#(so not only from the same media but the same character)

[homunculus-argument]

Hi! I'm trying to learn Finnish and I have a grammar question (probably several questions). Finding access to an in-depth language-learning program or class has been extremely difficult and I have weird gaps in my knowledge that I've tried to overcome with grammar workbooks and immersing in Finnish media. Given that Finnish media/native speakers often don't use kirjakieli, and the programs & grammar books I've used have taught exclusively kirjakieli... I keep finding that what I'm learning still isn't *super* helpful in understanding. Like. I'm over here having "Minä olen..." drilled into my brain, while I've never watched a video, listened to a song, etc where anything but "Mä oon..." has been used. I was BAFFLED when I finally learned they meant the same.

Anyway!

In your recent post about Riihimäki, you started it with, "Mulla ei oo"

I am *pretty* sure that in kirjakieli that would be "Minulla ei ole".

So. This is probably a silly question. But. Does "Minulla on" similarly become "Mulla oon" or "Mulla on"?

Also... Any tips for recognizing shortened/informal forms of formal phrases?

Anyway. I've taken enough of your time.

Kiitos!

One of my friends teaches finnish to immigrants for a living, and she can attest that her students are frequently frustrated by the way that spoken finnish and written finnish are completely different dialects, if not downright two different languages. Also fun fact, one of the most distinct ways that different finnish dialects can be identified is what word they have for "minä/sinä". The "mä" you have heard is mainly southern finnish dialects, in some regions people say "mää", "mie" etc, there's surely ones I haven't even heard of.

You're correct that in your assessment, "mulla ei oo" does indeed mean "minulla ei ole", and "minulla on" is indeed "mulla on". I have no idea how to help with recognising shortened informal forms, but one thing that I only consciously observed after someone asked me "soitatko jotain soitinta?" ("do you play an instrument?"), and it caught me off-guard because it never occurred to me that the grammatically correct written way to shorten "do I/do you/etc" questions is completely different from the spoken finnish.

For example, a question of "are you - ?" is written in kirkakieli as "oletko sinä - ?", but since the -ko suffix already clarifies who is being addressed, the word "sinä" is almost redundant. So to ask "oletko sinä tulossa?" (Are you coming?), a character in a book or a play would say "oletko tulossa?" but in spoken finnish, the "you" word used in that dialect is just glued to the end of the verb. So someone who says "sä" says it as "oletsä tulossa?" - which itself shortens to "ooksä" - and someone who uses "sie" asks "oletsie tulossa?" - shortening to "ootsie/ooksie tulossa?"

Speaking finnish is like learning to draw - trying to aim for perfect photorealism isn't necessary to be understood, you can pretty much draw stick figures and it's good enough if people will understand what you're trying to depict. If you've heard someone say that a non-native speaker can never really learn to speak truly flawless finnish, don't be discouraged by that. Finnish is more like japanese than french when it comes to foreign learners - people are impressed that you make an effort at all.

I've met people who have lived in Finland for decades, whose adult children are fluent bilinguals, and you can tell that someone's lived here for 30 years by the way they make more advanced and nuanced mild grammar mistakes.

In conclusion, good luck.

[astertimberwolf]

Yeah... Because people suck. Not everyone, mind you- but specifically those that always remember you for your mistakes and not as a living, breathing flawed person, who is literally just trying their best all the time.

(Anti-)Social media has created a bunch of narcissists and abusers- if said people weren't that rotten to begin with... It's made it possible for mass hysteria, judgement and paranoia to spread like a virus... uncontrolled, unbridled, only ever feeding an infinite cycle of negative emotions.

I will say it now and I will say it again if I have to: continuous and thoughtless judgment dismisses and strips away a person's dignity, as well as their value and right to exist as another sentient being, capable of experiencing the same, complex emotions, issues and challenges we all face in our daily lives.

In terms of Argumentation, it's the most damning and unforgiving form of shutting down someone's self-worth and right to self-expression: attacking someone's character. If a person is deemed "bad" or "untrustworthy", it doesn't matter how true or right they are about a subject or situation- nobody will (want to) listen to what they have to say if they are being perceived as a bad actor or unlikeable individual.

It's why the phenomenon of "cancelling" people on any given online platform is so inherently toxic. It incites online mobs, channeling hate and negativity towards an individual for making a mistake, however big or small, without looking at the circumstances- and, oftentimes, while also not letting the person—whose character is under fire—express themselves...

... and then people wonder why their mental health completely tanks when they're exposed to online spaces like Twitter / X, TikTok or Instagram. It's fairly simple: none of those platforms are designed while keeping in mind the user's wellbeing. They don't benefit the user. They pander and cater to the user on occasion to keep them hooked onto content- but they all answer to CEOs, whose end goal is lining their own pockets. NEVER forget that.

We need to push back against the damage they have caused. We need to reintroduce giving people the benefit or the doubt- or ignoring situations we know virtually nothing about... and leave the people involved be.

If a crime has occurred, there is a legal system to handle it. Mobbing someone or going on a White-knighting crucade- by leaving nasty DMs, comments, etc. isn't going to solve anything.

...

People judge others constantly because it's easy. Easier than trying to understand life in its complexity and the nuance behind situations and individuals... but also because it's quick and often makes them feel better about themselves, completely "absolving" them from personal responsibility when they themselves don't show any better behaviour. The truth is a hard pill to swallow: there are very few inherently good and inherently bad people. We all have a bad side. We can all become monsters and take part in a mob if we find a reason to hate someone enough... As well as easily dismiss how evil that looks from the outside if it so happens that the person we stoned alive turned out to be innocent after all.

Humans are some f*cked up creatures. I know that all-too-well due to lots of bad personal experiences, ranging from uncomfortable to traumatic, but also from my own human side being flawed (I refuse to be a hypocrite in that sense).

I would be lying if I said that I have never felt any rage, hate or resentment towards the people that hurt me and s*xually (or otherwise) abused me. A part of me wishes for karma to serve them back what they did to me tenfold- if only to make them understand the gravity / severity of the damage it can cause to someone and teach them an important life lesson... However, at the same time, I also don't agree with the constant suffering redistributed by the karmic system. I despise it because, at times, it tortures people across multiple lives in ways that are non-sensical and just plain cruel. I exist with this paradox within me... and I know it's the same for other people as well. I'm hated, after all... for the bad and hurt I have, more often than not, unintentionally inflicted upon people from my past... and when there was damage done with intention or purpose, I have later come to regret it or feel like sh*t for having been that way. Worst of all, what I regret the most remains all the futile attempts I have made with good intentions, trying to help other people but not knowing how to- where I ended up damaging them instead. Those are the kinds of mistakes that live with you forever, because they make you feel like you're incapable of doing anything good even when you try your best and hardest.

...

Well, this post has gotten long enough as is. Autism + ADHD strike again.

To wrap things up / in essence... Don't be that shitty person on social media who just constantly judges and dismisses people as if they were dirt under your shoe. If you really want to call or see yourself as someone inherently good, you have to be perceptive rather than judgemental and empathize with people... See the kind of psychological and emotional damage dissing and judging someone for their mistakes can cause (spoiler alert: it's long-term damage and it takes years for a person to recover from that, if they ever recover at all).

As for my own past mistakes... I have since moved on... At least from the emotional and psychological elements that kept tormenting me. At the end of the day, my mistakes are my own to bear... the worst of them will forever live with me, for I cannot forget the hard lessons they have taught me, nor change the outcome or reverse the damage caused...

... I can only become a wiser and better version of myself as I keep getting older.

...That's what real maturity is all about.

“No one notices your tears, no one notices your sadness, no one notices your pain but they all notice your mistakes.”

— Unknown

[sevarchive]

bllk drabbles! #3

blue lock characters! sending voicemails after breakup. tw: angst.

starring: itoshi sae, ryusei shidou, isagi yoichi, mikage reo, and nagi seishiro

itoshi sae

voicemail duration: 2:09

“i said terrible things. i thought if i pushed you away, you’d stay. but you didn’t. you left.” his voice trembles like it’s barely holding itself together. “no matter how many goals i score, how many times i’m crowned best, it’s all empty. because none of it brought you back.” he swallows hard, broken. “i came home today and your scarf was still there, hanging on that chair like a ghost. it still smells like you. like you never left.” his voice cracks wide open, raw and shattered. “i keep telling myself i don’t deserve you. maybe i don’t. but please… come home. i’m nothing without you.”

shidou ryusei

voicemail duration: 2:28

“hey… angel.” his voice is cracked and fragile, like a candle flickering in the dark. “you vanished without a trace. no goodbye. like i was nothing. like i didn’t matter.” a bitter laugh that sounds like a sob. “i punched a wall so hard i broke three fingers. the doctor said i might never shoot like before. maybe that’s what i deserve.” he chokes on his own breath. “i sat in your favorite café, in your seat, talking to empty air. people stared. i didn’t care. i just wanted to hear you again.” a long, haunted pause. “you were the only one who ever looked at me like i was human. now i just see ghosts, hear your voice in every silence. it never stops.” his voice shatters, desperate. “come home. even if you hate me now. just prove you’re real. i’ll fix this, i swear. please.”

isagi yoichi

voicemail duration: 2:01

“i watch the last match over and over.” his voice is hollow, drowning in guilt. “cus you were there. smiling. cheering for me. and then… you disappeared. like i wasn’t enough to hold onto.” his breath catches, breaking. “i’m supposed to see everything—the plays, the gaps—but i missed you slipping away. i made you feel invisible. i was supposed to protect you, but i lost you.” he chokes back tears. “i asked your mom why you left without telling anyone. she didn’t know. neither do i. but i’m scared it’s because of me.” long silence. “come home. not for me. just… so i know you’re still alive. i’ll give you all the space you need. just… come back.”

mikage reo

voicemail duration: 2:40

“this is message twenty-seven.” his voice is raw and ragged, cracked from endless hope and heartbreak. “i told myself i’d stop calling. told myself you’d come back if you wanted to. but your toothbrush still sits in the bathroom. your jacket hangs in the hall. it’s like you never left—and i can’t breathe in this silence.” “my father wanted to send people to find you. private investigators. media pressure. bribes. i refused. i didn’t want to force you. but maybe… maybe you wanted to be found, and i was too proud to try.” his voice shrinks, breaking. “i built everything for you. every contract, every win, every damn glass skyscraper—all for us. but i never stopped to ask if you even wanted this life.” “i still sleep on the edge of the bed, waiting for you to crawl back in.” a whisper barely louder than a breath— “please come home. i’d do it all just to hear your laugh again.”

nagi seishiro

voicemail duration: 1:56

“…you made everything worth living for.” a long silence, like he’s been staring at a wall for hours. “reo’s been trying to distract me with training and parties. but it’s all static noise without you.” he breathes out, voice fragile. “the world got too loud when you left. and somehow, too quiet.” his voice cracks, barely holding on. “i even talk to choki, my cactus. you remember? i tell him stories about you, but it’s not the same. choki doesn’t laugh back.” another heavy silence. “i dreamt you were bored of me. said you’d leave. then i woke up alone and i couldn’t tell what part was real.” his voice turns raw, desperate. “i’m terrible at asking for things, but this—this is me begging.” “please come home. i’ll change. i’ll learn. i’ll care so much it’ll hurt.”

last drabble for today before i head out for 2 days <( _ _ )>

©sevarchive𓇼

[darkficsyouneveraskedfor]

As I wind down the pines 1

No tag lists. Do not send asks or DMs about updates. Review my pinned post for guidelines, masterlist, etc.

Warnings: this fic will include dark content such as dubcon/noncon, grief, and other possible triggers. My warnings are not exhaustive, enter at your own risk.

This is a dark!fic and explicit. 18+ only. Your media consumption is your own responsibility. Warnings have been given. DO NOT PROCEED if these matters upset you.

Summary: Left alone after the death of your grandparents, you must survive the remote backwoods.

Characters: Bucky Barnes

As per usual, I humbly request your thoughts! Reblogs are always appreciated and welcomed, not only do I see them easier but it lets other people see my work. I will do my best to answer all I can. I’m trying to get better at keeping up so thanks everyone for staying with me <3

Your feedback will help in this and future works (and WiPs, I haven’t forgotten those!) Asking for more or putting ‘part 2?’ is not feedback.

Love you all. You are appreciated and your are worthy. Treat yourself with care. 💖

The sun peeks through the fluttering leaves, shadows rippling overhead. You shiver against the large oak knees bent, arms around your legs, woozy with the ache of your stomach. Those acorns only made you feel sick.

You need more than nuts and half-grown mushrooms. The trap you set didn't get you anything but a toad and you're second-guessing not boiling it up in a stew. You rub your eyes and let your head fall into your hands. The forest floor shifts. You can't stay out here much longer.

It takes a while to find your strength. You press your palms to the rough bark and slowly scale up to your feet. You sway and drag your feet through the twigs and soil. You stumble into a white birch.

You trail your fingers up and peel a strip off. You yank it and tumble into the dirt. Your fingers are raw from the effort. You can boil the bark and make a stew. Your grandmother would gather the same bark but used it more as seasoning or to bulk out a heartier mix.

You work at stripping away more bark. It won't be much but it's something. You tuck it into the loose pocket of your grandfather's jacket. He has no use of it anymore. You shouldn't need it out in the sun but you can't stop shivering.

You plod down the slant of the forest floor and stop. This is the wrong way. You blink and turn. You've never been lost in these woods before. You grew up here, you know it like you know your reflection, but you're lost. You close your eyes as you try to chase away the pulsing behind them.

Another deep breath. You think you know that elm. Right around to the east is the shell of Chester's mill. Your grandfather told you about the old man that once owned it. He called him a curmudgeon with too much to say.

There's the old fence post but it's no longer crooked or lonely. There are new slats hammered in next to it, secured with cross bars. You slip and dig your heels in. The old mill is not what you remember. The hanging door is back in place and the gate has been replaced with a stronger one. The shed shows signs of repairs in its mismatched boards and the mill house is surrounded in scaffolding.

The house looks best of all. The cracked windows are replaced and there's a lone chair on the porch, reinforced so it no longer dips. Someone's moved in but no one ever comes all the way up here. They only leave, in a coffin or otherwise. 

Change. Things aren't like they were. They won't be. They can't. 

There's a scent on the air that draws you. One you should have filling your nose in the mornings and simmering from the oven at night. The fresh, delectable waft of a tomato vine.

There isn't thought in your head as you advance across the long strands of glass. There is only the clenching in your stomach and the slickness on your tongue. You see no life as you approach. You stop at the gate and wait. 

The windows shine in sunlight but curtains within keep the haze without. You search through the fog of hunger for a threat. There's only a squirrel skittering along the top of the fence, likely on a mission for its own harvest.

You slip your hands between the high slats and feel around. You flip the inner latch and the hinges give. You ease the door inward and shuffle through. You leave it open without catch.

You sniff the air and follow your nose. The lush plateau of soil and greenery delight your vision and your starving stomach. You want to fall upon it and devour every leaf and seed.

Sense flickers and guilt boils in your guts. The work that went into all this and you look to plunder. That same work that did not bear much from your own dirt.

It doesn't matter. You can't hold yourself back. You need more than dry bark and boiled water. You will take only a little. They won't notice with all they have. Two tomatoes, a bright orange pepper, and a single potato.

You use the large pockets of the oversized jacket to store it all and retreat. You stop at the gate, waiting to be caught out, waiting for the holler or worse, the gun shot. Nothing. Just the sunlight and the scent of the garden.

You shut the gate and head for the trees. It's a far way home but the promise of a flavourful stew keep your feet moving. And after...

You'll have to figure that out.

🌳

The old house stands between two broad oaks, the roots extending into the foundation. The once white stained wood is chipped and splintered. Your grandmother's old basket planters are dried out and barren. Your grandfather's bench still stands but without anyone to sit on it.

You climb the steps, the rain spout creaking, the windows groaning. You try not to see the empty garden. The wilting leaves and the churned soil. First the rains flooded out the soil, then the sun dried it to dust, and the little that sprouted fed the family of rabbits who cared little for the bristles of your broom.

Calamity. Tragedy. You planted too early. You had that feeling, your grandfather's voice in your head, but you did not trust it. After the winter blew over the shed and smashed the years of preserves, you were too eager to have something. Anything.

Desperation is the eight deadly sin. Your grandparents always said. Patience, though, is the best of all the virtues.

The door clatters behind you. You get your pot and bring it to the stove. It's the old sort from more than a century ago. You open the little door and add a small log to the ash and remnants of the last burn.

Your hands shake as you light the fire. The flames do not come easy and your fingers are sore with the effort. You shut the door and leave the stove to warm as you unpack your wares...

Stolen goods. You take out a knife chop up half the pepper and one tomato, then half the potato. The rest You'll store in the cellar where the shelves have rotted away. They will keep at least a few days.

You put water onto boil. You add the veggies and use the mortar and pestle to crush up some of the birch. You season it and put a lid on.

As it steams around the brim, you sit on the drooping sofa and lean back into the cushions. You're so tired you're weak yet all you seem to do is sleep and look for food. You're in no short supply of the former.

🌳

The stew holds you over for a week. Maybe longer. The days are hard to track in the smear of anxiety and lingering hunger. You only eat a little, never gorging, never satisfied. 

Nuts. Half the shells you find have been emptied by squirrels and chipmunks. You choke down a handful of earthworms only to spew it up just as painfully. A dead bird tempts you but the diseased stench keeps you from that mistake. 

You chew on the birch and some leaves of mint. You stop at the river and put your feet in. It only makes you shiver more. It's summer. You shouldn't be shivering. Oh well. You just need to eat. That's all you can think about.

You trod on, stopping to gather what you can. If you can't get more, even just squirrel meat, you won't have the energy to walk so long. Once that happens...

Your grandparents would be disappointed. They taught you better. You did fine last year, the first without both of them, but this year is not last year.

As searing as the hunger is the loneliness. You miss them both terribly. They were your people. The only ones that ever looked after you. They taught you well because they wanted to take care of you always and you squandered it.

You crash down your rear in the dirt. You sit in the shade of the pines and stare at the mill house. You shouldn't. You really shouldn't. Once was more than too much.

Your head spins and you try to steady your vision as you grip the sides of your skull. Are you going insane? It sure feels like it.

You stand before you know what you're doing. The trek through the treeline and across the clearing isn't very far at all. It can't be. You're right there at the gate.

You feel along the slat like before, reaching, reaching, reaching. You flick the lock and swing inside. No one's there but you forgot to even check.

You walk cautiously over the grass to the plot of vegetables, even riper than the last time you came. The tomatoes are so big some have fallen off the vine. Carrots!

Not yours! Remember. What are you doing here?

The juice of the tomato floods your mouth as the answer drifts away. You don't care. You're starving. On your knees in the dirt, gnawing like a ravenous rodent.

You devour the tomato and reach for another. A knife flies into the red skin and splits the fruit in half, seeds and guts exploding onto you. You recoil and cry out. 

You wipe your face and look at the man at the end of the plot. His expression is as friendly as the knife that nearly sliced you. You blink and your lip trembles. You're pathetic. You're no better than the gluttonous squirrels.

"I'm... sorry. I... I... I..." you choke.

He comes forward. You stare as you take in all of him. Tall, broad, startlingly so from your vantage on the ground. 

His blue eyes bore into you as the muscles of his right exposed arm bulge. His other shoulder is blunted and his shirt pinned over it. His dark hair is past his shoulders, drawn back in by a tie as a few strands slip free. His beard is dense across his gritting jaw.

You wilt and accept your fate. It's quicker this way. He stops in front of you and bends to retrieve the knife. You watch him grip it and wait for him to aim the tip at you. He wipes it on his pant leg and slides it into his belt. 

He stands straight, towering over you as his hand goes to his hip. 

"That's two today." He says. "Plus two before, a potato, and a pepper."

You bat your lashes at him and sway. You gulp. You shake your head and show your hands.

"I'm hungry..." you croak. "I'm so hungry."

"You're a thief," he snarls. "You're gonna pay me back."

"I don't... I got nothing, mister. I'm sorry. Please," you shrink down and cover your face.

"You got two hands and a brain." He growls. "So get up and get to work."

You look up above your fingertips. The sun limns the man's silhouette like an otherwordly wraith. You snivel and nod. You have no other choice, not unless you want to see his knife again.

You plant your feet and slowly straighten your legs. You rock as he turns on his heel and marches off. You stare after him confused. Do you follow?

You stay as you are and peek down at the mangled tomato. You're hungry enough to pick it out of the dirt. You're kept from that as the man reappears with a round apple basket in hand.

You stagger back as he approaches. He shoves it at you and grows. "Fill that up. Don't eat them."

"Um..." you hug the basket as you gape at him.

"That'll even us out." He taps the top of the basket and you nearly topple.

"Yes, mister." You agree to keep him at bay. To hope he doesn't hurt you.

You back away and turn to the tomato vines. You bend first to gather the fruits off the ground. Your head feels heavy as you plunk down the basket. Your stomach mulches the quickly absconded tomato and adds to the sudden wave.

Your head pulses and silver stars speckle in your vision. You shake your head and set your feet. Dizziness swirls in your head and you lock your knees to stay up. Before you know it, the world is black and the world is only a memory.

[rafaron1223]

SPY x FAMILY's Initial Plot

As previously mentioned in my last post, I found a magazine from 2020 featuring a segment with Endo discussing Spy x Family. In my last post, I shared the drafts of the volume covers, but now I want to dive into the really interesting bit here (that I've found for now lol) that is the manga's initial plot.

Spoilers for the manga ahead, as I'll discuss some of those here.

There are many things one can see when comparing it to the manga's current story, but keep in mind that this is merely an initial version of the story, and some things that are written here may not be indicative of what's to possibly come to the future of the story, but is still good discussion nevertheless to see what could have been.

This story has three parts, let's begin with the first:

So we can already see here that "A" aka Loid is a lot different in this version compared to what we have now. He retains his womanizing skills but is not a very good spy. Which is an interesting thing to do, but I just kind of think of Daybreak when I hear "not a good spy" lol. Though I got no idea if Daybreak has any charming skills in the SxF world lol. In any case, I think it would have been interesting to see how a less-skilled version of Loid would solve the conflicts that the current Loid has faced so far.

Another part is how this version Operation Strix (which more or less has the same goal) and the formation of the Forger Family was going to be handled. As this version of Loid was unfit to take on the mission, it was instead going to be assigned to another agent with an actual family. But because of Loid wanting to take credit for the mission, he decides to create his own family. I think seeing Loid acting more selfishly like this is very fascinating, as it's something I can't really see current Loid doing.

Also, Endo having Loid start creating the family by finding a wife first is an interesting choice, but I can see why he went for the child in the current version. It's a much stronger start.

Now we move on to the second part:

"B" aka Yor is very interesting to compare to her current version. Her reason for becoming an assassin is very different here, with Yor on a revenge quest to find the person who killed her family, which is part of the reason why she decides to stick with Loid. But aspects like her secretly desiring a normal life and falling for Loid during their first meeting are the same (though the idea of Loid immediately flirting with her is very funny). There is also Yor working as an office lady, which seems pretty similar to her city hall job. I remember Endo saying in the EYES ONLY fanbook that she was originally a janitor, perhaps this script was written after he scrapped that idea?

As a side note, knowing that Yuri's character was simply going to be just "Yor's brother" before Endo combined him with the SSS officer hunting Twilight by the time he got to chapter 10, I wonder how he would have played into this version of the story.

And for the third and final part:

To start, it seems like Endo always intended to set this story in a post-war era. He may have already mentioned it before in other media, but I can't remember, someone please remind me 😂

As for "C" aka Anya, there's a lot going on here. Usually we don't get a lot of Anya's backstory, so getting this draft version is really cool to see. In the current story, we never know what the lab is and how exactly Anya managed to escape it, but this version explains that she is a government experiment (which at this point I'm pretty sure we all think this lol) and escaped the lab with her telepathy. Reading how the orphanage she stays at afterward feels pretty similar to the condition we see it in chapter 1, but I imagine that's why Endo had some ideas to draw her as sickly at the start. Also interesting to note that she instinctively knew that it was a good place to hide from the government. For however old she's supposed to be, she's a pretty clever girl.

Anya also missing her parents seems to be an aspect of her character that remains in the current version of the story, though it's more about her mother than both of her parents.

Later, when Loid comes to the orphanage to adopt, pretty much the same scenes play out except that Anya hears the name of her parents in Loid's mind (or Yor's, seems like there was a possibility of her being there with him), which motivates her to get adopted by him, thus completing this pseudo family.

It's interesting that this version of Anya remembers her parents' names while our current Anya doesn't seem to at all (as far as we know). Makes me wonder if this version of Anya was slightly older, perhaps being an actual 6-year-old's age if the school admission plotline was a thing during the writing of this plot.

Endo has also stated in the EYES ONLY fanbook that Anya was originally going to have some sort of superpowers, and seeing the combination of telepathy and a little bit of telekinesis is wild. I wonder if Endo will ever revisit telekinesis and give it to Anya later down the line, but I'm not sure if I'd like that.

It also seems like Loid would have been slightly aware of Anya's abilities, but brushed it aside.

Regarding the final line of the plot: "C"'s target is a lieutenant general. It's a simple line, but there's nothing we can go off from here I think. But knowing that this version of the story states that Anya's experiments were headed by the government, I can imagine her remembering a particular figurehead from there, that being this lieutenant general.

All in all, I really enjoyed having to translate, read, and share this draft version of the story! Getting to see Endo-sensei's older versions of the characters we know as the Forger Family w

as super cool to see! The next post related to this will hopefully be the last, the entire 6 page interview with Endo-sensei, but I promise to deliver! Thank you for your patience, and I hope to see you guys next post!

[shifterae]

mha dr quirk ideas

hiii here are some quirk ideas for your drself, self-insert, oc, etc !!

** most of these are re-uploaded from my previous post that's now private- sorry (not that sorry)

| overdrive; allows the user to stockpile energy, then convert it into bursts of enhanced speed or strength. It also passively detects nearby threats by sensing hostile or unstable energy.

| encouragement: grants user a stockpile of energy to draw on for physical enhancements; stockpile only grows in response to praise/compliments/encouragement

| chain charge; user stores kinetic energy trhough repetitive movements, user can chain multiple releases together for consecutive enhanced strikes

| double team; creates duplicates of the user— can either be real or just illusions— with the same capability as the original user, once attacked, the multiples dissolve into mist

| lucky cat/maneki neko; a calico japanese bobtail cat mutation, including cat like abilities, and having and bringing people close to the user extreme luck

| owl; so many options— barn, snowy, great horned etc. wings, agility, speed, strength.

| red panda; appearance of a red panda, enhance agility, flexibility, sharp claws, enhanced balance, strong bite, and strong grip, night vision

| cheshire cat; same abilities as the cheshire cat, cat like behaviors, and purple/pink cat mutation

| meta-multiplier; allows the user to multiply other people's quirk genes into their own body, thus being able to manifest other people's quirks (yes like afo) the limit is related to the amount of previous users of OFA

| meta-mix; knocked off of meta-multiplier, the user can copy compatible aspects of other people's quirks and combine it into one

| shards; can manifest crystal as weaponry, shields, or just crystals in general. not the valuable type tho

| energy; energy manipulation. can transfer energy between people, from plants to people, from energy to bursts of power,

| synergy; increases the abilities of intended people around the user to complete the object the user has intended.

| upgrade; allows the user to generate temporary mechanical augmentations, such as armor or boosters, directly into the users body in response to situational needs, the upgrades adapt in real time

| great knowledge; after coming in contact with a copy of physical media (ie. a book) the user absorbs the knowledge stored within it

| mahou shoujo; user has the same general abilities as a main character from a mahou shoujo (magical girl) anime (including transformation, superhuman abilities, healing magic, great luck, etc)

| mirror; after witnessing an action the user can copy it flawlessly

| instructions; the user can see clear instructions to create and build devices or machines the user has seen/thought of

| requip; the user has heightened strength, and has a pocket dimension filled with weapons and gadgets (erza scarlet)

| shield; can create electromagnetic shields or shoot it out in bullets (violet parr)

| alien; has superhuman strength/abilities, can fly, energy manipulation in the form of beams and bursts (starfire)

| crystal; can create crystal structures and objects/weapons (lolirock)

| psybeam; allows user to transform energy into bursts of energy in the form of a beam (like pokemon move)

| overclock; can temporarily accelerate user’s physical and mental processing speed, allowing them to react faster, think more quickly, and execute movements with extreme precision. however, it doesn’t increase their strength only their speed and efficiency.

tips for coming up with quirks or finding inspo !! ☆。action cartoon shows/movies, other animes ⭒˚ my little pony(cutie marks), lolirock, glitter force ☆。pokemon, pokemon moves ☆。video games powers & moves ☆。pinterest

[sir-squibbly]

!!! CRK Episode 9 + 10 Spoilers!!!

So I usually don't rant about characters from media I enjoy because one: it's not really my thing. And two: I'm a bit too dumb to make some epic interpretation of a character in the same way many others can do that.

But I really wanna talk about Eternal Sugar Cookie because, next to Mystic Flour Cookie, she's probably one of my favorite Beasts. And that's because she genuinely impressed me as a villain, whose character is actually so much more complex than what she shows on the surface.

Eternal Sugar Cookie poises herself as this divine being who can bring happiness to all with just the snap of her finger. Her garden is an actual utopia where pain and suffering don't exist. She's kind to everyone in her garden, and even grants their wishes sometimes. Her ultimate goal is the happiness of all Cookies. This why I don't believe her intentions were fully malicious (at least, not when she first created the garden). However, they did end up becoming entirely selfish.

To put it bluntly, Eternal Sugar Cookie is a cult leader. She believes that she's the only person who can truly make everyone happy. This resulted in her garden becoming a cultish environment where people were required to depend on her for happiness and safety. If they ever fell out of line, or tried to leave, she'd punish/sabotage them in subtle ways so that they'd come crawling back to her. And in Sugarfly Cookie's case, she coated her wings with syrup to prevent her from flying away. She's actually a pretty good manipulator all things considered.

Now, onto her relationship with Hollyberry Cookie: this is also one of the reasons I was just impressed by Chapters 9 and 10 in general. So far, all the other Beast cookies either felt hatred or indifference to their other halves, with their main goal being to take back their soul jams. But Eternal Sugar Cookie is different in the sense that she actually really likes Hollyberry Cookie to a scarily obsessive degree. She doesn't just want Hollyberry's soul jam (she might not even want it at all), she wants Hollyberry, and she'll do anything she can to keep her. She even has a full mental breakdown when Hollyberry straight up tells her she's leaving.

This is where her true colors start to show, and this is also where I'm going to be posting more screenshots because I feel like they're needed.

Yeah, she's really not happy about Hollyberry leaving.

But even after Eternal Sugar is defeated, she pleads for Hollyberry Cookie to stay with her.

It's here that we start to see her confidence crumble (no pun intended), as she's forced to face the fact that what she's been doing might be wrong. But she can't actually accept that, and so she needs and begs Hollyberry to stay with her to that she can reassure herself that she's doing the right thing.

Yeah, not much to say on this one. It's just another example of her being self-centered and kinda arrogant.

Here's another detail about her that I found interesting:

She is completely delusional.

That was already kinda obvious at first, but hoo boy, the ending of Chapter 10 didn't even try to suggest otherwise.

After Eternal Sugar Cookie tries to sabotage Hollyberry one last time (by trying to drown everyone in jam), Hollyberry protects her. And instead of Eternal Sugar taking that as Hollyberry just being caring, she instead believes that Hollyberry changed her mind about leaving her. But after Hollyberry rejects that for the last time, she doesn't get mad. In fact, she becomes even more obsessed with Hollyberry.

Eternal Sugar gushes about Hollyberry to Pavlova about how kind Hollyberry is and how her heart is too soft for the cold reality of the outside world (girl be fr). And decides to decorate her garden so that she can impress Hollyberry. Because obviously she's gonna come back to her /s.

This is also where I realized that Eternal Sugar Cookie doesn't actually think of Hollyberry as an actual person. She's just another person that Eternal Sugar can make happy, and that one day, she'll realize how much she needs her. The only real difference is that Eternal Sugar idolizes Hollyberry because she's her other half.

---------------------------------

I know that Eternal Sugar Cookie is supposed to represent the Light of Sloth. But she is clearly so much more than that. In the short and sillier way, she's like if an obsessive girlfriend started a cult. In the longer and more serious way, she's a manipulative, possessive, self-important person who believes that she can do no wrong. She obsesses over her other half and believes that one day, Hollyberry will come back to her and rely on her for true happiness. That also kinda ties into her self-importance and delusions. Also, her element being poison makes sense since she poisons minds lmao.

TLDR: I really like Eternal Sugar Cookie. S-tier villain in my book.

[himluv]

Man. Woke up to some absolutely rancid developments in the fandom this morning. I haven't had coffee yet, so bear with me:

Dragon Age: The Veilguard came out almost EIGHT MONTHS ago. Even before launch, the negativity was there — art style complaints, "women aren't allowed to be hot," complaints about the OST, etc. – but once the game was out, the shitstorm really got rolling.

Every article suggested to me was about how "woke" Veilguard was, always with thumbnails of Taash, as if their mere existence in a video game was cause for outrage. Within DAYS, Metacritic user reviews were at a 3 vs. a then aggregate score of 85 from critic reviews. And almost EVERY negative review talked about top surgery scars, Taash, the use of the word nonbinary, and how the character creator didn't allow for "hot" enough female characters.

I ignored it then, because that sounded to me like typical Dude Bro™ capital G gamer bullshit. I stayed locked in and played Veilguard through to the end in less than a week. I loved it, and I was unabashed in my love for the game then, posting about how much it affected me, what I loved and what it gave me to think on. I immediately started another playthrough and began writing fic a few days later.

As of this writing, I have written 254,000 words of fanfic since November 13, 2024. When I tell you I love this game... Let that be the proof.

I thought, surely, as the newness wears off and the spotlight fades, the conversation around Veilguard will change. And... I guess, it did. It got worse. A very vocal subset of fans – of whom I would previously have considered myself a member – decided that this game and its treatment of our sad little meow meow (affectionate) was a personal attack. "Fans" started talking about the developers like it was celebrity gossip and wrote honestly brutal and horrible things about NORMAL PEOPLE doing their JOBS!

Things were circling the drain then, and I read the signs well. I blocked some folks and merely unfollowed others, some I'd been following since the start of this blog back in 2017. We disagreed about Solas in Veilguard in basically every way, to the point where it was negatively affecting my love for the character. I extricated myself quietly (not that I'd been a huge presence to begin with).

But, I'd spent the majority of 2024 consuming all the Dragon Age tie-in media. ALL OF IT. And Veilguard relies on tie-in media a lot, So, I started posting about that, and how Veilguard did a good job, actually, of using that media and how having read the books/comics only heightened my experience with the game.

That went... poorly. I blocked some folks who accused me of things I didn't say and who clearly weren't reading my analysis with any sort of positive intent. I was Wrong and my interpretations were Wrong and how dare I have the audacity to love a video game of a franchise I have been hyperfocused on since 2009??? Apparently the game is bad and my reading analysis and comprehension skills are Bad and I should be yelled at for it.

(y'all, I went to school for English/Writing, am a librarian by day and a professional specfic author by night... like. You don't have to agree with my analyses, but... this is what I do???? I read things and think about them and write about them and help others do the same???).

But, I blocked and moved on with my life. And I have been absolutely PROLIFIC with that block button. And I've largely avoided any backlash (yes, backlash – to deny its existence is willful ignorance and, frankly, dishonest) because of my willingness to block any and every shit take I've seen on this site.

I've stayed in my corner, loving this game with an absolutely beautiful community of folks who encourage and nurture creativity. Word games, prompt tags, weekly events. It is a wonderful place to be a Veilguard fan.

But, it HAD to be a carefully curated corner, because even a step outside of this bubble was filled with so much hate, and ANY attempt to engage or interact with a Veilguard positive lens was met with complete vitriol. And it has just agitated itself into a rabid froth of cruelty. Not just toward the game, but devs and fans.

Dislike of a game fermented into personal attacks against people who LIKED A VIDEO GAME and didn't think it deserved to be shit on so badly that an entire development team lost their jobs. That people pointing out how VITAL the queer rep in Veilguard is in THIS moment shouldn't be attacked. That pointing out how the game focuses on community action and smaller, personal stories of hope and perseverance is actually REALLY IMPORTANT RIGHT NOW and shouldn't come with a risk of being doxxed.

Eight months. It's been eight months of this behavior and it is only getting worse. I'm not sure what I wanted to say with all of this. I'm mad. Worried for my friends. I'm disappointed. And also... man. I still love Dragon Age. Have loved Dragon Age since 2009. Nothing that happens on tumblr will make that less true.

But, if you don't love Dragon Age any more... maybe... move on? Find something you do love? Because, as angry and disappointed and worried as I am... I'm also sad. I'm sad that so many people are seemingly obsessed with something they don't even like. That's no way to enjoy life. We only get so many days on this planet and spending them so angry and hurt that you want other people to be angry and hurt... it's sad. Not in a like... pathetic way, but in a genuine, heartfelt it-makes-me-feel-sad-that-others-feel-like-this kind of way.

[ateez-himari]

BAD DESIRE; PRODUCER UNVEILED

The winds turn against HYBE as their artists credit Himari in their upcoming album.

June 2, 2025 (3:30PM)

ENHYPEN had veiled some sense of mystery over their upcoming title track by not writing down the 'With or Without You' producers in the teaser video and the reveal that came with their challenge preview video shocked heir own fanbase along with anyone following this generation of artists. Himari was credited in the caption as the anticipated song's producer and members later confirmed that the artist directed their recording process, which raised many questions on social media due to the legal repercussions of the press conference that took place earlier this year. HYBE Chairman, Bang Si Hyuk, recently transferred the rights to 10 tracks back into her possession after essentially admitting to not only having stolen projects that were in the works but also to having wiped her name from certain credits, with some of these songs including Blessed-Cursed and Fever by ENHYPEN.

BELIFT LAB allegedly went against HYBE to request the vocalist's involvement in their comeback and even inserted her voice - likely from the guide track- into the most recent teaser. The arrangement appears natural from an artistic standpoint as 'Interlude; Tear' and 'Shadow' are tracks speaking on her past that have been recognized as emotional masterpieces, and ENHYPEN's lore heavy discography requires someone able to transform notes into an immersive daydream. When taking into consideration more intricate business components of the situation however, it needs to be known that HYBE's stock prices have yet to recover from the downfall experienced following the press conference, so working with the same person that caused it makes the corporation look dependent on one singular artist outside of their control.

Himari has dissed the chairman publicly in the 'DDAENG' music video when throwing a knife at the same scroll used in her older brother's song 'Daechwita' - depicting Bang Si Hyuk's character - whilst mouthing the lyrics ; "You wrong, me right, look carefully, ddaeng". With that said, BELIFT LAB making the decision to place the songwriter at the forefront of their group's comeback could equate to giving her more power than their own chairman, which situates them in the crosshairs of possible backlash and tightens the iron claw she has wrapped around the industry's production scene.

While the game being played against HYBE remains unreadable, one thing can be said for certain ; 'With or Without You' will resonate through the very souls of its listeners.

In other industry news ; on May 29th, Song Mingi and Min Himari announced their long awaited engagement, with their fans hurriedly preparing celebratory banners to display at the K-Pop Masterz event attended two days later. When the group prepared to end their set by saying their goodbyes, the crowd raised pieces of white cardboard that read 'Congratulations, our lovebirds' and chanted for them to kiss, which they happily obliged to with bright smiles painted onto their lips.

We wish the couple everlasting happiness with one another and look forward to the wedding, though both have stated that it will likely not happen until his enlistment. Their unbreakably intertwined hands and enamored gazes when the other's attention is drawn elsewhere already sets the tone for a love filled future. Stay tuned for ATEEZ's comeback 'Golden Hour : Part 3' on June 13th!

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Taglist ; @prbywoo , @marissa-11 , @angie-x3

[lara635kookie]

I saw your post on the anonymous idea for a Rumi X Juni child, AND I'M GLAD IM NOT THE ONLY ONE WHO THOUGHT OF THAT!!!!!

Sorry but even the k dramas my mom watched grew a bit on me. Even though we still don't know what will become of the boys at the end of the film, i had scenarios.

Either Rumi of Jinu got a "special package" of chocolate/juice from an obsessed fan (and i mean the creepy kind) that actually had a weird substance on it (watch Apocathery diaries to know what I mean) and they accidentally ate it and and got themselves locked in a room and you know what might had happened.

Either Rumi raised the child as a single parent alongside the girls, like in the anime/manga Oshi No Ko (but without the death part).

Or she hides the pregnancy and child(ren) from both the Saja boys, the fans, and the demons and Jinu could learn the truth in either espionage though his tiger (or the bird on top of it), during an attack or concert Rumi faints or goes into labor, or 5-10 years past and we get a Part Time Demon King Season 2 X Ruby Gillman situation

Girl, your ideas are great. Honestly, if you watch K-dramas or Korean content in general with your mom, you know that even when romance is not the focus, it's there. Not all the time, but definitely most of the time. Right now, I can't really think of a k-drama(from the ones I've watched) that doesn't have romance. Vincenzo, for example, the focus definitely isn't romance, but I love Vincenzo and Cha-young. And something that I noticed about East Asian pieces of midia is that usually the mother is the boss of the household. They're some of the baddest bitches alive fr. Like in Turning Red, for example. Mei's mom, Ming Lee is the head of the house, while Mei's dad, Jin Lee, is just there being happy with his woman. And I just love this about these contents. The female characters are so powerful they can be strong AND STILL have a man completely down bad and whipped for them. Bless them, I'm just waiting for my turn. Love is not seen as a weakness, or a liability or a burden. That's one of the reasons I think East Asian media is being popularized so much worldwide, like k-dramas, c-dramas, j-dramas, movies, and games like Love and Deepspace. They show that women having a love interest doesn't make them less strong. Relationships are supposed to have action from both sides. The man or the woman can't be a hero that saves their damsel in distress partner all the time. They're supposed to help and save EACH OTHER. And not having a man save a woman all the time to go like:"Look how fragile she is" or a woman saving a man all the time to go like:"See how strong and independent she is? She doesn't need a man. In fact, she doesn't need ANYONE at all. Men are all the same and completely useless. They should all just die. See how progressive and feminist we are?". I feel like we see this a lot in Western midia, so East Asian midia feels like a breath of fresh air in this regard. Because they show mutual love and not one person being superior to the other and doing all the work. So I just know it would be the same for Mom!Rumi and Dad!Jinu. I feel like they would raise that child TOGETHER, and they would be wonderful parents. Just a girlboss and her malewife living their best lives with their child and their kitty cat cutie patootie tiger. That being, after all of the angst is done, and they've been dating for a few years already.

[aroacespacerock]

So insane about the platonic relationships in wolf 359. The way the character writing is so strong they don’t need to rely on romance to make any connection convincing, compelling, and above all else fucked up and codependent.

The way Eiffel and Minkowski just Get each other, regardless of their previous hatred of each other. We go from Minkowski hating Eiffel’s guts (valid) to them truly needing each other. With them being the only two they can rely on in deep space, it makes such a compelling narrative that has you questioning whether they would even be friends in any other universe. The way their stories work, they could even be your classic enemies to lovers (looking past some marriages and how their characters just. Aren’t.) but wolf 359 shows us that they don’t need that relationship status to have one of the most compelling and delightfully codependent friendships in the podcast. We get Hera squeeling over them calling each other “friends” for the first time, (same, hera, same), narratively treating them with the same level of respect as you would a romantic pairing.

Maxwell and Jacobi hit this similar beat for me, they have no romantic tension but have grown this reliance and deep trust in each other. The scene where Maxwell slaps Jacobi what has to be like 7 times in a row and cusses him out for flaking on her before they dissolve into giggles really defines their relationship to me. They’re horrible people. They know it. They’re monsters. Together. And besties yay! In other media their relationship may take a backseat, and while theirs isn’t the forefront it’s certainly never minimized in impact on their individual characters. These two go together, need each other. (They’re a set do not separate)

I’d even extend this to commonly headcanoned romantic duos like Kepler/jacobi and Hera/eiffel. The podcast doesn’t rely on romance, even if there’s implication, but gives us the strongest damned character relationships. The best possible use of characters in each others own and intertwined stories. The bone chillingly good codependency that can only be built by truly Knowing a person, even the horrible bits. Even liking the horrible bits. If this isn’t peak fucking over relationship anarchy I don’t know what is.

[kanansdume]

It's also, in so many ways, a love letter to the Prequels. I've seen people talk a lot about some of their other projects are intentionally trying to honor Lucas's vision, but it's pretty much always in relation to the ORIGINAL trilogy.

The Obi-Wan Kenobi show was potentially the first and only ever piece of media that was a massive love letter to the PREQUELS. Of course there's some references to the original trilogy because that's the hope that everything is leading to, but there's also just SO SO MANY prequels references and homages and flashbacks.

They brought back not just Ewan McGregor, but also Hayden and Joel Edgerton and Bonnie Piesse and Jimmy Smits and Temuera Morrison, all actors only or primarily associated with the Prequel trilogy. It would've been SO EASY to replace at least the Larses with new actors, or to leave Anakin out entirely, which I believe was the original plan. But they didn't. It was important to have those actors ALL there to play those roles together again.

And they didn't just have the actors there, they had both Ewan and Hayden do an entire "flashback" sequence where they're dressed and made up to LOOK THE WAY THEY DID IN THE PREQUEL FILMS. That's such a deliberate callback. They even intentionally made them look like they did from Attack of the Clones as opposed to going for the somewhat more well-liked looks from Revenge of the Sith. They could've had that flashback involve a younger Anakin played by a new actor, too, and chose not to. It was vitally important that it was Hayden and Ewan, looking like Anakin and Obi-Wan, during a time of relative peace for those two characters.

And even beyond that, they included ACTUAL CLIPS FROM THE PREQUEL FILMS. It's part of Obi-Wan's nightmare, sure, but it's literally clips from the Prequel Trilogy. I believe there was also an entire "previously on" section of sorts that basically summed up the Prequel Trilogy. They weren't going to let you get away with forgetting those movies or pretending that this entire show had nothing to do with those movies. The Prequel films were the beating heart of this show and the story doesn't exist without them. It could exist without the original trilogy, but it couldn't exist without the Prequels. Despite its setting, the Obi-Wan Kenobi show is a Prequels Era story in a way nothing else has ever been since those films came out.

The people making this show LOVED the Prequels in a way I don't think anyone involved in any other Star Wars media really has. And it fucking shows in every fiber of the show, from its narrative to its casting to its editing to its costuming.

Everyone else is cherry picking what they want out of Star Wars in order to do their own thing, for better or for worse. They're taking the sand out of the same sandbox, but then they're moving it over somewhere else and adding in a bunch of other stuff that was never in the original sandbox. Sometimes that's really fun and genuinely still a really great story that still retains enough of the original Star Wars sand to feel like a Star Wars story. Sometimes it's just... a lump of sand filled with grass and leaves and branches and dirt now and someone is standing over it claiming it's just like the original but better now because they put some dirt in it.

The Obi-Wan Kenobi show is one of the very few, if not the only, show that felt like it was truly still in that original sandbox. It's not really straying that far. And while some people might look at those restrictions and feel like it was stifling, this show seems to have chosen to really run with it and turn the story into a love letter or a massive homage to these specific films and these versions of these characters.

So of course it's Lucas's favorite. I think he has a healthy respect for people doing their own thing with Star Wars, but it's not shocking that the one he likes best is the one that expended so much effort to write a love letter to the films that got the worst critical reception. This show was made for the people who loved the Prequels. And George Lucas is one of those people.

If rumors are true and George Lucas really did call Obi-Wan Kenobi his favorite Star Wars project, why would that be the case? Maybe because it's hitting on emotional beats that he explored in 1-6, and has the same internal logic?

Of course Obi-Wan would be weighed down by guilt and feeling responsible for Anakin. And of course he couldn't stay in that funk forever, he has to move on. Part of that change comes from getting to know Leia and the courage she gives him. Another comes from Anakin basically telling him that Obi Wan doesn't get to claim his failures. I love how it's some perverse way to admit responsibility: of course Anakin would be motivated by selfishness, even here: "no you don't get to claim that, my failures are MINE."

And the fact that Obi-Wan doesn't kill him is interesting too (even though we know from a Doylist perspective, he can't). Maybe he still had compassion for him, pitiful as he was. Or maybe he just couldn't do it, like he told Yoda. Or maybe he was following the Jedi code, to not kill a disarmed opponent.

He commits to the long game, continuing to watch over Luke and set him on his journey. I love the upbeat feel at the end of this series. That is Star Wars, to me.

[keferon]

May I ask what were the best transformers media you ever saw/read?

Well Transformers Prime, Transformers 1986 and IDW comics are having the first place that’s for sure

And then the second place is kind of shared by Fall of Cybertron, Exodus, Prime wars trilogy, Robots in disguise(2001) and Transformers One.

The third place goes to G1, Animated, Earthspark, Armada, War for Cybertron Netflix series, Aligned Robots in disguise, Bumblebee, Rise of the Beasts and Cyberverse because I only liked some little parts of them.

And then I also saw some of the Bay movies, Victory and Headmasters and didn’t like them at all.

Separate first place for J-Decker. It is not exactly Transformers but it is a show about giant robots and I loved it

[dykedvonte]

I think depictions of Anya being cruel to Curly or drawing out his suffering are artful and chilling but completely miss the point of the story and her character.

I'm not saying she doesn't deserve to have that "I told you so" moment with him but not in something callous or cold. Even if that is how it happened, she'd immediately feel guilty cause at that point she's not tormenting her tormenter or even the person truly at fault. She's doing something cathartic, similar to how Jimmy likely hits Curly to release rage he can't against the rest of the crew. She'd see herself as no different when she'd come back from the moment and see Curly cowering at her. She wants someone to take responsibility but how does being cruel to the defenseless help? Why would she want the power Jimmy has over her over Curly?

The idea of her extending someone else's pain is just so against the struggles she already faces and how she can't even bring herself to cause someone pain even to help them. Her very desire is to release herself from her own suffering and I doubt she'd even fine some sort of guilty release in being cruel to another.

[cloud-ya]

Sega managed to give Shadow wings AU before I could

[s0fter-sin]

one of my favourite aspects of supernatural that you very rarely see in paranormal shows is that sam and dean are already versed in the world they live in. there’s no sudden discovery of ghosts and demons and now they have to learn about them along with the audience; they are born into it and already know all about it. it allows the audience to follow their personal story instead of also trying to figure out this new world and its rules

the first season is full of knowledge we never see them learn; “w*ndigoes are in the minnesota woods or- or northern michigan. i’ve never even heard of one this far west.” […] “great. well then this [his gun] is useless.” (1x02), “you don’t break a curse. you get the hell out of its way.” (1x08), d: “it’s a god. a pagan god, anyway.” […] “the annual cycle of its killings? and the fact that the victims are always a man and a woman. like some kind of fertility right.” […] s: “the last meal. given to sacrificial victims. d: “yeah, i’m thinking a ritual sacrifice to appease some pagan god.” (1x11)

almost every episode in the first season is a monster they’ve faced before that they then explain to the audience in a way that should feel patronising; like it’s the same speech given over and over again but instead, the audience almost feels included in the knowledge. it’s stated with such an innate confidence and comfort in said knowledge that it feels like we already knew it too; “spirits and demons don't have to unlock doors. if they want inside, they just go through the walls.” […] “the claws, the speed that it moves; could be a skinwalker, maybe a black dog.” (1x02), “it's biblical numerology. you know noah's ark, it rained for forty days. the number means death.” (1x04), “no no no, not the reaper, a reaper. there's reaper lore in pretty much every culture on earth, it goes by 100 different names.” […] “you said it yourself that the clock stopped, right? reapers stop time. and you can only see 'em when they're coming at you which is why i could see it and you couldn't.” (1x12)

they already know and, at least in the first season, already have what they need to kill whatever they’re hunting; already know to salt and burn bones for spirits, fire for a w*ndigo, exorcisms for demons, a silver bullet to the heart for shapeshifters. there’s only three times in the entire first season that they run into something new to them; 1x14 when sam gets his first vision that leads him to another psychic, 1x16 when dean calls caleb for help on the sigil he put together and he tells him about daevas, and 1x20 when they find out vampires are real- and they only don’t know that bc john thought they were hunted to extinction and not worth mentioning

(there’s also technically two half instances if you count one of them knowing something the other doesn’t - sam figuring out the tulpa in 1x17 and dean already knowing about the shtriga in 1x18 - but those still rely on sam and dean having prior knowledge)

even when they’re uncertain about facing something, it’s not bc they don’t know what it is; it’s precisely bc they know what it is and acknowledge that it’ll be a difficult hunt (“i don't know, man. this isn't our normal gig. i mean, demons, they don't want anything, just death and destruction for its own sake. this is big. and i wish dad was here.” 1x04)

so much of the tension in paranormal shows typically comes from the main character(s) not knowing what is happening to them/the people around them and having to find out how to resolve it. supernatural is unique in that it operates more like a police procedural. the tension comes from solving the clues and identifying patterns to figure out who (what) the killer is and intercepting before they can take another victim

it’s such a different tone to go for when compared to other shows that came both before, during, and after its run. it sets sam and dean on even footing with each other since they both have the same knowledge going in, and it puts them in a place of authority usually reserved for an outside character

the shows i compare spn to most is charmed, buffy and teen wolf; every main character in those shows are brought into the paranormal world knowing nothing, putting them on the same level as the audience, and they have their mc interact with others already knowledgeable about that world in order to overcome their problem/monster of the week. the audience organically learns about this new world as the characters learn about it. it’s a sound writing strategy that prevents “as we already know”-style exposition but something that complicates it is if your world building isn’t unique or intriguing enough, this slow introduction can become boring

we’ve seen shows like these before; sitting through the same tropes of characters learning to use their powers, struggling with no longer feeling normal/relating to the regular world around them, and not knowing how much they can trust the people already involved in this new world gets repetitive. all three shows eventually reach the same level of comfort with their new world that spn starts with but if the characters aren’t enough to draw you in, you can end up dropping it before they reach that point (and often, before the overarching plot can really kick in and evolve the show beyond the villain of the week format)

it’s the superhero origin movie in tv format; dragged out and overplayed. dropping the audience into an established world of course comes with its own problems but you also have the benefit of pre-existing established character dynamics that let the audience slot in like they’ve always been there instead of just getting to know all the characters while the characters also get to know each other

sam and dean already knowing about the supernatural lets the audience immediately get to the core of the story; the conflict between sam and dean, the search for their father, and the mystery of what killed their mother