true form, but can copy the shape and mannerisms of most living creatures. The only constant across all of his appearances is a scarred left eye and white hair. Unfortunately, it takes practice to nail specific species characteristics, so he often forgets what he's supposed to look like and falls into uncanny valley. He wears a mask to cover his more noticable facial slipups.

Bdubs is some sort of plant creature (he doesn't really understand it himself). He has a perfect internal clock and sleeps, without fail, for 12 hours every night. He spends a lot of time in the unoccupied bedroom-- he uses it as a makeshift greenhouse, and it's filled with grow lights and humidifiers. He loves taking care of houseplants, but it's also a cover for him to spend time under the grow lights. Without enough light & water he gets lethargic.

Bdubs, Etho, and Tango, henceforth referred to as BET, all assume that the others are human. But since none of them know how to act human, they continuously pick up stranger and stranger habits from each other.

BET are close friends with Impulse & Skizzleman, who live together across the hall. Their upstairs neighbors are Grian, Pearl, Mumbo, and Scar, who are also besties with Imp & Skizz. BET and Boatem don't know each other well, but Grian especially thinks his neighbors are really odd.

Like BET, Grian is not human, and neither are the rest of his roommates. But they all know about each other, and Grian especially is really good at knowing how to act natural in public places. He's an avian shapeshifter, who can take the form of either a scarlet macaw or a human. Unlike Etho, both forms come equally naturally to Grian, and the shapeshifting process is a lot easier for him.

(Imp & Skizz are not human either-- they are a demon and an angel respectively. But, like Grian, they're really good at blending in when in public.)

One day, Grian gets injured on a flight and accidentally ends up on BET's balcony instead of his own. He's too disoriented to shift back into his human form or fly away, so Bdubs and Etho find him outside their door. Tango calls Impulse over in the hopes that he knows how to fix the random-injured-parrot crisis, but the only result is that Grian and Impulse start to truly take note of how strange their neighbors' living situation is. Incidents like the one pictured above arise (i.e. everyone finding out that there is not a singular scrap of food to be found in the entire apartment).

Ok that's all the rambling I'll do in this post, but I hope you enjoyed! Happy holidays!!

[barblaz-arts]

Found out about you and your chaggie art on twt and decided to check out more of it on here! I’ve heard about hazbins hotel before and have seen the pair and fanart of them but haven’t made the decision to watch the show.

Wanted to ask from your perspective, what is it about chaggie that you like? Could be anything about their relationship dynamics, wtv representation that they portray, anything! Should I watch hazbins hotel for them 🤔

Gosh! What do I love about them??

Oh man, welll... On a surface level? The dynamics they display are just so delicious to me, and I especially love that it's always a little subverted with them, yunno? It's angelXdemon, but the demon is the precious sunshine while the angel is the grump with a body count. The princessXknight dynamic they display is subverted too because although Charlie is the one born in the worst realm in Creation, she's still the privileged princess, meanwhile even though Vaggie is the one who came from literal paradise, she's the one who lived a life that wasn't exactly luxurious. They just present dynamics I've already always loved but with a fun little twist.

But on a deeper level, I think I love Chaggie because they're already so far along in their relationship, and you can see it in how comfortable they are with each other, which was such a surprise for me. You see, I'm not very good at fixating on ships when they're already canon. Like, I'd think it's cute, but I wouldn't be itching to find fics about them. And if a ship I've liked finally gets together, I actually... usually... Kinda sorta love the ship a little less... I'd still like them! I just wont be as giddy about them.

But omg Chaggie still manages to give me butterflies, and I think it's because they're way past the honeymoon phase, something that I barely see represented for sapphic couples who are such important characters in a story. Lotsa people didnt like how it wasn't initially obvious that they were a couple, but I actually really loved how the writers and animators showed how deep their bond is without having them making out ang grope each other all the time. God if they were like that, it'd probably give me the ick.

It was just lowkey, because they've been together for years. Charlie would casually rest her arm on Vaggie's thigh and Vaggie isn't flustered because it's probably a habit of Charlie's by now. Vaggie would tuck Charlie's hair out of her face while she's worried about something and it isn't framed as a special thing, but you can tell by how Vaggie looks at Charlie that it wasn't done with any less love than it did over the years. And when Charlie's stressed about a phone call, Vaggie wordlessly offers her hand and Charlie takes it with a quick appreciative smile before holding on tight and bouncing their joined hands up and down like it's a stress reliever.

Their interactions weren't uber sweet with heated physicality, but the show had them display familiarity and comfort instead. And idk i just love that. I love that you can clearly tell they're best friends. Like, the very first scene they appear in for the Pilot, Vaggie is tying Charlie's bowtie for her while Charlie stares at her with a smile on her face. So cute...

Also. I just think both of them are hot lmao

So. Do I think you should watch the show for Chaggie? Idrk. I personally watched for them, but I came into the show expecting not to get much shipping fuel bcuz they were already in a relationship in a show that has a whole dang lot more going on in it. So some people who wanted to get into the ship expecting maybe a lotta smooching felt unsatisfied. But honestly, what did they expect from a 8 ep season that only had a run time of 22 mins per episode, in a show that wasn't even a romance? 😭 I personally thought we got a decent amount without taking away from the actual plot.

I think you should try to watch with the mindset of just having plain ol fun. Try the first 2 episodes, which is only 40 mins of your day. If it doesn't jive with you, that's totally fine. But pls do check out the songs if you dont like the show. The songs are so good. My favorite song from the season has plot stuff, but this one is my second favorite

And since we're talking about Chaggie, here's the reprise of that song sung by them. It's short, but they promised more chaggie songs will be in season 2 so im not too sad about it. Charlie and Vaggie's VA harmonizing is just beautiful.

Edit: for those who saw this post when i accidentally prematurely posted it before adding the links and photos, no you didn't 😐

[mamayura]

Adrien not knowing what he wants

Hot take about Werepapas, I guess:

I actually like that Adrien said "I don't know" when asked what he wants/ who he wants to go with at the end of "Werepapas"

Cause the people who had to learn and come around in this episode's conflict were the ADULTS, not Adrien.

Adrien has already said that he isn't alone, he's living with Nathalie,

and Milly, too, acknowledged right away that Adrien has known her for most of his life so for Adrien she should count as more much than just an employee by now.

And he has not been trying to hide it whatsoever from Nathalie how much she means to him and that he wants to keep living with her. Literally the first thing we see in the episode's present time is Adrien running to Nathalie for comfort when hes crying over his dead mom, but she's pulling back so he does too eventually.

Marinette as pretty much unrelated main character doesnt know about this when she enters the conflict. Hence why she can effectively bring about development in Nathalie by challenging her long-established mind set and dynamic with Adrien due to Marinette's perspective adding a new angle and shacking things up:

Nathalie's inner conflict is one of my favourite things about the episode (and needs its own post if I get around to it), but for the context of this post, yes, she was the one who needed to come around. Not Adrien. He was already there from the get-go as we can see by him repeating the hug he started the episode with. Just now, Nathalie hugged back:

It was nice seeing Marinette help Nathalie take on her role in the end because Nathalie did the same thing Marinette did in Illustrhater for example. Acting like and saying things that eventually made Adrien accept that they don't want to be with him because, duh, that's now interactions work.

That's why he initially didn't say that he wants to stay with Nathalie in Paris when asked in the end. Nathalie too made him feel like he has to accept that that won't be an option, so he knew he had to decide between his grandparents:

The same Grandparents who had to come around in the end, too, and allow for Adrien to stay with Nathalie in Paris, even though both pairs of Grandparents are still the ones to officially hold the legal custody of Adrien (which I'm glad about that they did it like this and didn't bullshit some reason for Nathalie to get custody cause the episode is right, Nathalie has NO right to Adrien's custody whatsoever. They went with a very reasonable way to resolve this)

Its the ADULTS who had to come around. Not Adrien. Adrien already made it clear all episode what he wanted. But because all involved adults declared the outcome he wanted as a non-option, well, he honestly says that he doesn't know what else he wants (who he wants to go with).

And I- I just really like that Adrien was taking the situation serious enough to say "I don't know". That was very mature of him. To not just go with SOMETHING or go on about how unfair the situation is. Cause it definitely was, but this is a very serious legal matter that COULDN'T stay unresolved. He's an orphaned minor currently living alone with a person who's said to neither be an option as his guardian nor does she herself treat it like an option. This day COULDN'T end without at least some kind of temporary solution where he would stay now. It just couldn't.

I LIKE that he didn't repeat his denied desire that was already known to everyone around and instead seriously thought about the options he had.

I like that he loves and respects Nathalie enough to be the one person amongst Emilie, Gabriel, and now Marinette, too, who left the decision to HER if she wants to take on the position of his new mother:

As much as he wants to be with her, Adrien was characterized to understand that this is a massive thing to ask of Nathalie. He knows he means alot to her too but Nathalie was, by all accounts, objectively forced into this:

But especially by Emilie (look, I know she was literally dying slowly and painfully, I'm not judging her for wanting Adrien to be loved and taken care of. But I gotta ackowlegde that Emilie put alot on Nathalie without giving her a choice first):

In that regard I can't fault Nathalie for not having acted on her motherly feelings for Adrien and Emilie's last wish earlier than s5 (but God DAMN Nathalie, there is a difference between not doing it and actively making everything so much fucking worse!).

Adrien is the one person in this who respected how much was asked of Nathalie, so when she continuously acted like she didn't wanted to take on the role, he respected that. But this also means that the person who's responsible for Adrien coming to this "wrong" conclusion was Nathalie. Not Adrien. He's only acting accordingly to her actions and words:

So I like that Marinette got to help her in the end, because this is passive development that's very relevant to Marinette's character too. Even if I wished the show would hold Marinette to the same standards since both in Adrinette and especially Ladynoir Adrien gets mostly blamed for coming to the logical conclusions that Maribug doesn't like him or being with him in any way doesn't mean much to her because that's how she constantly acts like in almost every conflict ever. Over and over again. So I like that it was done properly this time around even if it's obvious that that was only possible because it was Nathalie and not Marinette.

And yes, I totally get not liking that Marinette is taking over the whole moment again. I'm not much of a fan of it either, to put it nicely. But it is wrong to say that Marinette is the one making the decision here and Adrien had no agency in deciding who he's staying with. Marinette is merely repeating old news she knows are true because that's what Adrien has been saying and acting like the whole episode and even already since season 5.

The decision was long made by Adrien. It were the adults who had to come around.

And beyond that,

I LIKE that Adrien said "I don't know" to the question which grandparents he wants to go with instead of the show having him make it all about his friends, girlfriend, or Ladybug. He only brings that up when he gets to stay:

Cause the question of where he would feel more at home and what is best for his future, when he has to completely start anew, is not just about his current friends, girlfriend, or his secret hero partner (who has made every precaution and decision possible to not actually have or need him in her life and job and he was made to accept that fully because that's her "rightful professionalism" same as killing your bf Ig)

I like that it was "I don't know" instead of "but my friends!", "but my girlfriend!", or "but I can't leave!".

Adrien saying "I don't know" means he thought of himself first and foremost and not everyone else:

I even like that "I don't know" means that he took the Graham de Vanilys into consideration despite how awful Emil was. Cause when the outcome Adrien WANTED (keeping his life in Paris by living with Nathalie) isn't an option, then he's perfectly in his right to not write off the possibilities he has with the Graham de Vanilys in London (and good heavens, I'm glad nothing ever brought up "but Chloé is in London! YIKES!").

I like that Adrien didnt write anything off when the decision was possibly about to change his whole future. Yes, saying "I dont know what I want" is a perfectly valid and even mature answer for a 14 year old orphan to give when they were JUST this day confronted with this situation that denied him the option he actually wanted:

And I also like that Marinette in the end didn't wasnt made to make Adrien's answer about herself in an usual moment of panic (in general, I truly LOVED how supportive Marinette was in Werepapas, even if the akuma battle incident is forever burnt in my love square heart in a very negative way. Yes, I think being willing to kill your boyfriend without trying any other solution first is bad, sue me ig. if that's what I'll be judged for, then I can live with it).

It is a far cry from Marinette in Representation for example being mostly written to make not getting to have her boyfriend near her out to be the biggest tragedy of Adrien being send to another country for good. I'm glad she got to be the supportive girlfriend for once instead of the show forcibly trying to falsely make her out to be the most important person affected by Adrien's tragic life. It was so refreshing and wonderful to watch Marinette getting to be in the lovingly supporting role of the relationship for a change, and it does WONDERS for her characterization.

While, of course, Marinette was motivated all episode to help Adrien not having to leave, when Adrien said "I don't know" Marinette knew that he's only taking the other options this seriously now because he can't have the option he actually wants.

She wasn't written to go into panic mode the second she heard Adrien NOT saying that staying in Paris is the most important thing on his mind. She knew the problem was laying elsewhere, even if I wished she hadnt made it abuut the Grandparents, but Adrien's right to CHOOSE (and yes, I'm fully aware that people will write this whole post off as salt because I didnt ignore or handwave away Marinette's consistent CANON characterization, even though that's not how salt works. I stand to what I said. More of Marinette as supportive girlfriend please, then we wouldnt have these problems)

I don't know how to end this with a nice little bow to wrap it up. I just REALLY like that Adrien said "I don't know", and how the episode treated the custody conflict for 95% of the plot which is very good for Miraculous.

[imaginative-123]

Vivziepop glazers will basically downvote you and make excuses if you call out the sexist writing on how Viv writes her gay men, btw this is from r/CharacterRant

Edit: Minors do not interact, reblog or like my post bec I will block you.

I'm pretty sure if OP posted it in the main sub Hazbin Hotel, he might as well get downvoted for sure despite being an SA Victim. Viv Glazers surely never failed to disappoint me and I'm so glad Tumblr exist bc this is the website where you're allowed to rant about Viv and her shows. FUCK THIS SHIT MAN. Maybe Viv Glazers should learn that people have different perspectives and actual issues in her works. VIV is not a SAINT OR GOD you GLAZERS! GET THAT IN YOUR DAMN HEAD FUCK I HATE THIS FANBASE IT JUST MADE ME MAD.

Edit: About to go to sleep since I will finish my work tom my comment just got 16 upvotes I guess glazers must've realized I got a point LMAO.

Also the comments that got downvoted who point out the issues in Viv's writing got upvoted including OP's comment on Stolitz in regards to sexual coercion since there's also a person who denied the r@pe got upvoted before hours later got downvoted and it shocked me why people would upvote that comment that screams mental gymastics to defend a Ship that is made through sexual coercion that includes the class difference and power dynamic. The post from CharacterRant sub got people's opinions turn into 180 I guess bc they realized the other people like me who point out the issues and have concerns about the show might as well have a reason the shows that Viv write is not really good most especially when it's related to queer representation and SA.

Lastly the point of this post is to showcase the double standards in the fandom on how they view criticisms most especially when you apply that to stans/glazers who refused to see the actual criticisms and think it's mixed with the so called "haters" when I myself am a fan of Viv's work but also recently gotten more critical bc the roses tinted glass fell off when I start to analyze Viv's behavior online including her shows. So if you think this post is just whiny, egotistical and immature, sure tell me that, I'm not perfect and I accept that but that wouldn't changed my issues with the Standom's behavior that invalidates valid criticisms that critics like me have been voicing for years nor how the Fanbase has gotten even way more toxic over the discourse surrounding Viv's immature behavior including how divided the fanbase is, let's not forget the Standom's cultish behaviour to defend Vivziepop from any form of valid criticism, btw I also don't agree with other critics all the time but I can also see when there is criticism that is valid. So before anyone accuses critics for being "haters" maybe try and understand where we were coming from, the people became critics are also fan of Viv's work, if I was truly a hater then I wouldn't reblogged or like fanarts of the show including listening to musicals from Viv's work, just bc I'm a fan doesn't mean I have no right to voice my concerns over Viv including her work. Sometimes Stans should understand that fans can like the work but also criticize it.

Also the mods from CharacterRant removed the post from an SA Victim, damn for a sub that is supposed to make essays of your issues from any media, they would sure remove a post from an SA Victim's issues with Angel Dust's character. Truly the most Hypocritical moment from that sub.

Update: I went back to see the post and it seems to me the removed post was brought back again. I guess the mods feel guilty for what happened.

[jeonscatalyst]

Do you know when those narratives of bighit using jikook to cover up taekook started? I remember in my baby army days (early-mid 2017 ish) those narratives were already around but there were no specific ships accused of being used as a "cover up". It was just "taekook interactions were cut from aired footage" or "bighit doesn't allow taekook to be next to each other in official content to protect them". For context i'm a returning fan, i fell out with bangtan back in 2020 because life got too busy, now i'm back and suddenly i see taekookers saying jikook is a cover up for taekook 😅 it might have been a regional fanbase thing since baby army me didn't specifically engage with the west side of the fandom but rather south east asia?

I've always been a jikooker (for fun at the beginning since i liked their vocals together, then mr jeon jk dropped the bombshell that is gcft and i was gagged) but i used to watch a lot of taekook theories, which was how i came across that company covers taekook narrative. I know jikook has always been a sensitive subject in the fandom but i learned just recently how bad it has gotten over the years. AYS?! and their military enlistment really got fire under people's seats.

Hi anon.

As someone who’s been in this fandom for a while, I’d say those narratives really started gaining traction around 2017, especially after GCFT.

You see, in the early days, Jikook as a ship barely existed. The most popular pairings were Taekook and Namjin, and to a lesser extent, Vmin and Yoonmin. Jikook hardly got any attention. Taekook had a lot of cute and playful moments…they were always seen goofing around, being mischievous, and just having a lighthearted bond. In contrast, not many people paid attention to Jimin and Jungkook’s interactions, partly because their dynamic didn’t always appear as wholesome or easygoing as Taekook’s. Naturally, many fans gravitated toward Taekook because it was more digestible, more heartwarming, and lacked that sense of emotional push and pull which people just looking for an escape from the real world weren’t ready to deal with.

Now, as is typical in fan culture, people tend to ship characters they enjoy seeing together regardless of whether they believe anything romantic is truly happening. That’s what happened with Taekook. They were the two youngest members with an adorable bond, and since romantic love is often wrongly seen as the highest form of love, everything had to be framed as romance. Taekook quickly became BTS’s biggest ship.

Fast forward to around 2016, and there was a noticeable shift….Taekook weren’t being seen together in content as much, and when they were, something felt different. Around this time, many people claimed there was suddenly a rise in Jikook content, but that’s not entirely true. Jikook had always been there. It’s just that their moments were overlooked because Taekook’s interactions dominated the spotlight. As the members matured, Jikook’s bond also evolved from roughhousing and teasing to something much softer and more emotionally grounded. Naturally, people began to take notice. But what really changed the game was Jungkook’s GCFT.

Once GCFT dropped, it became impossible to ignore Jikook. Even those who hadn’t paid much attention started to see the dynamic between them. And because Taekook was the most famous and widely accepted ship at the time, this shift was something many Taekookers couldn’t handle. To make sense of it…and to keep believing in their preferred narrative, they latched onto the only explanation that fit their perspective: the company was using Jikook to cover up Taekook.

These narratives began circulating around 2017. While I can’t say for sure who started them, there’s no doubt that Taekook-lives played a major role in making them widespread. Taekookers were desperate to explain why Jungkook was suddenly doing so much with Jimin even though they had long believed that the person he truly loved was Taehyung. So when someone came along offering an explanation that allowed them to maintain that belief, they clung to it no matter how absurd it sounded. Many had formed a deep emotional attachment to the fantasy of Taekook, and they weren’t ready to let it go.

As with most things in life, if you look hard enough for proof of something, you’ll find it. There are plenty of instances where interactions between members get cut and there are a number of plausible reasons for that. Coincidences, editing choices, off-camera behavior that couldn’t be aired… the list goes on. But Taekookers were looking for confirmation, so Taekook-lives began combing through content, cherry-picking any moments that supported the idea of Taekook being “separated.” She ignored the fact that every member pairing has had moments like that, and since no one else was compiling those kinds of edits for other ships, it created the illusion that only Taekook were being “targeted” by the company….even when the so-called cuts made no sense at all.

As people consumed these long, dramatized YouTube videos titled “Taekook Being Separated by Bighit” or similar misleading content, they developed a kind of protective instinct. They truly began to believe Taekook were being oppressed and that belief gave them a cause to fight for. When people feel like they’re defending something pure and hidden, especially in the face of adversity, it creates a kind of loyalty and determination that’s hard to break. That’s how the group kept growing. And this also explains why so many Taekookers developed such strong animosity toward Jimin. In their eyes, he became the villain…a bad friend to Taehyung….because they believed he was helping the company keep Taekook apart without caring how his actions hurt Taehyung.

In short, these narratives gained traction in 2017 because many Taekookers couldn’t accept that human relationships are complex. Sometimes, people drift apart…because of age, life changes, or evolving circumstances….and form deeper bonds with others. But instead of acknowledging that, they created a storyline where the company was forcibly separating Taekook and using Jikook as a smokescreen.

Because in their world, Taekook couldn’t have naturally grown apart. No…..it just had to be sabotage.

[shnoob]

Severus Snape Romantic/Dating HC’s:  

A/N: I’m back for real this time! The end of school shut me down, but I am back! I will be busy for a bit after a few posts, but my timing will definitely be better than before. I wanted to try something new as I’ve been getting into Harry Potter again soooo. To note, I will NEVER do a Teacher x Student dynamic as that is NOT appropriate whatsoever! This is in the perspective of two ADULTS, (Like a Professor x Professor)

C/W: Romantic, maybe abit out of character? I haven't seen any HP content in a long time so I apologize if it is. 

—----------------------------------------------------------------------------

Absolutely infatuated with you, and I mean this in an obsessive way. Although he doesnt display it 100%, especially infront of other people, he will learn every single thing about you, even the slightest of details. (Find this cute or not is up to you but I’m not sure if this is a positive thing half of the time.)

Loved you from the very first interaction you had with him. Your smile, laugh, and even the way you shook his hand as a formal greeting had him hooked. He never felt like he could feel this way again, but you set up a spark inside of him that he couldn't put out. 

The thing he loves the most about you is your intelligence. The way you understand your craft, apply knowledge behind several situations, and never seem to skip a beat grows the urge inside of him to get to know you. Get to understand what you know, basically just enabling his obsessive nature of knowing everything about you lol. 

Again, will never be a PDA sort of guy in the castle. He likes to keep things professional, especially when theres his co-workers and the children around. He wouldn’t risk having rumors spread about your relationship, (which I bet there is already), but outside of the castle, probably max PDA would be holding your hand and being seen with you at all times. 

Now, not to say that if somebody came up to you trying to get your number he wouldn’t make that super clear you are taken. A hand sliding down to your waist, pulling you in and some words exchanged before practically dragging you out and talking about how stupid they were to attempt such acts towards you like the hand holding wasn’t a clear enough sign. 

Speaking of that, he is definitely the jealous type. Watching the moves of any person coming up towards you that seems to have a romantic inclination behind their actions, making detail of what they looked like and every motion they made towards you, to ask later who it was and what business that person had. Of course, he would trust you didn’t have anything to do with it, but rather doesn’t trust anybody else. 

When you two are alone, he is the sweetest guy. Although he still keeps the majority of his composure, he can't lie and say he doesn't have a soft spot for you. Asking you about your day while holding you and rubbing your back as you go into the types of antics all the students are up to, or making you tea as he forces you to rest in the bath that he drew for you. 

At some point, you have had a night where you talk about the drama with the students if you heard rumors about them. Mainly it would just to make sure that your relationship isn’t aware by all, but you can’t lie and say it isn't a bit fun talking about the potential relations between students in the classes you teach.  

His love language I believe would be quality time. Although you cannot spend every day together as you both teach classes, on the weekends he just wants you to himself since neither of you don’t have to see the world. He gets quite frustrated when your plans are ruined, so later in the evenings, he’ll sneak on by to your room to spend the evening, not particularly caring for wandering eyes. 

Remembers every single detail about you. What foods you like, interests, even how you like your hair to be worn. Not even just in general, but on certain days if you ask him to recall he could name what color your clothes were and how you were acting. This causes him to remember certain patterns about you which helps in the long run.  

Albus 100% has theories on you guys dating. He has pulled you both aside separately and asked about your relationship, which both claimed nothing outside of co-workers was occuring, deep down he has a growing feeling its more than that.

[leederpfucker]

I'll elaborate on this later but I feel like a Welcome Home and DHMIS crossover would both work and not work

[aventurineswife]

What do u think of...Aven, Ratio and Reca w/ a Tomboy s/o?

(If ur requests r open ofc)

HSR Characters with a Tomboy S/O

Tags: Aventurine x Reader, Dr. Veritas Ratio x Reader, Mr. Reca x Reader, Tomboy!Reader, Romance, Adventure, Playful Banter, Established Relationship, Supportive Relationships

A/N: Requests are still open don't worry, anon! 🫶😇 Idk much about Mr.Reca so forgive me if I did his character wrong.

Aventurine

Aventurine admires your confidence and tomboyish style, finding your energy invigorating. You two challenge each other in playful banter and encourage one another to step out of your comfort zones.

Your dates often involve spontaneous adventures, like exploring the vibrant nightlife or going to underground gaming tournaments, where Aventurine showcases his skills.

Aventurine is incredibly supportive of your dreams and ambitions, always ready to lend a hand when you're feeling down or uncertain about your goals.

Aventurine's past struggles with trust make him wary of opening up completely, but your sincerity helps him gradually lower his defenses.

You two bond over your mutual love for gambling, often engaging in friendly competitions, whether at a casino or a video game tournament.

Aventurine has a natural instinct to protect you, which can lead to moments of tension, especially when he worries about your reckless behavior.

Dr. Veritas Ratio

Ratio appreciates your independent thought and ability to challenge him intellectually, often engaging in debates that leave both of you invigorated.

He takes on a mentor role, guiding you in academic pursuits or creative endeavors while you teach him to let loose and embrace life outside academia.

Your contrasting personalities create a unique dynamic; Ratio’s seriousness and high standards balance your carefree, spontaneous nature.

Ratio’s stern demeanor softens in private, revealing a more vulnerable side as he shares personal stories and passions, creating deeper intimacy between you two.

You might collaborate on artistic projects, blending Ratio’s intellectual creativity with your raw, authentic style, creating something genuinely original and meaningful.

Your relationship thrives on mutual respect, as you two recognize the strength in each other’s differences, pushing one another to grow.

Mr. Reca

Mr. Reca’s cynical outlook is often challenged by your optimism, leading to interesting conversations where he finds himself appreciating your perspective on life.

You inspire Mr. Reca to explore new storytelling techniques, encouraging him to break away from traditional filmmaking and experiment with new narratives.

Your interactions often involve lighthearted teasing, with Mr. Reca’s sarcasm and your witty comebacks creating a fun, dynamic relationship.

As a Memokeeper, he shares his memories with you, allowing for moments of vulnerability and connection, bridging the gap between his cynicism and your earnestness.

You become a sounding board for his frustrations about the film industry, helping him navigate his feelings and inspiring him to pursue more authentic projects.

Mr. Reca surprises you with adventurous outings to unconventional places, pushing you out of your comfort zones, which leads to memorable moments and deeper connections.

[novlr]

How would i politely describe body types without being vague?

Characters are as diverse as the writers who write about them, but when it comes to describing them, it can be very easy to default to what we know or to succumb to clichés or stereotypes. This can be especially challenging when describing characters’ bodies. When you need to describe body types, it’s really important to strike a balance between being specific and respectful while avoiding harmful stereotypes or vague descriptions.

Why description matters

Description is essential to really bring a reader into a scene and connect with the characters you’re writing about. Physical descriptions help readers visualise characters, which, in turn, can influence story dynamics. Body descriptions can reveal a lot about a character and even affect the way that other characters interact with them. Like people in real life, the way we look influences both who we are and how we interact with the world. 

As a personal example, I am quite short, but I have very long limbs. This gives me the illusion of being tall. Consequently, I am often asked by people taller than me to help them get things down from high shelves because they perceive me as taller than I am. This is a common interaction in my life that has changed the way I dress and carry myself. You probably have similar anecdotes in your own life, which is why building those descriptions into your characters can be such a great way to really make them feel real. How a character looks is not all they are, but it does help create a well-rounded sense of character if we get a feel for how they interact with the world around them.

General guidelines to describe body types

Thoughtful representation matters in modern writing. Descriptions should exist to make your characters feel like people and not like stereotypes. To achieve this, you must:

Focus on relevant details that serve the story — don’t just describe a person’s body because you feel you need to. Everything, even character description should exist to serve the story.

Avoid loaded terms or judgmental language.

Use specific, relevant details rather than general statements for the sake of it. 

Consider the character’s own perspective of their body instead of only through the eyes of other characters.

Include dynamic descriptions that show how the character moves and interacts with their environment to give a sense of who they are instead of info-dumping a description.

Common pitfalls to avoid

Don’t make a character’s body type a central part of your narrative if it isn’t plot-relevant.

Don’t rely on stereotypes or clichés.

Avoid using food-related metaphors, as they’re often problematic.

Don’t make assumptions about health or lifestyle based on appearance. Only include this information if it is relvant to the story you’re telling and you’ve researched and fact-checked to ensure its accuracy.

Don’t over-focus on your character’s body as a defining character trait.

Don’t use derogatory or outdated terminology.

Don’t over-describe body type to avoid saying what you mean. Fat and skinny aren’t dirty words. Short and tall don’t have an implicit bias. You can be direct. In fact, it’s often better to be direct in your description than to labour over someone’s body in minute detail.

Effective techniques to incorporate body types in the narrative

Describe clothing and style choices.

Show how the character navigates their environment and how their personality shines through movement.

Consider cultural and historical context.

Include relevant occupational influences on physique or vice versa.

Reference genetic or familial physical traits when relevant.

Include distinctive characteristics or style choices that aren’t related to their body type.

Note how the character’s appearance changes in different situations (i.e., dressed up or casual, at home or at work).

Focus on functional strength and capability outside of their body type.

Consider historical context if writing historical fiction and be aware of changing beauty standards.

Avoid cultural stereotypes and generalisations.

Don’t make a character’s body the centre of their story if it’s not relevant to the plot.

Use precise, specific language – don’t beat around the bush. Say what you mean.

Choose words that match the tone of your story.

Describing body types doesn’t have to be a minefield. Writing a character respectfully doesn’t require any more technical knowledge than simply writing them like a real person. While description is important for reader immersion, it’s also not something you need to focus on in too much detail if it’s not relevant to the plot. 

Describe body types in a way that serves your story. Every character’s physical description should contribute to their overall characterisation and your story’s themes, and never distract from it. Physical description is just one aspect of character development, so the most respectful way to describe a character’s body type is to make it a natural part of who they are and not the focus. 

[bennetsbonnet]

Why don't you agree with the "enemies to lovers trope"? For Elizabeth at least, Darcy, after insulting her, surely was her enemy.

Personally, I don't really enjoy the tropification of literature and reducing stories down to a few buzz words because, in doing so, the context of the era in which the novels were written in is ignored and the complexity of each character is downplayed. I don't think it's the worst offence in the world by any means, I guess if you're recommending it to a friend who likes that trope then it makes sense to push it, but I find it hard to think of Elizabeth and Mr Darcy as enemies (and I also wonder if the friend would be disappointed because it might not truly be enemies to lovers).

I can see why some might think of Pride and Prejudice as enemies to lovers, perhaps especially first-time readers who focus on Elizabeth's perspective of Mr Darcy, as the narrative does because that's all the information we have to go off when forming our opinion of his character, but I think that once you know his character and see how hard he was trying with her, it's a struggle to think of him as ever viewing Elizabeth as an enemy.

You're right that Elizabeth did perceive Darcy negatively, especially after he insulted her, but is that enough for enemies? He was rude and she was rightly furious and understandably thought the worst of him but I'm not sure based off that one interaction, it warrants Darcy being deemed her enemy.

I also don't think that's the core of their dynamic. Elizabeth was subconsciously interested in him, she enjoyed conversing with him and provoking him; she looked for any sign of his features in Lady Catherine's face when she met her and she also passed judgment on Anne de Bourgh, who she believed would be Darcy's future wife... she remembered one vague comment off Wickham about Anne and it clearly stuck in her mind for months. Darcy was living there rent free!

From Darcy's perspective, Elizabeth was never his enemy. Her situation in life was his enemy perhaps... but Elizabeth herself? I don't think so! Once he spent even a small amount of time with her, he was smitten. I also think that depicting Mr Darcy as merely an enemy to a lover does a disservice to his growth because he was never inherently a bad man worthy of being viewed of as an enemy, as evidenced by the many good accounts of him that we hear, he just needed to be humbled and change his ways. That doesn't scream bad boy or enemy to me.

Finally, I can't see either of them being happy with someone they had ever deemed an enemy, not with how much Elizabeth values good manners and Darcy's strong moral code. He was being conceited when he said it, but I believe Mr Darcy was sincere when he said, 'my good opinion once lost, is lost forever.' I don't think he's a man capable of enemies to lovers!

[kartoonatic]

Hazel and Bunny: In Defense of Hazel

I see a lot of talk about people not enjoying the Hazel and Bunny plot line of this game, and while personal taste is personal, I don't think it's entirely accurate or fair to say Hazel is stupid or gullible for trusting Bunny the way she does. I have a very very thorough explanation of why I think this. Let me explain, massive game spoilers under the cut:

First let's talk about Hazel's in game characterization so we can understand how she thinks and why she makes the choices she does. We can infer through Hazel's commentary that she has two prominent character traits: she is very empathetic and somewhat inexperienced when it comes to understanding toxic interpersonal dynamics. This is by no means all there is to her, but they are some defining traits of her character in the early half of the game.

She's inexperienced because she's been sheltered from topics like abuse and neglect by her mother, evidenced by the fact that Lacey shields her from the unpleasant details of her social work. Hazel is shocked to learn about the brutality Benjy experienced in his lifetime and expresses surprise in cutaways when her mother explains the toll her job takes on her.

[ID: Lacey: So hard for me not to take my feelings home to Hazel. I want to shield her, but I just keep pushing her away. Hazel: The things I saw! I get why mama had to "wash her day off" when she got home. Use up all our hot water on really bad days. End ID]

This makes sense given that Lacey is a very loving parent, and being in her line of work would know better than to tell her child the traumatic details of her cases even if she needed an outlet. But it means that while Lacey has the experience to understand what type of woman Bunny is, Hazel is not quite so good at clocking this type of behavioral pattern.

Let's pair this with the facts Hazel has available when she makes the choice to trust Bunny.

Bunny is the only living family Hazel has left outside of Lacey.

Bunny has access to a huge amount of information and resources, including the supernatural knowledge Hazel needs to find her mom.

Bunny has significant trauma around losing a child, which is definitely influencing her cold behavior.

Bunny has not (yet) been outwardly hostile to Hazel, even after she caught Hazel snooping around the vacation house uninvited. In fact, she gave Hazel fresh clothes and let her shower.

I hope we can appreciate the headspace this puts someone in. When you realize someone has been having a hard time in life and carrying that with them, you should be inclined to question the way you've been interpreting their behavior and adjust accordingly. Additionally, Hazel's sense of empathy is especially strong. She's invested in the stories of the people she sees on her journey despite many of them having died years ago. So to me it's not surprising that when she learns about Bunny and Trey's history, Hazel tries to rethink what she knows about her grandma. I think this is all why she decides to trust her by the end of chapter 6.

[ID: Hazel: Bunny buried every kid she brought into this world. That's gotta take a toll on you. End ID]

Here's my biggest theory: I think that Hazel's experience with Laurent actually reinforces her trust in Bunny instead of chipping away at it. Personally, Laurent's chapter solidified my dislike/distrust of Bunny, but from Hazel's perspective, I can see how this would cast doubts on whether Bunny is truly a bad person. Hazel likens her preconceived notions of Laurent to how she thought about Bunny. When Hazel confronts Laurent she's hurt by his past actions and allows that to shape their interaction. She only sees the way he hurt Lacey and doesn't give him time to explain himself.

[ID: Hazel: Until you didn't. You just up and left us one day! Did you even care? What was so wrong with mama? With us? End ID.]

As we progress through the level, we learn about the trauma that created his self destructive pattern of withdrawing from relationships like he had with Lacey.

[ID: Hazel: Mama always said Laurent had a tough childhood. "Tough" doesn't even begin to cut it. End ID]

She comes to find out that despite his issues, Laurent is generally a good guy.

[ID: Hazel: I mean... I remember her laughing a lot when you were around. End ID]

So think of it this way: If Hazel could be wrong about someone the way she was wrong about Laurent, she could be wrong about Bunny. Bunny has also experienced trauma, adopted questionable means of coping, and acts in seemingly irrational ways that might be explained (not excused) by her life experiences. Keep in mind that Hazel is empathetic by nature, she is moved by the struggles of others even when she has no personal stake in their story. And her lack of first hand experience with toxic family dynamics leaves her ill-prepared to understand that while Bunny loved one member of her family, she still might not love Hazel at all. I think she's unwilling to face this because despite it all, Hazel has always wanted a relationship with her grandmother. Otherwise she wouldn't have brought it up as early as chapter 1.

I think the core disconnect here is that the Huggin' Molly plot twist is extremely well foreshadowed to the audience. There's ample clues to Molly's real motives that are easy to pick up on. And based on your own experiences as a player you might have already made up your mind about Bunny (I know I did lol). But I don't necessarily believe that characters, who should be emotionally immersed in the story, need to act on every bit of information they receive especially if thematically it makes sense that they'd struggle to fully internalize it. I think less people would feel this way if Hazel had thrown out a few lines like "Bunny's the only family I have right now" or something that telegraphs her inner conflicts more clearly. But as is I just don't believe that Hazel trusting Bunny reflects negatively on Hazel's character.

TL;DR:

Hazel is naturally a very empathetic person who tries to see things from other's point of view.

Hazel lacks experience with toxic and manipulative people, and couldn't recognize those traits in Bunny.

She was wrong for judging Laurent the way she did and knowing that cast further doubts on her preconceived feelings towards Bunny.

The plot twist is very well foreshadowed while Hazel's inner monologue doesn't really elaborate her thought process in trusting Bunny, creating the sense that Hazel isn't questioning things enough.