#literary tropes

[princesssarisa]

My post about whether or not Lydia should be saved from Wickham in modern Pride and Prejudice retellings has gotten more likes and reblogs than I expected. It's made me think of another possibility of why Austen didn't save her from him.

Presumably, Lydia and Wickham's marriage could have been avoided in only three ways that would have left Lydia's reputation intact. The first is if they had only been planning to elope, but it was prevented, as with Georgiana. The second is if they had been found earlier and separated before Lydia lost her virginity. Or else Lydia could have listened to Darcy and left Wickham, and then Darcy could have used his influence to protect her honor: e.g. by claiming that she was kidnapped, or by arranging a decent marriage for her.

If Austen had wanted to make any of those choices to free Lydia, she could have done it without drastically changing the plot. But if she had, it might have felt a bit too "literary" and unrealistic.

I've just been re-watching some of Dr. Octavia Cox's literary analysis videos on YouTube. They reminded me that Austen always loved to skewer the tropes and clichés of other literature, especially Gothic melodrama, whether in outright parody or in subtler deconstruction.

Dr. Cox's video on the elder Eliza's fate in Sense and Sensibility particularly highlights this trend in Austen. She argues that Eliza's story is a classic, clichéd Gothic melodrama (a beautiful orphan, an abusive uncle, thwarted romance, forced marriage to a cruel man, a "fall" into a life of "sin," and ultimate illness and death, all narrated by Colonel Brandon in heightened, poetic language), and that Austen's point in including it was arguably to highlight that this wouldn't be the fate of her heroines. Marianne comes close to it with Willoughby and with her near-fatal illness, but in the end she's saved. Austen's point was arguably to say "Yes, I know all about this type of melodrama, I know all the clichés, but I'm relegating it to the backstory, because that's not what I want to write."

(I don't know if everyone would interpret the elder Eliza's storyline this way, but it's how Dr. Cox reads it.)

Maybe with Lydia's fate, and with the backstory of how Georgiana was freed from Wickham, Austen was doing something similar.

I'm not enough of an expert on Georgian literature to know if the rescuing of girls from predatory men with their virginity and honor intact was a cliché or not. But it does appear in late 18th century comic opera. For example, Mozart's Don Giovanni: the title character is the ultimate womanizer, but he has no success with any of the women he tries to prey on over the course of the opera. His seductions are stopped by the timely, chance arrivals of his enemies, his victims get away unscathed, and he pays for his crimes with his life in the end. Or The Marriage of Figaro: the Count's designs on Susanna are thwarted, and he's humiliated and forced to beg his wife's forgiveness.

If stories of womanizers being thwarted and punished, and their female victims saved with virtue intact, were as common in the literature of the day as they are in opera from that era, then maybe Austen used Wickham and Lydia to deconstruct them.

We definitely see some skewering of poetic cliche in the fact that despite Mrs. Bennet's fears/hopes, Lydia's honor is saved with a bribe instead of a duel.

Maybe like the Eliza backstory in Sense and Sensibility, the backstory of Georgiana's near-elopement can be read as a more perfect "literary" example of a girl escaping a cad's clutches. The elopement was thwarted partly by pure chance, as Darcy paid a surprise visit just before Wickham and Georgiana meant to run off, and partly because Georgiana was a “good victim,” whose conscience got the better of her and who chose her family and honor over her whirlwind romance.

But similar luck isn't on Lydia's side, nor does she make the right, “virtuous" choices. Darcy doesn't find the lovers until Lydia has already been living with Wickham, and like a typical reckless teenager, she cares nothing for either her reputation or her family compared to her infatuation with him. So Darcy is forced to bribe Wickham to marry her, Wickham goes unpunished except that he loses his hope of marrying rich, and all the characters have to live with the results of the scandal for the rest of their lives.

By having Georgiana's successful escape from Wickham be mere backstory while foregrounding Lydia's lack of escape, maybe once again Austen was saying "I could have freed Lydia this way – I know the tropes other authors might have used to free her – but I'm a more cynically realistic writer than that, so I won't."

I have no idea if this is valid or not, but it's a theory.

[literaryvein-reblogs]

literary & character tropes (pt. 5)

Tropes - themes, motifs, plot devices, plot points, and storylines that have become familiar genre conventions

All writers manipulate language to create certain effects. At the level of individual phrases and sentences, the skillful use of tropes is key to creating writing that’s fresh, memorable, and persuasive.

Ancient Evil: A character, concept or thing that's old and evil.

The Blind Seer: Are blind, and yet they can see more than we can, metaphorically speaking, by using heightened senses, divination, or some type of magical powers to gain knowledge of the world around them. It is a recurring theme in mythology; Justice is blind, Odin plucked out an eye to gain knowledge, and the Graeae had had only one eye among three of them. Time and time again, the sacrifice of sight is shown to result in greater cosmic knowledge.

Bloodbath Villain Origin: The villain's Start of Darkness began with sudden mass murder.

Botanical Abomination: A strange, incomprehensible organism that looks like a tree or other plant, but they came straight out of a forest from your nightmares.

Changeling Tale: Babies who are abducted by fairies and replaced.

Chronoscope: A chronoscope or time viewer is a device that uses images that show past or future events like a television. They can sometimes also cause time travel. They are common in sci-fi, and often take different forms.

Goo-Goo-Godlike: An all-powerful child who doesn't know any better.

Hide-and-Seek Horror: A game of hide-and-seek is played for horror.

The Omniscient: A character that knows everything. Either literally everything, or simply everything worth knowing under the circumstances. Beings with this ability tend to be background characters that the reader is told little about.

Reading Tea Leaves: Tasseomancy (alternatively known as tasseography or tassology) is a form of divination that interprets patterns in tea leaves, coffee grounds, or wine sediments. The method involves the quarant (the person getting their fortune told) being provided with a cup of a particular drink (Tea, Coffee and Wine being the most common forms). They are asked to drink from a specific cup, leaving a small amount for the leaves and/or pulp to gather. The leaves/pulp then form a variety of shapes, from animals to inanimate objects, even mythical creatures and specific people. These shapes hold symbolic significance, their presence spelling things ranging from good fortune to omens of doom.

If these writing notes helped with your poem/story, please tag me. Or leave a link in the replies. I'd love to read them!

More: Literary & Character Tropes

[yourqueerbookshelf]

Not sure what my motive is here, but . . .

The results will not affect which books I post about, because I actually have to want to read them, but I'm dying to know who likes to suffer!

[novlr]

[nootcatt]

TGCF and the Literary Tropes

Okay so this is a long text post, but its something I've been through and discussing a lot.

I’ve mentioned this before, but let me say it more clearly: in my opinion, there’s no such thing as being “doomed by the narrative” in Heaven Official’s Blessing (TGCF) by MXTX. It’s an important distinction because it sets MXTX’s storytelling apart from other narratives where characters are often victims of fate with no real agency. MXTX understands probability, and does not operate by the ‘but what if!’.

For those unfamiliar with the term, “doomed by the narrative” refers to a trope where a character’s fate is sealed or predetermined by the structure of the story itself. Essentially, it means that no matter what the character does—regardless of their actions, intentions, or desires—the plot is already designed to lead them toward an inevitable downfall, failure, or tragic end. It’s a form of narrative determinism, where the story traps a character in an inescapable fate. This idea is commonly seen in tragedies or stories centered around themes of fate and destiny, where even the audience often feels that sense of looming disaster, even if the character does not.

While TGCF is a novel rich with themes of fate and destiny, it doesn’t employ the “doomed by the narrative” trope. Instead, the story revolves around other different ideas, such as “you reap what you sow.” In TGCF, the characters—especially the gods—face the consequences of their own actions. From the Banyue Arc to the final arc, we consistently see this pattern. No character suffers without reason, and no fate is forced upon them by the structure of the story itself. Their actions, choices, and motivations directly shape their outcomes.

In TGCF, fate is not something manipulated by MXTX to move the plot forward or force a tragic conclusion. She doesn’t kill off characters just because it serves the story or because she’s trying to make a point about destiny. Instead, fate in TGCF functions more like an ecosystem—a natural cycle where actions have consequences. It’s a world where what goes around comes around, and every character is accountable for the decisions they make.

Consider the Blackwater Arc (FengShui Di Arc) as an example. Many have discussed this before, so it’s not something you have never come across. It’s a key moment in understanding how fate operates in TGCF. Shi Wudu is faced with an impossible moral dilemma, a classic “trolley problem.” He has to choose between sacrificing the life of a stranger and their family or allowing his beloved younger brother, Shi Qingxuan, to die a death more tragic than anyone can imagine. For Shi Wudu, this is not a simple decision; he has dedicated his entire life to protecting his brother. Older brothers are like parents, to their younger siblings. Shi Wudu does not regret making the decision he did. In the end, he makes the choice to switch the tracks, saving his brother at the cost of another’s life and family.

As the arc unfolds, we see that Shi Wudu must also face the consequences of his decision. He is driven mad by the end of the arc, and his punishment is both brutal and symbolic—his head is ripped off, an echo of the price he paid for his brother’s safety. Shi Wudu made a choice that could be viewed as understandable or even noble, but he also committed a grave wrong. And in the world of TGCF, he reaps what he sowed. Even in his final moments, He Xuan gives Shi Wudu a choice, he can still reverse the tracks and fix it, or die at the hands of the person he chose over him, and Shi Wudu stands by his decision, telling Shi Qingxuan, “Gege will go ahead and wait for you.” He does not regret his sacrifice. He is killed for it. His end is a form of cosmic justice. Despite the tragedy, there’s no sense that he was doomed from the start—his downfall is the direct result of his own actions.

This principle also applies to He Xuan. “But He Xuan suffered so much; he deserved his revenge.” That’s the point. He Xuan’s story is not one of a man doomed by fate, but rather a man consumed by revenge. He Xuan, who endured unimaginable suffering and betrayal, chose to devote his existence to vengeance. He had already avenged his suffering by killing the people responsible—he became a Ghost King, devoured the Jinx Demon, and infiltrated heaven. He gained power, status, and acceptance among the Heavenly Officials. Shi Wudu changed his fate so that he could no longer ascend? Here he is, a god (and an elemental god, instead of a civil god like he would have been if his fate hadn’t been switched). He could have lived peacefully, yet his obsession with revenge defined every move he made.

Even when He Xuan had achieved everything he should have wanted—status, wealth, respect—he couldn’t let go. His fixation on vengeance led him to destroy the very peace he could have had. By the end of the arc, when Shi Wudu asks if he’s happy, He Xuan’s answer is a hollow “yes,” fueled by the sight of Shi Wudu’s suffering. But as Shi Wudu points out, this revenge has changed nothing. Shi Qingxuan, despite the tragedies, had lived a better, fuller life than He Xuan. Shi Wudu’s words break He Xuan, driving him into a final fit of rage where he decapitates Shi Wudu and refuses to let Shi Qingxuan die, just to prevent the brothers from reuniting in death. What does he get in the end? Nothing, but the head of Shi Wudu and a life time of brooding in the nether water manor.This act of spite is not the work of a man doomed by narrative fate—it’s the result of He Xuan’s choices, driven by his inability to let go of vengeance.

In conclusion, TGCF does not operate on the idea that its characters are “doomed by the narrative.” MXTX creates a world where actions have consequences, where fate is shaped by the decisions characters make, and where justice—whether deserved or tragic—is always a direct result of their choices. The characters in TGCF are not trapped by an unavoidable destiny but by the weight of their own actions. It’s a powerful form of storytelling that places responsibility on the characters themselves, rather than the structure of the story.

[bethanydelleman]

Redemption arcs are great, you love to see one done well. We eat up Mr. Darcy overcoming his pride and Elizabeth learning the truth about her prejudices. But the one thing that rarely comes up narratively is backsliding.

In fact, if someone writes a fan fiction follow-up to Pride & Prejudice with Darcy falling back into his old ways, people get angry. "Where did his character growth go?" they cry. It feels like when Han Solo was back at square one in The Last Jedi, that can't happen, can it?

Except it can! My husband says that when I visit home, I act younger and somehow my 'character development' of the last 20-ish years means very little. And then we have the most common serious cases: addiction and leaving domestic abusers. You can in fact hit "rock bottom" more than once, you can return to a toxic person and then escape multiple times. You can leave one bad relationship and fall into another. I think part of the reason this is so hard to accept is that we are taught that once you mount the top of that redemption arc, it's over, you'll never slide back down. But humans can and do, again and again and again.

I have had trouble with this mysterious concept of "tact" since I was a child. I have grown (I think), but every so often I just say the stupidest, most tactless thing to someone. If I was a book character, someone would scream at the page and ask where my character development went. It's there, I've been working on it, but I still make mistakes. I get tired, I misjudge, I get too comfortable and tell a stupid joke around the wrong people. At this point I've just accepted that it will always be a struggle for me, I will never complete my arc, I have to just keep trying.

So... the point is have a little mercy. We aren't characters in an epic novel, hopefully we learn, hopefully we grow, but we also stumble and backslide and screw up. And we are prone to make the same mistakes over and over again. You just have to decide to keep loving people, flawed as they are.

[eri-pl]

I got to B&L with my reread. It has so mixed language for me… From the "and Luthien had sufferred more than any Elf" (hmmm, excuse me, but this doesn't sound trustworthy at all… dfw if you're reading this, please don't forget to breathe… it's fine... i got you) to some really awesome descriptions (there should be a name for this trope, compliment by reference?) and behaviors, to Beren being sassy to again more untrustworthy absolutes… It's all over the place.

Also, "fate touched her and so she fell in love" is technically not wrong but sounds jarring to me. But then, I do not like romance as a genre.

Also, LotR references / things referenced by LotR (I'm not sure). Luthien's hair and eye color have, if I remember correctly, the exact same poetic descriptions as Elrond's. Which makes sense, of course. Plus Beren has a Frodo-like moment of very explicit being given what to say. Anyway, Elrond is cool and deserves to look like Luthien. <3 And it probably freaks everyone out. :)

More when I do the reread post (but first, Sudden Flame).

PS: [question inspired by cleaning some of my tag overload] does anyone know (and wants to tell me) why the West is, well, in the West? Is this a British folklore thing? (I don't think Jirt would be petty enough to do "Asia bad" or similar reason)

[emilythescribbler]

Literary Tropes: Reincarnation

Lily had little time to think, for if she was to ensure her only son's survival in the wake of the tragedy which would befall their quiet home, in that quiet village in Godric's Hollow, she had to act, to move swiftly up those stairs, as her love, her husband, stayed behind to ward off the evil presence at their door. 

He was armed, not with a wand, but with his courage, and so he surely fell to the ground, with a loud thump which sought to both distract and horrorify the woman who had hastedly rushed to her infant son's bedroom, pausing only to allow the feeling of immense shock to wash over her, striking her with a force which almost knocked her off her feet, before she forced herself onwards. All her mind could think of, in that long, drawn-out moment between one second and the next, was Harry - her son, who looked so much like his father, who had her green eyes, remarked often that he'll break hearts when he is all grown up, much like James himself... and Peter, who she would have never expected to betray them, to betray his childhood friend, to kill those he fought beside, to join forces with those very wizards who sought domination over all. 

Tears flooded her eyes, but she forced herself on, closing her son's bedroom door, as he gazed up at her - an innocent, with an  unknowing expression upon his face, with little idea of the horrors which awaited them within the next few moments. 

Her love for her child knew no bounds, and Lily would risk even her own life to protect him, but she knew she had little way to prevent the tragedy which was sure to occur. Each second seemed to pass by with shocking pace, as if god himself were taunting the young witch, dangling escape or salvation from out of her grasp. She dried her eyes, cursed beneath her breath, as she racked her mind for anything, any solution to her problem, any spell to shield herself and her infant son, anything at all to protect them from the danger present.

Tom Riddle's footsteps grew ever closer. A thud here, a thud there against the decades old carpet lining the hallway floor, as an eerie green glow appeared on the other side of the pale blue bedroom door. Children's finger paintings and other decorative images, tacked upon the wooden frame were now coated in the signs of death and decay, as Lily held her son close to her, shielding his small, fragile body from harm.

She sensed her time was near, but knew there could be a chance for them, for something, someone, somewhere, to appear once more, to live a new life far from betrayal, death and the threat of magic. It would be a long shot, there would be no guarantee it would even work, but she felt, as strongly as she felt the love for her child, who still looked upon her with little more than a son's love for his mother, not sensing the dangers posed to them, in that very moment, that she had to try.

She had been a bright student, as intelligent as any other her age at that mysterious school many, many miles away, and so she had often been found reading in the library, her nose always stuck in some book. She learned much during those solemn times, particularly in her later years at the school, for she had found herself overcome with a sense of loneliness only resolved once she had finally, after six long years, gained the courage to befriend those Gryffindors who always seemed as though they had everything, and could always depend upon each other. She had wanted that, had longed for it for so long, but it was a slow process of trust to build, after Severus had torn it down, had pulled that budding flower out - root and stem. 

Spells abound could be found within those leather bound pages and, she had to admit, she had found herself in that forbidden section of the library more than once, when her curiousity got the better of her. She recalled a spell she had found particularly fascinating, which suggested that, for those who faced death, with no option to retreat or escape, they could cast such a spell to allow their spirits, their hearts, their will to re-emerge as another, to come reincarnated entirely. An surprisingly simple spell, but her only true option as she wondered, if it were to work, what would become of her family, of  herself, in this unknown future. 

Power built up on the other side of the door, she only had a few seconds to spare, but for a skilled witch such as Lily Evans Potter, that would be all she would need. She set her son down for a moment, planting a final kiss to the top of his head, embracing that familiar smell all babies seemed to carry for a moment longer, before she turned back to face her opponent. She drew her wand, taking in a deep breath as she cast a orb of bright blue light upon herself and her son. She could never know if her husband's lifeless body also carried the same glow, all she could do was hope the spell worked as well as she had read, as she forced her hands to be still for those final words to speak into the ether. 

In regeneratione, reincarnationes, restituo.

As she uttered those words, in no more than a whisper as she heard the gurgled laughs of her son nearby, as the orbs which enveloped her family shrunk in a flash, shrinking inside their bodies, before bursting in a brief burst of sparkles and light, the door before her burst open also, taking her by surprise by the full force of the blast. Harry's door hung loosely off it's hinges, she heard him begin to cry as she wished to rush to him, to flee the scene before anyone else could die, but that was not meant to be. 

She only had moment to look upon the face of her killer, before green light appeared before her then, the last thing she saw before darkness overcame her. She thought to herself that she had failed, that her efforts were all for naught, until both herself and her husband recalled that sensation of waking, in the moment before realisation would overcome them, only it never truly did. Their son would find himself in that state of dreaming in the waking world all his life, particularly as he came to find himself more and more involved with, and a part of, the same magical world his mother had cursed long ago. And Ginny Weasley often found herself with this same feeling, this feeling with no name, and only when she found herself side by side with Harry James Potter did it become more and more apparent that the thing she seemed to feel was missing in her life was him. Lily and James lived on, and while she felt that her spell had failed, she never could have known that it was her love which shielded Harry from the very danger she feared, but also her love for her husband which allowed their will, their strength, their power, to live on, to carry itself into the next generation. 

Lily Evans Potter was an expectional witch, until the end.

[hussyknee]

Nobody misunderstands the assignment more than people that write heterosexual vampire novels.

[percheduphere]

God, you know ... I've been thinking about this for months, but the more it sits in my brain, the more hilarious it becomes.

The whole Odinson/daughter family would absolutely HATE Succession. Like, if Mobius or Tony Stark felt like being an absolute dick, this would be the show they'd put on when any one of them is around. I mean ...

Logan Roy = Abusive, narcissistic father who pits his kids against one another to inherit his corporate Dynasty.

Kendall Roy = The narcissistic golden boy. Dad's "favorite". Shit to his younger siblings and entitled as fuck. Thinks Roystar will be his.

Roman Roy = Oh, boy, here he is. My favorite slime puppy. The runt of the litter. Dad's favorite to abuse. Uses humor and assholery to hide Pain(TM). Actually, the smartest of the bunch and closest to "the favorite".

Shiv Roy = Only girl in the fam battling against the absolute misogynistic sausage fest of her siblings; ruthless and sharp but not that sharp; destroys everything for everyone but herself.

Connor Roy = Baldur

... just.

Look at them. Look at them and tell me this isn't the dysfunctional Asgardian family in a nutshell. Succession is a satire on American capitalism and a Shakespearean familial tragedy. It makes sense.

[rin-solo]

One of the most underrated concepts in fiction is that of "staying".

And I don't mean being forced to stay in a place where you don't want to stay/that hinders your growth by the narrative. I mean the choice to stay in a place where you feel belonging as opposed to feeling forced to leave under the guise of "it's necessary for growth".

Idk why but authors seem to not understand that "growth" and "freedom" don't necessarily mean "leaving everything behind". Freedom means the freedom to choose ... also choose to stay. Think about how cool an arc would be that centers around the main character first feeling like they're forced to be in a place they are wary of. Then slowly growing, opening their eyes, making friends, forming attachments. And then, in the end, they realize they don't want to be elsewhere. They choose to stay. Because they have grown, have widened their horizons, and are no longer forced by anyone, maybe even discouraged. But they choose to stay anyway. (Looking at you, Gregor the Overlander!!!)

If I had a nickel every time a writer decided to force a character to leave the place/people where/with whom they had found belonging throughout the story to "show growth" I would be a very sad millionaire.

[literaryvein-reblogs]

more literary & character tropes

Tropes - themes, motifs, plot devices, plot points, and storylines that have become familiar genre conventions

All writers manipulate language to create certain effects. At the level of individual phrases and sentences, the skillful use of tropes is key to creating writing that’s fresh, memorable, and persuasive.

Artifical Script - found mainly in fantasy settings, this trope is about fictional scripts invented by the author.

Busman's Vocabulary - when a character in a certain profession isn't on the job, they're going to still use jargon from that profession, basically to let us know what they do for a living. Mafia guys will use "whacked" and the like, chefs will use culinary language, and so forth.

Classical Tongue - a language that isn't typically known or used by the common man. It may be dead and mostly forgotten, or only spoken by educated elites such as nobility, scholars, clergy, or mages. A few words from it might be used to denote something special, or it is used for something or someone's name, or someone who knows it might drop a phrase here and there in an attempt to sound clever, but don't expect the common masses to use it (anymore). It's often an Expy of Latin, if it isn't Latin itself.

Dissimile - when you attempt to make a comparison between two things that can't be usefully compared, realize your problem, and then throw more words at the argument in an attempt to salvage it. This just undermines your comparison even further, to the amusement of anyone listening. ["Boxing is a lot like ballet, except there's no music, no choreography, and the dancers hit each other." — Deep Thoughts by Jack Handey]

Enslaved Tongue - certain types of monsters, wizards, and other supernatural or alien beings are able to control your voice, or otherwise replace your communications with those around you. They will use your voice to lie to teammates, friends and loved ones, or to deliver warnings or threats.

False Prophet - someone comes along and preaches a message about how they're going to make everyone's lives better. People will flock to them out of hope, or because they see an opportunity to increase their own power by aligning with the prophet. If they don't already have it, this figure will request assistance—physically, monetarily, or in some other way—so that their goals can be achieved.

The Grotesque - a character that induces both fear and pity in viewers because his deformities belie a perfectly normal — if not noble — personality. The pathos associated with The Grotesque is the implication that he could easily have been a well-adjusted member of society if not for the hideousness that he is powerless to remedy.

Higher Self - the aspect of a character which "knows better". More specifically, however, the Higher Self is the aspect which rises above whatever is going on in the plot and can see the situation in a way that's removed from emotional or melodramatic entanglement.

Inconsistent Spelling - when names and other terms are not spelled consistently in officially published materials (and not fan-made translations), usually because of transliteration issues.

Jeanne d'Archétype - a fictional character inspired by Saint Joan of Arc. This can incorporate various elements of the historical Joan's story. This character is Always Female, usually young, often an Action Girl, and often of humble origin. Her devotion to a religion, her country, or simply a desire to protect her loved ones causes her to assume an active role in liberating the oppressed from an overbearing force, eventually becoming not only a respected leader, but also a living symbol and a reminder of just how unjust the oppressors are if they bring out the warrior in the most unlikely of people. Therefore, her example directly inspires many otherwise ordinary people to follow in her footsteps and join the same cause.

If these writing notes helped with your poem/story, please tag me. Or leave a link in the replies. I'd love to read them!

More: Literary & Character Tropes

[the-jade-goblin]

I'm conducting a mini research survey and I'm curious

What trope are you sick of seeing/wish people would stop writing in fantasy?

[novlr]

[goetiae]

Dance Macabre - originally particular idiomatic imagery rooted in plays meant to respond to the demands set by the English moralities that can be traced back to the middle of the 14th century and the epidemics of Black Death.

The movement of Death - the Messenger - in these plays was dignified and slow, then evolving into dancing motion. This imagery was to teach the simple truth that all men must die, therefore implying the necessity of preparation for the fated hour.

[actuallysaiyan]

MILF x Young Guy trope? 👀 Ain’t no way Trunks or Goten could handle a MILF! Gohan maybe but not them!

🤭🤭🤭 they would never be able to handle it! Heheh besides, imagine Chi-Chi and Bulma's reaction to that!

Gohan definitely could handle it and he'd treat her so good!