#GIVE ONE OF THE OTHER CHARACTERS A MORE INTERESTING LOVE STORY

[jellyfishline]

Sorry for adding unsolicited advice, but one of the most valuable things I've learned as a writer is how to push over this kind of block! So I'm gonna share a few strategies that have helped me, and might help other people too!

Strategy one: skip over it.

Literally don't write a transition. Just skip to the next interesting scene. Promise yourself you'll go back and write a smooth transition later. A shocking amount of the time when I come back to edit I find that I don't even need more of a transition at all. Sometimes, your brain is so stuck in the story that it doesn't want to leave any negative space, but the negative space of a new scene, a new chapter, or a new paragraph is what the story craves.

Strategy two: just describe it.

Don't try to write it nicely, prettily, or well. Write like you're making an instruction manual, or notes for an actor in a screenplay. Write "and then they walked into the room." Write "and the conversation was over." Write "the next day, [blank] happened." Again, a shocking amount of the time for me, writing it in plain language turns out to be what the story needed. And if it does need more detail, you can always add that detail later! It is so much easier to add frills once you've got the bedrock of a scene in place.

Strategy three: just dialogue.

Idk how often this happens to other people, but I often get tripped up trying to juggle dialogue, actions, body language, and internal monologue when writing. When that happens, I switch to writing just the dialogue in short exchanges, no dialogue tags or description, with only paragraph breaks and punctuation to structure it. This both frees me up from the paralysis of trying to write everything at once, and has the added benefit of really honing in on character voices. I love to try to give all my major characters a distinctive enough voice that you can work out who's talking by the cadence of their speech, even without dialogue tags.

Strategy four: outline it.

This is sort of an expanded version of strategy two. If you're really struggling, or if this transition is something you know is going to take a whole scene or a whole chapter and more than just a line or two of description, pause to write out the events in a short, descriptive, beat-by-beat way. "They talked. They argued. No one listened to each other. They all went to bed frustrated." Sometimes this beat-by-beat plotting will transform into something you can really use--fragments of dialogue, a solid description, a realization that you can restructure so an important piece of information doesn't actually have to go here--but if not you still have a workable framework to either propel you into the next scene or start building up into a meatier bit of prose.

Strategy five: just do it.

Putting this strategy at the end because while I think it’s a lot of writers' first instincts when coming up to a roadblock, I also think the inability to force ourselves through the boring miserable bits of writing and "just do it" is a major reason why projects get abandoned. Sometimes, you might find yourself in a position where you really do just have to write your way out of the problem you've made for yourself. In those cases, I think it’s a good idea to take a deep breath, be generous with yourself, and applaud yourself for showing up, even if you're only writing a sentence or two every day. Writing is hard! Even professionals have bad days. You don't have to burn yourself out putting words on a page. Take the pressure to perform off yourself, and just write what you can. Eventually you'll get past it, and the words will flow again.

writing is so funny because i could write nonstop for 9hrs and then hit a block where im like "how do i transition between this moment and the next?" and then i just dont touch it for 6 months

[riotgurlll]

Chance (From Date Everything) Headcannons... NSFW

Okay so I'm obsessed with DE as well as Chance, And i've seen SO little material for this cutie so I'm taking it into my own hands.

TW: NSFW content, aka explicit material, spelling and grammar errors probably, plz be warned and lmk if I missed anything.

Contents/Mentions: Dom/Sub dynamic, Roleplay, depictions of male genitalia, mentions non-monogamy, gender neutral/afab or amab inclusive

---

-Chance is a nerd. A dork, if you will. Did you see how excited he was when you indulged in his interest in GnG? The way his pretty brown eyes lit up when you expressed that you'd be interested in joining a session of his? He's such a sweetheart.. The more you visited him, the more he felt himself growing fonder and fonder of you. The way you went along with his stories, listened to him ramble on about the subject in it's entirety- gods, everything about you was just so perfect...

-He'd be a liar if he said you didn't turn him on.

-Chance may be a dork, but that doesn't stop him from teasing you- in his own cute and cheesy way, sometimes. Take things from the character sheets, to the other sheets? Say less! If chance is sure that you're interested in him, he's not afraid of making some flirty remarks.. clearly.

-He's a switch, 100%. Sometimes, when you two are playing a game and you're heavily debating you options, or he's watching you as you write about or draw your character, he can't help but admire your features. His mind drifts to... other things, as well. He just can't help it! You're so... alluring. The way your clothes fit your body- whether they're tight or baggy, doesn't go un-noticed by him. It's not uncommon for him to compliment you openly, simply- because deep down? He knows you love it when he does.

He can't help but imagine taking control over you- to show you how grateful he is that you spend so much time with him.. He'd quietly tell you sweet nothings, praising you for your kindness and creativity. He'll stroke your hair gently, holding it back for you to it doesn't fall in front of your face while bends you over and fucks you on your desk. You can't help but feel flustered... Poor Dasha! Mac too... But let's be honest, Mac has seen all the fanfiction you've read on your nerdy crushes, so they aren't surprised. And Dasha? Honestly probably rooting for Chance in her head. She's... so proud...! (sniffle)

But alas, there really is no true privacy in the house, and honestly, we all know not a single object in that damn house objects to seeing you that way. (haha. get it. objects. ha..)

But what if you were to get on top of him? Even if things started out with him having more control, he'd fall apart. Can you blame him? Seeing you bouncing on him like that is literally one of the hottest things you could do, like... ever. He'd be letting out all sorts of noises- whimpers, moans. I just KNOW he would get all whiny when he gets close, for sure. Feeling you clench around him drives him insane... Don't even get him started on the view.

-Speaking of, I think he's vocal ALL the way. Moans, Whimpers, whines, it doesn't matter. Personally, he hates the whole idea that men should be quiet during intimacy- why would he hide his pleasure from you? He wants you to know. He wants you to know how your beautiful self makes him feel. He'll talk you through it too, his voice getting all soft and low while he fucks himself into you. Chefs kiss, fr. Expect to here "yeah?" from this man. Especially if you're into it, cuz he knows full well what that'll do to you. He'll have the audacity to ask you if you feel good while you're cock drunk.. like mf? Obviously????

-Definitely into praise, both giving and receiving. He'll tell you how good you feel, how pretty/handsome you are.. He'll go on and on about how you're perfect for him, about how he fits inside you just right. He'll tell you that all he want's is to make you feel good, just like how you make him feel.

And if you praise him? That's a quick way to get him into a submissive space reeeeaaaal quick. Something about hearing you compliment him, tell him he's doing so good? He'll fold immediately. Tell him he's pretty- he'll whimper with no hesitation as he rests his head against whatever part of your body is closest to him. Your stomach, crook of your neck- forehead, he's down bad. BAD bad.

-Biceps. this doesn't have to be NSFW, but if you're like me, it is. iykyk.

-^^^ Okayyy, I'll expand upon this... I think he's both buff and chubby at the same time- I mean, look at him. He probably works out just so he can look like an OC of his or something, but who gives a fuck. He's strong, and soft. I just know this man gives the best hugs, don't even fucking play w me rn. Imagine him hugging you close while he fucks himself up into you? Yeah. Yeah. I don't need to say anything else about this.

-He's a solid 4.5 when he's soft- and now I know some of ya'll think that's tiny but it really isn't. Regardless, he's a grower anyways. When he gets hard, he's around 6 inches. I don't think he's circumsized though in all honesty. I just know this mans tip is sensitive. Chance is also thick, like serious girth here. You know those mini sized soda cans? That's probably the closest thing I can compare it to. I'm thinking his base is #f5ae8a- (Yeah. we're getting specific). His tip is probably around a #fb9888 color.

His cock is def curved too- upwards, to the left. It's so heavy that it has to lean one way anyways.

-OKAY. Imma state the obvious here. CLEARLY this man is into roleplaying in the sheets. It's cannon bruh. Now, this can be a spectrum- And if roleplay in bed isn't your thing, he won't force it on you whatsoever. It's not something he requires sexually.

However, if you are into it, he's happy. It doesn't even have to be some elaborate scenario. Cosplay as one of your GnG characters? He's sat. Or just cosplay in general- Put on a Tifa Lockhart (FROM THE LATER GAMES.) fit if you're fem leaning, he's acting like a damn dog. It doesn't have to be a fantasy outfit, it could be any reasonable character, he doesn't give a PISS. Going to a Renaissance festival with friends? Better see him while you're in that outfit cuz he's gonna be all over you. He's a nerd, he can't help it.

-Two man w Parker?- OOP??? Who said that... guys.... oh my gosh...

-When it comes to oral, of COURSE he loves giving. He would eyp or syd for hours if u could take it, that's just the truth- but he does have a guilty pleasure for receiving. Watching you go down on him is literally a dream come true. He'll be grabbing your hair, fucking up into your mouth, all while sounding like a damn porno above you.

"Just like that.." "Please, don't stop.." "y'feel so good...-"

-He'd call you nicknames for sure. Beautiful, Handsome, Honey, Love, Sweetheart- anything,really. And he'd love to hear you call him those things too. Could definitely get behind sir and ma'am in a roleplay scenario.

-Honestly a thigh/ass guy. Phatty or nah, he doesn't give a fffFFFFUCK. Wrap those damn legs around him- crush his head, do whatever. And you best believe he looooves hitting it from the back. He'll grab onto your hips like he needs it to live.

-He doesn't care what you look like, but I feel like he would have a sweet spot for chubby people. Def the type of guy to say there's "more to love". He loves a tummy.

-Sit on that mans face. He loves that shit SOOO much. And no, don't hover either, he'll grab you and make you sit if he has to- he's not playing.

-He'd also love to see you lingerie. Put on something dark red and lacey, he'll be on his knees unwrapping you like a present in seconds. He'll press kisses all over you, down your stomach, your thighs, chest, neck- he can't get enough of you.

-Chance would love it if you grinded on his thigh while he was doing something- maybe updating a character sheet, taking notes for a storyline while also having a hand on your hip/ass as he helped you rut your hips against his strong leg. Occasionally, he'll press kisses to your lips and jaw before getting back to work.

-He loves his hands. He loves running them all over your body in places you like and allow him to. He loves being about to grope at your body, being able to hold you, move you at his will. He's got big hands too, no doubt. Big, strong hands with thick fingers that feel amazing inside of you, or wrapped around you.

-Would mumble "Holy crit" During it. Don't lie to urself, he would. That man will be giving you the most dubious back shots in centuries and you'll hear him whisper it under his breath.

-If you were to tease him, he'd definitely get all blushy. he's so cute!!! He'd get all stuttery, probably avoid eye contact. Just because he's more confident than he may seem doesn't mean you can't make him flustered, and TRUST me, it's easy to make him flustered- if it's coming from you, of course.

-Not smutty or nsfw but I headcannon him to have HELLA tattoos up and down both his arms. I know he already has one on the underside of his forearm, but I'm talking SLEEVES.

-Check ups every now and then. You guys have a safe word too- which just so happens to be Gargoyle.

-Aftercare is sooo important to him. He'll be sure to clean you up gently, get you some water, a snack if you need it. He'll cuddle with you, run his hands through your hair- whatever you need, you have it. And it's the other way around, if you're domming him, make sure you take care of this man. It makes him feel so loved and cared for- if you brush him off, then he just feels tossed around and used.

[thesoftboiledegg]

The writers' choice to stray away from B-plots in recent seasons has been controversial. Some people have criticized this decision because it means we spend less time with the other characters. Personally, I've enjoyed it because it gives us more time to focus on the main story--and man, as far as B-plots go, I REALLY wish this episode didn't have one.

The Earth World subplot was creative enough, and I'll admit that it was nice to see the whole Smith family in an episode for a change. But every time the story veered away from the Beths, I couldn't wait to return to their adventures. We've only got 20 minutes to spare, and their story is so much more interesting than a goofy subplot that doesn't reveal anything new about the characters.

Well, maybe it revealed a little about Morty. "I'm not gonna shit on it too hard because I know you'd punish me." Ouch. No matter how much Rick changes, the memory of his past abuse still lingers.

And the Beths have a lot of complicated memories, too. "The CuRicksous Case of Bethjamin Button" is a solid episode, but I wish we had time to really dive into their sadness, grief, frustration and contradictory feelings toward their father and each other. Without it, the happier scenes at the end don't completely feel "earned."

In any case, I hope this is the start of something bigger. This show has underutilized Beth for far too long.

I was glad to see two women credited as the head writers for this episode (Heather Anne Campbell and Jess Lacher) because they'd truly understand the weirdness of girlhood. As a former weird girl myself, this episode nailed it. Little girls are loud, rowdy, creative, daring and ambitious, but despite it all, we crave our parents' love and approval.

Beth, of course, is a little rowdier than most girls. I wish we'd learned more about her childhood because it's still fairly muddy. She's violent like her father, but the show keeps implying that he was kinder when he was younger, so was Beth just vicious on her own? Or are we getting the wrong impression about Rick? Or did something else happen? It's still a mystery.

Beth and Space Beth's dynamic is intriguing because they respect and care for each other, but they also see each other's worst traits in themselves, so they often end up at each other's throats. Still, they always end up reconciling because nobody understands them as well as they do. They have such different lives, and yet they ended up in the exact same mental state.

At the start, it was nice to see them acknowledge that they can't keep blaming Rick for everything. He fucked up, but they're adults who make their own decisions--well, until they get into the de-aging machine, I guess. After Rick happily lived as a child in "Cryo Mort a Rickver," we've had two episodes in a row about age regression. Don't let Rick de-age himself, because he might not want to change back.

When the Beths started raising hell in a seemingly aimless A-plot and the B-plot kept Rick away from the house, I figured we'd miss our chance to see Rick interact with his little girl. But nope, the writers had a pleasant surprise in store: Rick leaving the trip early to confront his daughters alone.

That decision resulted in some juicy character scenes. The Beths take advantage of Rick's genuine fatherly concern to trap him in the machine and turn him into a 360-year-old geezer, then proceed to kick his ass. Inevitably, their glee melts into tears. And finally, the show addresses something that's driven me crazy for ages: Rick tells the Beths that he never left them.

I've always hated how Rick apparently told them off-screen, and it didn't seem to affect the way the family treated him. The Smiths insulted him for YEARS, thinking he abandoned his daughter, and we just...never find out how they reacted to the truth? This episode doesn't totally rectify that, but at least we see Beth admit that she needs to blame somebody, and he's the only Rick available.

Beth tries to protect herself with an icy exterior, but in the end, she's just a lonely little girl who wants her father's love. Her biological father is gone, but after all these years, the Rick who stayed is finally ready to give it to her.

I would've preferred this episode without a B-plot, but I'll admit that Summer and Jerry loudly ruining Rick's moment with the Beths was hilarious. This is still the Sanchez/Smith family, after all. They might be changing, but they're always up for wacky sci-fi hijinks--and poor Gene keeps getting caught in the way.

[ablobwhowrites]

just random yandere tenna rant

(This is just a little ramble over some yandere deltarune stuff that'll come out soon maybe. I very much like the character tenna but hopefully I did his character right in this.)

Imagine toriel your neighbor giving you a old TV she doesn't want anymore and you think nothing of it and just take it home as you did need a new TV and this one will do but of course it's a bit old so you do give it tuneups from time to time but little do you know that tenna already grew attached to you. He never got this much attention like this in a while and he is loving every second, every touch and every time you look at him, everything.

He wishes to be around you more, he wants to be by your side 24/7 but hates it when you leave his sight as he doesn't know if you'll stop watching him, if you'll leave him alone for as long as everyone did. Please come back, he'll play your favorite shows, he'll make sure you get to watch your favorite parts again and again or if he hears how your interested in other shows but they don't air on a time that's convenient for you then he'll play them! He loves watching you laugh, smile at him or just keeping your attention on him. He wants to hold you close to him, he wants to hold you and never let you go as he'll try to be the best for you, he'll make you happy, he wants to go be happy with him just please stay with him.

He wants to be your favorite broadcast, your only favorite so that you never leave him. Please tell him that's he's your favorite.

(anyways thats all for my small yap session for today. Just wanted to get at least one small piece of yandere deltarune out for today but I very much like the silly TV man. If you do like this please don't be shy and request any ideas for stories or y/n's you have! But for now please stay safe and drink water!)

[mangotangerine]

More mango writing advice! This episode on Writing Tools, Not Rules, we answer the question:

Where do I start my story?

(Or scene, or sentence)

In the middle! Unless it's better to start at the beginning.

There is some advice I've seen a couple places, about starting a scene "late" and ending it "early", that I think is good advice—for the most part!

But sometimes it's not good advice, because perhaps starting late and ending early isn't actually what you want to do for the specific story you're telling.

We'll start with talking about what "starting late" means first.

What this common advice is getting at is the importance of hooking the reader and building interest.

"But how do I hook a reader?" you ask. Good question. And people will tell you, "By adding curiosity! By leaving information out! By starting in the middle!"

But what the fuck does any of that actually mean?

All around us, every day, we're surrounded by (and filtering through) tons and tons and tons of information. Some of it's environmental information that our brain is subconsciously taking in and categorizing, some of us are in school, reading textbooks, or scrolling through Wikipedia. Or maybe a waiter is telling us the specials of the day!

It's all information, and it's all being processed, and it's all being sorted and subconsciously (or sometimes consciously) judged.

As a species, we've gotten real fucking good at being able to tune out what's not important and at anticipating what might come next.

And we know, when something starts out at the beginning, with something like, "There was a girl," or "a long long time ago," or "Jimmy wakes up on Sunday," or "Janine takes a bucket of chicken feed out to her chickens," that it could go fucking anywhere.

Starting like that isn't wrong, but it's asking the reader to invest time in something that could end up going nowhere at all. Hooking a reader is about giving them right in the beginning: A) why they need to care, B) why what you're writing is interesting, and C) why the reader can trust you to deliver something interesting.

Example One

Consider these two options:

Janine takes a bucket of chicken feed out to her chickens.

vs.

Janine stares up at the sky, chicken feed spread out in a chaotic smorgasbord across the lawn.

The first one: okay, what's she doing with the chicken feed? Feeding chickens. Great. Cool. What next? Something cool? Is it gonna be about how much Janine loves her chickens? What's this story?

The second one: What the fuck happened to Janine and why'd she throw chicken feed across the lawn?

This is what people mean when they say "start in the middle."

Don't start with Janine taking her chicken feed out, trying to scatter it, and how she, I don't know, steps on a banana peel, chicken feed flying, chickens tumbling out of the coop like bowling pins.

Start with her slipping on the banana peel, chicken feed flying, chickens tumbling out of the coop like bowling pins, or start with the aftermath of Janine lying down surrounded by chicken feed.

You immediately hand the reader something interesting, something they now want to know more about, a mystery for them to solve. They're invested. What happened to Janine and her chicken feed?

Then you can go into the backstory. You've seen the technique before in other places, I'm sure. We've all seen a movie or TV episode where it starts on a chaotic scene and you get the narrator character voiceover of, "So how did I get here?"

Exact same concept, just a different medium. You want to tell the reader there's something interesting here, give them a flavor of what to expect, and then you can pull back and start to fill in the blanks—or not! You don't have to! You can just go forward from Janine and the chickens tumbling out like bowling pins, or from her staring at the sky, surrounded by chicken feed and tumbling chickens.

See, you don't really need the, "she walked outside with a bucket full of chicken feed," if your story isn't about how she has chicken feed, and where it came from, and even if that is what your story is about—where can you start it instead, that gives the reader a taste of what to expect? That leaves a little mystery?

Example Two

Let's explore another example, and explore what your intro is actually doing and what the impact of the words is. We're going to take one of the examples I gave that I implied you shouldn't start with, and tell you how you can start with that.

"Jimmy wakes up on a Sunday."

What does this tell the reader about what kind of story this is? What's the relevant piece here? That he's waking up, that it's Sunday? Is any of that relevant? What's important about him waking up on a Sunday?

Jimmy = our character, who will be revealed anyway.

Wakes up = something everyone does. Well… usually.

on a Sunday = this adds specificity. Specificity is an indication that something is important.

What's your next sentence going to be? Will it give context as to why Sunday is important? If it doesn't, the reader is going to either think, "okay maybe the next sentence will," or they're going to throw, "on a Sunday," out as unimportant.

You've just given the reader a sentence that does nothing. It tells them nothing.

Consider:

"Jimmy wakes up on a Sunday. He checks his clock—fuck, it's 12:00 PM already."

Jimmy = our character, who will be revealed anyway.

Wakes up = something (most) people do.

on a Sunday = specific, potentially relevant.

THEN

He checks his clock = He has a clock, he checks it, that's a normal thing.

fuck = Oh. An emotion. Something's wrong.

it's 12:00 PM = the time. Most people wake up earlier than that, but not everyone. Why is waking up at 12:00 PM bad?

already = he did not mean to wake up at 12:00 PM.

You added just one sentence, which did the following:

It confirmed that Sunday is important information. Wonderful, now your reader knows there's something to discover here.

It gave some more very specific information. Using our fantastic brains and how we are pattern matching experts, we have the beginning of a pattern emerging—that you are giving us specific information that is, in fact, actually important.

It gave emotion. It tells us something about the character. He's not just Jimmy anymore, he's a Jimmy who is unhappy about waking up at 12:00 PM on a Sunday for some reason. What could be the reason?

It gives something to anticipate. Is it because he's missing church? Is there important band practice? Why would he be upset about waking up so late if it wasn't something interesting? We don't usually feel fuck-level emotions about mundane shit.

It presents a setting.

It drives the story forward. It adds important information. It confirms the first sentence wasn't empty and purposeless.

The thing is, you still started at the "beginning." You went against advice. You broke the rules. Does that make this start bad?

No. Why? Because this does what the advice is trying to tell you to do. It's a quick hack to build interest, starting in the middle of the action. It's advice that's easy to follow, a great formula for people who aren't sure.

But it doesn't tell you why starting in the middle acts as a hook, it doesn't tell you what that does to the reader, how that hooks the reader, not in a way you can repeat.

And this information I present to you isn't just useful for starting stories, either. Maybe you're starting a new scene, or a new chapter. Or maybe you're in the middle of a scene, and you don't know where to take it next. Or maybe you're reviewing a scene, and editing, and it drags a bit, and you're not sure why.

Understanding the reader journey, where you're leading them, and what they're getting from your writing—that's useful regardless of where you are in your story.

So you've learned what starting "in the middle" looks like, you've learned that it isn't always necessary, and you've learned why. You've learned how to repeat the process. You've learned why certain things work, and certain things don't. You've learned how one sentence leads into the next, what drives a story forward.

You've learned how to start your story.

[bluiela]

The last few days have been peak comedy, watching Elriels spiral and expose every ounce of their pick-me misogyny. The way they’re desperately clawing at Gwyn’s achievements, trying to downplay her growth, is giving “insecure high school mean girl who peaked at HS” energy.

Let’s talk about the “Gwyn went back to the library” nonsense. Oh no, how dare a character return to the place where her healing began, where her plot is centered, where the next main character lives clearly that means she’s irrelevant, right? Right. Because in the Elriel universe, logic and reading comprehension took a vacation. Maas literally placed Gwyn right where future events are unfolding, closed the bonus chapter on her, and gave her an arc still in motion but sure, let’s pretend that means she’s done. This isn’t even denial anymore, it’s full-blown delusion.

Then there’s the “Gwyn is less of a warrior/ or "blood thrirty than elain” takes, which are just chef’s kiss levels of embarrassing. The same Elain they’ve spent years defending as “soft” and “gentle” and “not like other girls” but now suddenly she’s a sword-swinging badass to compete with Gwyn? I love a good rewrite, but this isn't even fanon, it’s pure fanfiction. And not the good kind.

The backtracking is honestly legendary. First, they hate warrior females, now they want Elain is a bloodthirsty violence loving warrior who already has started training with the twins. (ACOSD 2.0? Gwyn's arc copy pasted to elain?) First, they want Elain to have a “soft, non-violent arc,” now they want her to stab a dagger through someone’s heart for Azriel. Pick a lane or better yet, pick a reality.

And of course, they always end up pitting Elain against Gwyn, because they can’t handle more than one woman being strong, interesting, and capable. It’s tired. It’s predictable. It’s straight-up misogyny, dressed up in pastel aesthetics and “Elain deserves better” sob stories. Y’all don’t want Elain to have agency you want her to be a prize. And Gwyn existing, thriving, and standing on her own two feet? It threatens the fantasy.

Honestly? I’m glad I’m not on that side. I’d rather support a character who fought, bled, and grew, than one who’s being molded into whatever trope fits this week’s argument.

someone save poor elain from her "fans"

[blueinkscribe]

Timebomb and RuJinu

I couldn't help but notice that recently, these two ships have taken the internet by storm.

Especially queer spaces online - spaces that usually favour queer ships.

Yet, these ships are straight, are they not? Why suddenly do straight ships take over fandoms like this - where usually straight ships, especially canon ones - fall short?

I have a couple takes on this, and I'd like to share them.

1. The female characters.

Both Jinx and Rumi are characters with a lot of depth. This is a somewhat new thing, especially in mainstream media. Often times even female protagonists are still somewhat of a blank slate, meant more to be generic, written so that any girl could see themselves in this character. Jinx and Rumi however, are believable characters on their own. This gives their respective ships a unique and distinct dynamic, a recognisability that otherwise often is amiss.

2. The surrounding relationships

Both Jinx and Rumi have relationships with other people that are more important to their arch than their romance. This, again, is a somewhat rare thing. Oftentimes when a female character has a romantic interest character, they're the only character that matters. However, Jinx has Vi, who is just as if not more important to her character arch than Ekko is, and Rumi has Zoey and Mira, who are way more important to Rumi than Jinu is.

This gives their relationship a real feel, while not making it the sole drive to their story. This is interesting from a fandom perspective, because it means we, as a fandom, can explore this relationship far more freely in headcanons, because we can change it up, make it different, and be free with it.

When the romantic relationship is the only driving point of the plot, it's hard to find something to play with, to chance, because if it had been different, then the whole story would have been different.

3. Both ships come with an inherent queerness

This might be a far stretch, but I need you to hear me out.

Rumi is part demon. Jinu is a demon with far more consciousness than most others. Jinu and Rumi both are "other" than the norm of the respective worlds they live in. Their relationship is "taboo", but not because it's wierd or dangerous or unhealthy, but simply because of who they are and how they're perceived. Sound familiar?

Jinx and Ekko are social outcasts, for entirely different reasons. They both lived vastly different lives than the norm in their society, Jinx with Silco, Ekko with the Firelights. We can also not ignore that Ekko is one of the few incredibly well written POC in mainstream media. This gives them once again this unique experience of a different life from the norm, their own unique experiences, and their own relationship dynamic, that is different from any other portrayed in the show.

While both of these ships may be straight, their experiences are incredibly relatable to queer people.

4. Canon but not happy end

This one might not be the driver, but it certainly helps.

Both of these ships are canon, in the sense that yes, these characters are in love. However, they don't end up together with their happy end.

This allows the fandom to imagine and speculate and create. Fanfiction works best when you have something to fantasise about. How did they end up together? What was their first kiss like? How do they meet again after all was said and done?

They're canonically in love, but they still give so much room to think about. This is appealing especially to the creative spaces in fandom.

5. Actual, tangible, fleshed put relationship

These character have a relationship beyond "they met and fell in love". They have a dynamic that is unique to them and distinct, they stay their own people in the relationship face their own troubles, and face their mutual troubles together. They feel like actual people who have an actual relationship. Believe ot or not, this is not the norm in mainstream media.

Anyways yeah I just wanted to ramble about them because I couldn't help but keep thinking about this after eating KDH earlier and yeah.

If you have anything to add feel free!

[graysoncritic]

How Nightwing #110 Restores Dick's Humanity

Dick Grayson and Tim Drake have one of the closest bonds in the Batfamily. While their relationships certainly have had their ups and downs, their love for each other is unquestionable. Yet, right in the beginning of their relationship, before they truly knew one another, Tim unknowingly dehumanized Dick in a way that forever changed the conversation around the Robin mantle. This dehumanization, while asserting Robin’s importance to the Batman Mythos, diminishes Dick’s own significance to the narrative. Years later, in Nightwing #110, Devin Grayson reaffirms the importance of Dick’s humanity to the Batman mythos by using the same technique that was once used to distance Dick from the mantle he created. By divorcing Tim from Robin and having Robin speak as its own entity, Grayson atones for a wrong that was done to Dick during Tim’s introduction.

In 1989, after the death of Jason Todd, DC found themselves with a problem that they had solved back when they introduced “the sensational character find of 1940.”

(Finger, Bill, writer. Kane, Bob, artist. Detective Comics. 37 e-book ed. DC Comics, 1940)

The truth is that, narratively, Batman needs a Robin. As JL Bell states in their essay Success in Stasis: Dick Grayson’s Thirty Years as a Boy Wonder, “Adding Dick Grayson to the Batman saga improved the storytelling, opened new possibilities in plotting, and created a depth that the Cape Crusader’s solo adventure had lacked. The partnership of the Dynamic Duo — the first of many comic-book teams featuring an adult crime-fighter and a kid side-kick — provided the emotional foundation that made their stories meaningful.” (Bells, JL “Success in Stasis: Dick Grayson’s Thirty Years as a Boy Wonder.”Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman edited by Kristen L. Geaman, McFarland & Company, Inc., Publishers, 2015, pp. 09) In other words, by giving someone Batman cares for, the creators of the comic were able to generate much needed emotional stakes and conflict in their stories.

This remained true in the 1980s. Even though Jason was condemned to death in 1988 in a 5,343 to 5271 telephone vote that led to a “backlash [that] was profound,” (Dauber, Jeff American Comics: A History, W. W. Norton & Company, 2021, pp. 311), the truth was that Batman still needed a Robin. And so, Tim Drake was created.

Though he first appeared in a cameo in Batman: Year Three, Tim’s proper introduction – a story called A Lonely Place of Dying – began in August 29, 1989 in Batman #440. If you never read these five issues, I highly recommend them. In the story, Batman’s grief is making him become more ruthless in his fight against crime, to the point where he becomes blind to reason and fails to approach a case related to Two Face with a leveled head. Tim, who knows Batman’s true identity, tracks down Dick to try to convince him to become Robin again because “Batman needs Robin”

(Wolfman, Marv, writer. Aparo, Jim, pencils. DeCarlo, Mike, ink. Roy, Adrienne, colorist. A Lonely Place of Dying: Chapter Three: Parallel Lives. Batman. 441, e-book ed. DC Comics, 1989. pp. 22)

When Dick refuses to become Robin again, and after Batman and Nightwing fail to return from a confrontation with Two Face, Tim puts on the iconic costume and goes to their rescue. Together, the three apprehend Two Face, and while Bruce is hesitant at first to let a new boy fight by his side, Tim manages to convince him by saying Batman needs someone to keep him in check. Though his introduction does feel a little forced at times, and Tim does come across as slightly one dimensional, there are already traces of the character we would come to know and love in this initial iteration. As a Dick Grayson-stan, what interested me the most about A Lonely Place of Dying was Tim’s genuine affection for Dick. There is a level of parasocialness to their relationship that is delightful to read, and I wish it was explored more in depth in both analyses and fandom depictions of their relationships. Tim clearly adored Dick for most of his life, being moved to tears at the thought of him not being Robin.

(Wolfman, Marv. Perez, George, writers. Grummet, Tom, pencils. McLeod, Bob, ink. Roy, Adrienne, colorist. A Lonely Place of Dying: Part Four: Going Home. The New Titans. 61, e-book ed. DC Comics, 1989. pp. 03)

And speaking to Dick with a familiarity that they did not have.

(Wolfman, Marv. Perez, George, writers. Grummet, Tom, pencils. McLeod, Bob, ink. Roy, Adrienne, colorist. A Lonely Place of Dying: Chapter Two: Roots. The New Titans. 61, e-book ed. DC Comics, 1989. pp. 22)

It is genuinely endearing and amusing to read.

That being said, despite really enjoying this story, its conclusion bothered me. When Tim confronts Bruce about Batman needing a Robin, he says that Bruce has become a symbol. Batman is a symbol. Just as Robin is. A symbol of justice. And "When one policeman is killed, others take his place because justice can't be stopped."

(Wolfman, Marv, writer. Aparo, Jim, pencils. DeCarlo, Mike, ink. Roy, Adrienne, colorist. A Lonely Place of Dying: Chapter Five: Rebirth. Batman. 442, e-book ed. DC Comics, 1989. pp. 22)

Narratively speaking, Tim is not wrong. Batman and Robin are symbols. They are also, as I argue in this post, metaphors for trauma and for healing. That being said, Tim’s language is also incredibly dehumanizing. To make Batman and Robin into a symbol is to abstract the mantles and remove them from the persons behind the mask. This distances Batman from Bruce, Robin from Dick. The symbol of Batman and Robin stands independent of the humanity of the persons who created it. In fact, I'd go one step further and say that it requires that distance, that dehumanization. 

That works for a franchise. For a brand. But the character-centric reader in me cannot help but be bothered by this reading. This is because Batman and Robin are intrinsically tied to Bruce and Dick's identities – they are extensions of their creators, their trauma externalized, their journey towards healing and agency manifested. They are a metaphor for healing, and empowerment, yes, but that healing, and empowerment cannot be separated from the trauma behind it. It cannot be separated from Bruce and Dick.  

Yet, the narrative treats this dehumanization as the correct way of viewing Batman and Robin. Batman and Robin are a symbol. There must always be a Robin. When a Robin dies, a new one must take his place. And, while from a branding and outsider's perspective Tim is not wrong, I fear that we, as a fandom, have never truly interrogated that dehumanization. Tim was right. Bruce needed help. The narrative needed Tim to become Robin. Therefore, Bruce must accept Tim despite his reservations and despite grief. We do not question whether this is fair or right to Bruce the person. 

While it may seem contradictory, this dehumanization also downplays Dick’s importance to the Batman Mythos. While yes, the narrative states that Batman always needs a Robin, Tim’s words and actions implies that it matters little who the boy (or girl) behind the mask is. Therefore, Dick is replaceable. It is not Dick who is important, but Robin. It does not matter that Robin would not exist or carry such a meaning of youth and wonder without Dick. The character itself is less important than the symbol. 

We can see how this attitude has plagued the fandom by discussions of Robin being adapted. Whenever the question comes up, fans will argue about which Robin should be the one to make his debut on screen. As if the order in which they show up does not matter. As if the role Dick played in changing Bruce’s life is inconsequential. The boy behind the mask does not need to be Dick because the boy behind the mask does not matter. 

As Dick a fan, I do not need to explain why that is insulting. While it is true that some of this is steeped in queerphobia (for Dick, despite not being officially out, is still the queerest of all the Robins and he queers Bruce by association), I do believe a lot of it also stems from the dehumanization of Batman and Robin that we see present in A Lonely Place of Dying. 

And this is why I have come to appreciate Nightwing (1996) #110 so much.

In this issue, Dick is at his lowest point. Despite having confronted and locked away his rapist in Nightwing #100, Dick is still struggling not only with the aftermath of said rape, but also with the terror Blockbuster rained upon him, and with the guilt of stepping aside when Tarantula murdered Blockbuster. Dick is collapsing. He is  falling apart, so convinced of his own unworthiness and repulsiveness that he gives up Nightwing and is isolating himself by working undercover to take down the mob in Bludhaven. 

While working undercover, Dick watches as Tim takes down some bad guys while protecting the cops. He tries to run away without being seen, but of course, Tim spots him. As they talk, Tim, thinking Dick already knew this information, reveals that Bruce has offered to adopt him. Dick, who was only just recently adopted, is understandably hurt that Bruce would make such a big decision and not inform him. He sees this as proof that Bruce does not care as much about him as Dick would have hoped. As a result, Dick pushes Tim away, saying he should accept the adoption, that Dick wished he could do the same for Tim, and that Tim should forget about him because Dick is not a hero anymore.

(Grayson, Devin, writer. Hester, Phil, pencils. Parks, Ande ink. Wright, Gregory, colorist. Nightwing. Incorporation. 110, e-book ed. DC Comics, 2005)

But Tim sees through Dick’s action and, in a moment of emotional insight, remedies the dehumanization he started when he first became Robin.

(Grayson, Devin, writer. Hester, Phil, pencils. Parks, Ande ink. Wright, Gregory, colorist. Nightwing. Incorporation. 110, e-book ed. DC Comics, 2005)

At this moment, the humanity of the original Robin is recognized. Dick's unique importance to the Batman Mythos is recognized. Tim, clad in shadows, with only the R -- the symbol -- highlighted, says that what Bruce, what Batman, really needs is Dick Grayson. It's not just a random kid wearing the R, it's not just about the costume and the name. It's about Dick. In this moment, Tim is the one being abstracted, literally erased as shadows fall upon him, so that Dick's personhood and importance can be recognized. The abstract concept of Robin acknowledges the importance of Dick Grayson’s person, and in doing so, restores his humanity.

As a Dick Grayson fan, this moment highlights what I wish both fandom and canon would more often acknowledge – what it feels like many have either forgotten or refuse to accept. DC Comics and many fans treat Dick as if he were replaceable – as if any random child, or as if Selina or Khoa or an adult friend or love interest, could take Dick’s place in Bruce’s heart. The truth is, Bruce only became a character who could embrace Jason, Tim, Cass, Steph, Damian, and Duke because Dick came first. It was Dick, with whom Bruce shares a unique and intimate bond due to their shared trauma, who opened his heart. Bruce could only become a man ready to accept Selina into his life because he learned how to be close to others through his relationship with Dick. Batman found his light in Dick. Dick Grayson is Bruce’s humanity. Bruce, Batman, needs Dick Grayson, and it would be good if we – both official creatives and fans – remembered and honored that very important fact.

Bibliography

Bells, JL “Success in Stasis: Dick Grayson’s Thirty Years as a Boy Wonder.”Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman edited by Kristen L. Geaman, McFarland & Company, Inc., Publishers, 2015, pp. 08-27

Dauber, Jeff American Comics: A History, W. W. Norton & Company, 2021

Finger, Bill, writer. Kane, Bob, artist. Detective Comics. 37 e-book ed. DC Comics, 1940

Grayson, Devin, writer. Hester, Phil, pencils. Parks, Ande ink. Wright, Gregory, colorist. Nightwing. Incorporation. 110, e-book ed. DC Comics, 2005

Wolfman, Marv, writer. Aparo, Jim, pencils. DeCarlo, Mike, ink. Roy, Adrienne, colorist. A Lonely Place of Dying: Chapter Three: Parallel Lives. Batman. 441, e-book ed. DC Comics, 1989

Wolfman, Marv, writer. Aparo, Jim, pencils. DeCarlo, Mike, ink. Roy, Adrienne, colorist. A Lonely Place of Dying: Chapter Five: Rebirth. Batman. 442, e-book ed. DC Comics, 1989

Wolfman, Marv. Perez, George, writers. Grummet, Tom, pencils. McLeod, Bob, ink. Roy, Adrienne, colorist. A Lonely Place of Dying: Chapter Two: Roots. The New Titans. 61, e-book ed. DC Comics, 1989 Wolfman, Marv. Perez, George, writers. Grummet, Tom, pencils. McLeod, Bob, ink. Roy, Adrienne, colorist. A Lonely Place of Dying: Part Four: Going Home. The New Titans. 61, e-book ed. DC Comics, 1989

[haiisx]

Dark Might & AFO

DARK MIGHT

How I feel about this character: Okay, so my lizard brain hears All Might's voice and sees All Might's face and I get the rush of "that's my blorbo!" so basically all positive feelings I have about him can be attributed to that. I do think he's pretty cool though, and his Quirk is really, really fun!! It's one of the things that stood out to me about him and I love it!! That being said, I was rooting for Izuku to beat his ass by the end of the movie (being an all might fraud and all that) but he sure was fun.

All the people I ship romantically with this character: TOSHINORI. Mortal x the man that worshipped the idea of him. Originally I thought Dark Might worshipped All Might himself like a God, but as the movie progressed it was clear that he only likes the idea of his power. Toxic yaoi.

My non-romantic OTP for this character: Bro doesn't have any friends 😔😔

My unpopular opinion about this character: I wish he was more popular! He's a good antagonist! Where are all the fics about him! Where's the fanart! (Which I could rectify I suppose, but I digress)

One thing I wish would happen / had happened with this character in canon: this is a gripe for all the movies, but I wanna see what happens to them post-movie. I mean, I assume Gollini is eating through a straw for the rest of his life after Izuku used all 50 states of Smash on him, but I think it'd be nice to see Toshinori chat with him in Tartarus, or at least see where he ends up.

Side note: For the longest time, I thought Dark Might was an AU of All Might where he was evil. I'm not the biggest fan of the Dark Superman trope, so I didn't watch the movie for the longest time---that was until I learned that Dark Might was actually just a deluded superfan.

ALL FOR ONE

How I feel about this character: Highkey he is one of my favorite villains, right alongside Stain. His theme is incredible, his cartoonishly evil deeds are fun, his personality is so awful that I can't help but like him. His relationship with All Might is what made me like him in the first place. I'm an avid English Dub enjoyer, and his voice is very fitting!

All the people I ship romantically with this character: All Might!! They're soulmates in the worst imaginable way. Toxic Yaoi at its finest. They make each other worse. "I'll find you in every universe and it will be awful for both of us." They're mirror images of each other and they hate it. Now kiss <3

My non-romantic OTP for this character: Yoichi Shigaraki. AFO does love him in his own way! The idea of taking over the world without his (unwilling) brother by his side was hollow! I love you twisted sibling dynamics <3.

My unpopular opinion about this character: Okay, the whole "born evil" thing was not for me. Also, I think the "he is emotionless/apathetic and therefore evil" was done a little in poor taste. Like, you can be the epitome of evil without coming out of the womb like that, and I think it would've been more interesting to pin his evilness as a product of his environment rather than just being made that way. Plus, we also saw that he wasn't emotionless, so it was odd to see it framed that way.

One thing I wish would happen / had happened with this character in canon: I was actually pretty satisfied with how All For One's story ended/what happened in canon. That, or I just can't think of anything at the moment 😅

Give me a character!

[comicbookgirl2]

For all the praises people give jjk about being ‘revolutionary’ or ‘subversive’ jjk to me is more about putting a new face to status quo rather than breaking or challenging the status quo of the genre or of the story itself.

Because that’s what JJK did.

Also Part of me thinks that JJK doesn’t understand sexism in a deep or meaningful way that has a ripple effect and affects everyone as WHOLE. Sexism comes in many different shapes and forms but I don’t think the story fathomed or even understood that despite it not having any women in modern times as leaders or masters where they were placed in superiority over men.

It was always the women answering to men. And not vice versa.

Why is it that the story preaches about the need to avoid outright violence when handling societal issues but when it comes to sexism- apparently all it needed was in order for it to be fixed was Maki just offing the Zenin?

Why didn’t we see sexism effecting other women? For all that talk about scars- nearly all the female sorcerers we see are beautiful. The one who does have a scar is so weak and buried by the story that one wonders if she’s looked down on because of that and rather than because she has a scar/the sexist double standards.

Why was sexism solved through basic violence and not say-

the women being actually skilled fighters/given bigger roles for the story. Not the women being given important political or societal positions to give them voices in spheres they’d been previously ignored.

You know all revolutionary things that actually would’ve been more meaningful in the long run to elevate more of its female cast from a literary point of view

But no It’s just lol nah- the story gives it the most edgelord solution to sexism I’ve ever seen.

Also the entire talk about double standards that female sorcerers face and sexism being bad means nothing when this story doesn’t challenge but instead ends up following the ‘poorly written female love interest’ ‘delegating women as support/healer roles’ because no-

The story saying sexism is bad ultimately means NOTHING when a good chunk of the weakest characters in a group is usually female. Usually in how she’s explored, the powers she has or worst case scenario for women like Miwa, Utahime, Shoko, Momo- BOTH.

Like has anyone ever noticed how whenever this story wants to motivate a guy in a sympathetic way or do something that wouldn’t make the guy look too too bad it uses a woman in distress?

Geto turns evil because Riko died, his adopted daughters were getting tormented and Yuki’s words helped motivate/inspire him without him just coming to the random conclusion himself.

Maki getting hurt motivates Yuta to beat Geto.

Nobara gets fridged to break Yuji.

Mechamaru betrays everyone to protect Miwa-

Toji falls further into evil because even though he’d been temporarily redeemed his wife’s death broke him.

Kusakabe forms a relationship with Yaga because Yaga was able to help his sister

Megumi’s whole motivation is his sister who’s in a coma

Kamo wants to make his clan better because his mom suffered as a mistress.

Yuki’s death helps to push Choso to live as a human and not a curse

Like you see the pattern here?

And yet we never see it vice versa.

All the people who played a hand in taking down Sukuna were all ‘chosen ones’ who were born strong because fate willed it to be so.

For a man that lived in a sexist society the fact that we never see Gojo uplifting any of the females as the future always meant that this story wasn’t serious about its female cast. The fact that the two decent women (Utahime/Shoko) we see on the good guys side are delegated your standard female healers/support roles honestly meant that this story wasn’t serious in using its female cast to break its own status quo.

Because jjk doesn’t break status quo

It just learns to live with it under a new name/management.

I think the think that kind of will always piss me off about JJK and it's female characters is that it's a story that essentially proved its sexist characters right.

Like Naoya being someone who believes that women should always be like two steps behind a man and painting that as evil doesn't work when you AS THE AUTHOR essentially keep your female characters two steps behind their male counterparts.

I fully believe that if NO ONE online brought up how Nobara could return and be helpful against Sukuna because of her ability, she wouldn't have come back.

I can guarantee you that if characters like Momo, Miwa, or even Mai were men, their powers would've been way more developed cause you're telling me you have a character who basically has wind manipulation and the BEST you can think to do with them is have their strongest attack be a stern breeze and then regulate them to a recon character?

Even really power female characters like Hana and Yuki suffer from "being women in JJK" itis. Hana is CONVENIENTLY so obsessed with Megumi that she can't finish off Sukuna. Meanwhile, Geto is somehow so powerful that he can tank a black hole??

A BLACK HOLE???

Don't pmo.

And don't get me wrong,

I love when a character kneecaps their own potential because of their personality (Okuyasu from JJBA is an example) but with JJK, it's conveniently most of the female cast that this happens to and the only ones that do either get screwed over by plot armor or is the character who is essentially the inverse of Nanami so her reaching her potential is positioned next to her greed.

[nattikay]

OC lineup! All the characters that currently exist in this "story"

[caluupin]

Finished TGAAC around 2 1/2 weeks ago but only finished the doodles today. but still, here ya go!

[dramas-vs-novels]

I've seen a lot of stories lately about different duos splitting, and it made me wonder... Why do you think MMY and DMD seem so good at creating duos that last?

DMD certainly had their rough phase, nearly every duo they launched with originally when they swapped to a drama house split (except for Jimmy and Tommy, their split was special circumstances).

I know MMY let one partner pick the other (Either Boss picked Noeul or Noeul picked Boss, and I think... did Fort pick Peat or other way? IDK about ChanyaAya or ForthDonut). But MMY also puts out shows so slowly that it's still not clear if duos will be long lasting or not (well, to be fair, FortPeat and BossNoeul have both said recently that they have zero intentions of splitting within the next several years).

DMD really hit lightning in a bottle with ZeeNuNew, MaxNat, and TutorYim staying together for so long. IDK what they were doing to get it so right, but they do genuinely seem to have good eggs who get along really well with one another personally and professionally.

Maybe this is related, but those two companies, their shows have this feeling like... you can tell when they had a lot of fun filming a show. Even if you never saw the behind the scenes, you can tell they care, they had a lot of passion for the story and the characters, and they just seem to genuinely enjoy each other's presence.

I'm sure that helps too.

[allygatoor]

i think it's time that we as a society realized that actually eternals wasn't bad it was just not standard marvel fare and that's okay

[vaniliens]

Im not even sticking around for the drama that stuff gives me heart diseases im just here to see where this guys gonna lead us and to make fun of him if it ends up bad and ignore it if it was good

[amelikos]

Gibeon and Amethio key frames.