#I understand that it is important to be realistic and that there's no easy way out of the problems plaguing our world

[potatoesandsunshine]

the fucked up de rolo sibling relationship is something that can actually be so personal....

[weaselle]

i want to talk about real life villains

Not someone who mugs you, or kills someone while driving drunk, those are just criminals. I mean VILLAINS.

Not like trump or musk, who are... cartoonishly evil. And not sexy villains, not grandiose villains, not even satisfyingly two dimensional villains it is easy to hate unconditionally. The real villains.

I had a client who was a retired executive for one of the big oil companies, i think it was Shell or Chevron. Had a home just outside of San Francisco that was wall to wall floor to ceiling full of expensive art. Literally. I once accidentally knocked a painting off the wall because it was hanging at knee height at the corner of the stairs, and it had a little brass plaque on it, and i looked up the name of the artist and it was Monet's apprentice and son-in-law, who was apparently also a famous painter. He had an original Andy Warhol, which should have been a prize piece for anyone to showcase -- it was hanging in the bathroom. I swear to god this guy was using a Chihuly (famous glass sculptor) as a fruit bowl. And he was like, "idk my wife was the one who liked art"

I was intrigued by this guy, because in the circles i run this dude is The Enemy. right? Wealthy oil executive? But as my client, he was... like a sweet grandpa. A poor widower, a nice old man, anyone who knew him would have called him a sweetheart. He had a slightly bewildered air, a sort of gentle bumbling nature.

And the fact that he was both of these things, a Sweet Little Old Man and The Enemy, at the same time, seemed important and fascinating to me.

He reminded me of some antagonist from fiction, but i couldn't put my finger on who. And when i did it all made sense.

John Hammond.

probably one of the most realistic bad guys ever written.

If you've only ever seen the movie, this will need some explaining.

Michael Crichton wrote Jurassic Park in 1990, and i read it shortly thereafter. In the movie, the dinosaurs are the antagonists, which imo erases 50% of the point of the story.

book spoilers below.

In the book, John Hammond is the villain but it takes the reader like half the book to figure that out. Just like my client, John is a sweet old man who wants lovely things for people. He's a very sympathetic character. But as the book progresses, you start to see something about him.

He has an idea, and he's sure it's a good one. When someone else dies in pursuit of his dream, he doesn't think anything of it. When other people turn out to care about that, he brings in experts to evaluate the safety of his idea, and when they quickly tell him his idea is dangerous and needs to be put on hold, he ignores his own experts that he himself hired, because they are telling him that he is wrong, and he is sure he is right.

In his mind, he's a visionary, and nobody understands his vision. He is surrounded by naysayers. Several things have proven too difficult to do the best and safest way, so he has cut corners and taken shortcuts so he can keep moving forward with his plans, but he's sure it's fine. He refuses to hear any word of caution, because he believes he is being cautious enough, and he knows best, even though he has no background in any of the sciences or professions involved. He sends his own grandchildren out into a life-threatening situation because he is willfully ignorant of the danger he is creating.

THIS is like the real villains of the world. He doesn't want anyone to die. Far from it, he only wants good things for people! He's a sweet old man who loves his grandchildren. But he has money and power and refuses to hear that what he is doing is dangerous for everyone, even his own family.

I think he's possibly one of the most important villains ever written in popular fiction.

In the book, he is killed by a pack of the smallest, cutest, "least dangerous" dinosaurs, because a big part of why we read fiction is to see the villains face thematic justice. But like a cigarette CEO dying of lung cancer, his death does not stop his creation from spreading out into the world to continue to endanger everyone else.

I think it is really important to see and understand this kind of villainy in fiction, so you can recognize it in real life.

Sweetheart of a grandfather. Wanted the best for everyone. Right up until what was best for everyone inconvenienced the pursuit of his own interests.

And my client was like that too. His wife had died, and his dog was now the love of his life, and she was this little old dog with silky hair in a hair cut that left long wispy bits on her lower legs. Certain plant materials were easily entangled in this hair and impossible to get out without pulling her hair which clearly hurt her. When i suggested he ask his groomer to trim her lower leg hair short to avoid this, he refused, saying he really liked her usual hair cut.

I emphasized that she was in pain after every walk due to the plant debris getting caught in her leg hair, and a simple trim could put an end to her daily painful removal of it, and he just frowned like i'd recommended he take a bath in pig shit and said "But she'll be ugly" and refused to talk about it anymore.

Sweet old man though. Everyone loved him.

[crookedfandomquill]

This is very situational, and sadly may not be realistic for everyone, but I need y’all to understand that a very important part of political activism is fucking talking to your conservative or moderate friends and family.

My dad voted for Trump in 2016. He’s a middle class white evangelical from Arkansas. He raised me with conservative Christian values, just like his parents raised him. When he voted Trump, he was holding his nose, but he didn’t feel too bad about it, and went on to vote red down the ticket in the 2018 midterms, as well.

But I started college in 2017. Higher education and independence changed everything for me, and I went home over holidays and summers with fire in my belly and a thousand arguments ready at the drop of a hat, to my father’s dismay.

I remember crying in my room after emotional, intense arguments with him. I told him over and over that I felt betrayed by his choice to vote for a man who admitted to sexually assaulting women, who built his platform on dehumanizing immigrants and the disabled, who spread overtly-racist rhetoric, who flouted the values of kindness and self-discipline that I’d been raised on. And my dad always had some justification about the “greater good”: fighting against abortion, bolstering the economy, getting other Christian politicians into office.

But over time, as we grew further apart and I lost my will to discuss anything with him at all, he softened. He started asking me why I thought the way I did about the things we disagreed about. He would listen to my answers without interruption, and mull them over afterward instead of expressing his own opinion. And all the while, he watched the Trump presidency become cruel and absurd and devastating.

The first time he openly expressed regret to me, I had come home for a weekend after Kavanaugh was confirmed to SCOTUS. My dad realized he had helped elect a man who preyed on women… and that man had opened the door to more predators. I can’t tell you what it felt like for him to admit that he’d made a mistake, not just in voting for Trump but in defending him for so long. We kept arguing, but it was more debating than fighting. I knew he was capable of seeing my side of things, even if it took a while, and he knew I wasn’t just a sensitive college student with shallow new ideas about the world.

And then 2020 hit. Specifically, George Floyd was murdered, and the events that followed played out on the national stage. My dad was incredibly shaken by it. He asked me if I had any books from college about racial issues. I loaned him The New Jim Crow, one of the required readings for my Race and the Law class. Then I gave him Just Mercy. Then he watched the documentary 13th. Then he joined a racial harmony group he learned about through one of the few Black families at our church and insisted our whole family come. He held up signs at a protest against Confederate monuments in our conservative southern town. In three years, he went from defending Trump’s comments about “Black-on-Black crime” to publicly advocating for racial justice and opposing the death penalty.

We went together to vote in the 2020 primaries. I couldn’t help asking who he’d voted for; I didn’t even know if he’d asked for the Republican or Democratic ticket. He admitted he’d voted for Bernie. fucking. Sanders, then made me promise not to tell my grandma he’d voted liberal. When the election rolled around in November, he voted Biden. I’m sure he held his nose to do it, just like he held his nose voting in 2016. But I know he doesn’t regret it.

I am, of course, unbelievably lucky to have a parent who loved me enough, and was empathetic enough, to choose his relationship with me over his strongly-held opinions. He kept searching for truth because, as much as he’ll deny it, he’s a very smart and curious person. No degree of intelligence or curiosity makes you immune to propaganda, especially if you were raised not to question the party line. It’s easy to dismiss our conservative, conspiracy-pilled loved ones as stupid, hypocritical, and cruel. Sometimes they are. But sometimes they aren’t. Sometimes they will bend to keep their relationships from breaking. Sometimes, if they can be made to understand that their beliefs and actions are harming someone they love, they will make concessions. And sometimes they just need one person in their life to put a foot down, to be vulnerable and assertive and argumentative, to bring the impact of their politics close to home.

As the most important election of our lifetimes approaches, do not put peace over progress. If you have someone like my dad, someone who is good-willed and smart and loves you more than their own opinions, tell them how you feel. Tell them what their choices will mean for you, for your friends, for your community. Tell them what they could lose: your trust, your affection, your respect. Don’t avoid conflict if it could be productive. Because my conflict with my dad didn’t just win him over–it won over my moderate mom and one of my conservative brothers. And it put us in community with other like-minded people and led my parents to a healthier and kinder faith.

All of this to say, there is hope in conflict. There is hope in our relationships with people who think differently from us. There is hope in exposing your fear and anger and pain to people you love. And hope is a form of activism.

[blossomthepinkbunny]

Vivzepops fetishization of queer men and the lack of Sapphic content in HH and HB

I found it a bit dissapointing that Charlie and Vaggie had very little interactions that could be read as romantic or sexual, especially since they are the supposedly the main couple of Hazbin Hotel and have been together the longest out of most of the couples in HH and HB.

Of course having more casual representation is also fine but the most memorable thing about their relationship was the quickly resolved argument they had when Charlie found out about Vaggies past. I've seen different opinions about how they were handled as a pair.

I understand when someone says that they enjoyed a more relaxed couple with subtle, realistic interactions, interactions that are often overlooked just because both characters are female.

But I can also agree, that they were really not a stand-out couple (wich is weird since Charlie is the main Character) and that it was a bit dissapointing to not see a lot of content for them.

Now the main issue I found with this is that in Vivzepops stories there is a definitive lack of sapphic content. It sometimes seems like women are sexless unless they are with a man. But two men can be sexual and openly affectionate (romantically too). At first I didn't really understand why I felt weird about Chaggie as a couple, so I looked at all the implied/canon ships in Helluva and Hazbin (including past relationships).

Implied/canon couples between a man and a woman:

-Millie and Moxxie

-Blitzø and Verosika

-Stolas and Stella

-Millie and Chaz

-Beelzebub and Vortex

-Sir Pentious and Cherry Bomb

-Adam and Lute

-Lucifer and Lilith

Implied/canon couples between two men:

-Stolas and Blitzø

-Asmodeus and Fizzarolli

-Moxxie and Chaz

-Angel Dust and Husk

-Vox and Valentino

Implied/canon couples between two women:

-Charlie and Vaggie

Now please tell me if I missed any, but these were the ones I could think of.

Honorable mentions include Loona & Vortex, Blitzø & Striker, Blitzø & Chaz and Blitzø & Fizzarolli. But I didn't put these on there because they're either one-sided or don't have enough romantic content.

Now it's very easy to see the difference between representation for queer men in comparison to queer women in these shows. The only relevant (im not counting Background characters) Sapphic relationship there is, is Chaggie. And it's completely underrepresented when compared to the content the man x woman or man x man ships get (not to mention the total absence of gender-queer characters).

One of Millie's and Moxxie's jokes is that they're so in love, that they're almost always cuddling, holding hands, talking sweet or just straight up making out with eachother (I'll talk about Millie a bit later). Sir Pentious had multiple scenes dedicated to him trying to confess to Cherry Bomb or just crushing on her in general.

Stolas' and Blitzø's relationship has become one of the main topics of Helluva Boss and they get a Backstory and explicit aswell as dramatic scenes for them as a couple. The same goes for Asmodeus and Fizzarolli (except that their love isn't as important). Angel Dust and Husk get a song and part of an episode for their relationship to develop.

Here i'd also have to mention that by the list I made Vivzepop's fetish for queer men is very prevalent. Most of the couples between men and women are either past relationships or they get very little attention to them. The only ships that often get special focus, development or explicitly romantic/sexual focus are ships with two men (no matter if their dynamics are even good, healthy etc.).

Now for Millie there are different ways you could talk about her situation with relationships. In general I think that everyone can agree that Millie lacks Character and is a good representation for the neglect of the female characters. Most of her moments revolve around Moxxie in a way and she hasn't had precise characterization so far.

Millie's relationship with Moxxie is sweet and simple and is generally one of the better things about Helluva Boss (if you ignore Millies lack of personality wich really pulls the couple down for me). Now the Episode "Exes and Oohs" shows the mutual Ex of Millie and Moxxie. Chaz dated both of them and as we see in the episode affected both of them very negatively. At the start we literally see Millie freak out and destroy a bunch of stuff, just because she saw Chaz on the street.

Yet Millie's relationship with him is never explored further. All we know is that she dislikes him and that he's a giant asshole. Whereas Moxxie get's a whole Backstory and episode plot about him and Chaz. No focus is given to Millie at all even though Chaz is the ex of BOTH of them.

Another thing that I wanna point out is Millie's possible Bisexuality. Now im not so sure for this point because I couldn't find genuine confirmation on wether Millie is actually confirmed to be Bisexual or if it's just a headcannon. So take this with a grain of salt BUT if Millie is Bisexual then she perfectly shows how little Vivzepop cares about Sapphic representation. What does Moxxie get to confirm him as Bisexual? An ex of the same gender (also multiple explicit flashbacks with him), a whole discussion about his queer identity and a scene where he literally says that he's Bisexual. Moxxie is pretty good Bisexual representation in that regard.

What does Millie get? Nothing. Again I don't know if she's genuinely also Bisexual or if it's ever been confirmed but it'd also be pretty weird if Vivzepop apparently cares so much about queer representation and then doesn't confirm any female characters as actually queer.

I think a lot of people have talked about her blatant fetishization of queer men and I think that that's also mainly why I feel weird by the lack of attention on Vaggie and Charlie as a couple.

I sorta wish I could enjoy a more toned-down and realistic couple in these shows, but when I see that a ship like Vox and Alastor (wich isn't canon nor would it even happen since Alastor is Aroace) is talked about more than the actual main character's relationship I just don't like it.

There's so much more you could say about poor queer representation by Vivzepop (like the fact that she's fine with people ignoring Alastors Aroace identity, and the stereotypes etc) I mainly wanted to talk about the neglect of her female cast in terms of sexuality.

[lackadaisycats]

I tried to answer this succinctly, but it turned into an essay. (Sorry.)

The Princess and the Frog was not accurate, strictly speaking, but dinging it for that would be like criticizing the Lion King for not being a realistic wildlife documentary. Accuracy wasn't really the point. Given the fantastical elements and fictional nations like “Maldonia”, I suppose we're meant to understand this as a bit removed from the real New Orleans. It's more a a jazz-flavored fairy tale than a historical fiction.

But for discussion's sake....

Is it fashion-accurate to its 1926 timeframe? Ehhh, sort of. It pays homage to 20s fashion trends with cloche hats, furs and feathery headpieces, but without fully committing to it. The waistline on almost all of Tiana's clothing is too high for the 20s, and the the shapes of her fancier costumes take a lot of liberties, or deviate wildly from the style of the period.

In the 20s, dresses (including workaday stuff) tended to have a straight up-and-down shape to it - kind of a low-waisted rectangle that de-emphasized curves instead of highlighting them. There are valid reasons to play fast and loose with that, though (something I’m definitely guilty of as well). One of those reasons is communication. 

For instance, speculatively, the filmmakers wrote Tiana as a hard-working waitress and wanted her to look the part, so they made the choice to clothe her in something familiar - that gingham dress of mid-century shape that we broadly associate with diner waitresses. Actual waitress uniforms of the 20s had a fair bit of overlap with maid uniforms at the time too, and I can see why they wouldn't want to risk the confusion. It's more important to communicate clearly with the larger audience than to appease a small faction of fashion nerds who'd notice or care about the precision.

I don't think it's a case of the designers failing to do their research - I'm sure they had piles of references, and maybe even consultants - but they also had to have priorities.

With her hat and coat on, she looks a lot more 1920s-shaped.

Pretty consistently, the indication of the characteristic 1920s drop waist is there, but the approach otherwise ignores the 20s silhouette. The clothes hug the body too much. This may be about appealing to a 2000s audience, visually speaking, but also could be an animation thing. Maybe both. For practical reasons, clothes in 2d animation are usually more a sort of second skin than something that wears or behaves like realistic fabric.

These are not in the 1920s ballpark at all. Tiana's blue gown looks like your basic Disney brand invention. Strapless things would have been extremely unusual and the overall shape is far out of step. Excusable, I guess, because it's a costume in context. Charlotte looks like she’s heading for a mimosa brunch in a modern maxi dress.

Charlotte's princess dress did seem to be calling back to the ultra-wide pannier side hoops of the 18th century - something that made a reappearance for part of the 20s, albeit in much milder form called robe de style. I'm not sure if the filmmakers were alluding to that at all, really, but either way, her dress is hilarious.

They only went about halfway with the cloche hats. The 1920s cloche really encapsulated the cranium, almost entirely covered bobbed hair, and obscured much of the face from certain angles, so it's easy to see why they've been somewhat reined in for the film. Still, it ends up looking more 1930s, where the hats started to recede away from the face, evolving in the direction of the pillbox.

Similarly, Tiana's hair is not very reminiscent of the bobbed, close-to-the-cranium style of the period, but I think that could legitimately be written off as characterization. She's not at all the type of person who'd fuss about going �� la mode. Not everyone bobbed and finger-waved their hair.

The clothes Prince Naveen is introduced in are very 1920s collegiate in spirit - the wide-leg oxford bags, the sleeveless pullover sweater, the flat cap, and high, stiff collar. The ukulele and banjolele were pretty trendy instruments at the time too.

Definitely some Josephine Baker vibes here. Also, the look of this whole fantasy sequence was reportedly inspired by the works of Aaron Douglas, a luminary painter of the Harlem Renaissance known for his depictions of the lives of African-Americans. (The mural is in Topeka, Kansas.)

They pretty much nailed the Art Deco. It's gorgeous. Looks somewhat inspired by the interiors of some of the Ralph Walker-designed NYC architecture, plus some French Quarter balcony flair for the final manifestation of Tiana's Place. Her dress here does resemble some gauzy mid-1920s looks, too.

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

Culturally speaking...

New Orleans is an unusual place. Because some of the colonial Spanish and French laws and conventions that New Orleans evolved under persisted even after its inception into the United States; because it was such a heterogeneous hub of indigenous and immigrant peoples; and because it had a considerable population of free people of color (mostly Creole), it did not function quite like the rest of the South leading up to the Civil War, nor for a while after. Its particular coalescence of cultures made it its own unique sort of culture within the country, within the region, within the state of Louisiana even. By the early 20th century, though, regardless of the not-very-binary nature of New Orleans, Jim Crow laws were enforcing a literal black-and-white distinction, and not an evenhanded one, by far. In that aspect, the city had begun to resemble the rest of the South.

The film nods at the wealth disparity, but goes on to paint a pretty rosy picture of race and class relations at the time. Still it's not unbelievable that some people were exceptions to the rules. You could probably find a few compartments of old New Orleans society that resisted segregation or certain prejudicial norms, preferring to do things their own way. That aside, the film wasn't trying to confront these topics. Not every piece of media should have to. Sometimes breaking away from miserable period piece stereotypes is refreshing. I'm not sure it could have handled that meaningfully given the running time, narrow story focus, and intended audience, anyhow. (But you could perhaps also make a case that family films habitually underestimate younger audiences in this way.)

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

Raymond the firefly I guess is the film's Cajun representation. There's not much to say about it, except perhaps to note that Evangeline is a reference to the heroine of a Longfellow poem of the same name. The poem is an epic romance set during the expulsion of the Acadians from the eastern provinces of Canada and the northernmost reaches of the American colonies (now Maine) by the British in the mid-1700s. Many exiled Acadians gradually migrated south to francophone-friendly Louisiana, settling into the prairies and bayous, where 'Acadian' truncated into the pronunciation 'Cajun'. Evangeline - who is only finally reunited with her love when he’s on his deathbed - has become an emblem of the heartbreak, separation and faithful hope of that cultural history, and there are parishes, statues and other landmarks named after the her throughout Louisiana.

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

Voodoo does have a very historical presence in New Orleans, having arrived both directly from West Africa and by way of the Haitian diaspora (where it would more properly be called Vodou). While I don't think Disney's treatment of it was especially sensitive or serious, it also wasn't the grotesquely off-base sort of thing that media of the past has been known to do. It was largely whittled down to a magical plot component, but it wasn't so fully repurposed that it didn't resemble Voodoo at all either - and that's mostly owing to the characters, because it does appear the writers pulled from history there.

It’s apparently widely held that Dr. Facilier is a Baron Samedi caricature - and likely that's true, in part - but I have the impression he's also influenced by Doctor John. Not the 20th century funk musician, but the antebellum “Voodoo King” of New Orleans. Doctor John (also called Bayou John, Jean La Ficelle, and other aliases) claimed to be a Senegalese prince. He became well known as a potion man and romance-focused prognosticator to people from all corners of society. Though highly celebrated and financially successful at his peak, he seems ultimately remembered as an exploitative villain.

To my recollection, the film sort of gingerly avoids referring to Facilier as a Voodoo practitioner directly (I think he's more generically called a witch doctor in the script?) but it does seem to imply his 'friends on the other side' are a consortium of loa. It's mostly abbreviated into nebulously evil-seeming special FX, glazing over any specificity or dimensionality, but it does also loop back around as a vehicle of moral justice. Loa are all very individualistic and multi-faceted, but they do have reciprocal rules for asking favors of them.

There's also the benevolent counterpart in Mama Odie's character. Her wearing ritual whites has a definite basis in Voodoo/Vodou practice, and her depiction as a fairy godmother-like figure isn't entirely out of step with how a mambo may have been perceived...in a very general sense. They were/are ceremonial leaders and community bastions who people would seek out for help, advice and spiritual guidance. More than just emanating matronly good vibes, though, some have wielded considerable political and economic power.

(Just my opinions here. I've done a lot of reading on the subject for research but I'm no authority with any special insider understanding of Voodoo, and I really shouldn't be relied upon as an arbiter of who has or hasn't done it justice in fiction.)

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

In summary--

Culturally, I think the film is respectably informed but paints a superficially genteel picture. The set pieces are gorgeous, but the story mostly delivers a sort of veneer of New Orleanishness. And as for fashion, well, it’s the 1920s run through a Disney filter. It’s very pretty, but it’s only as proximally accurate as seemed practical.

I don’t know that any of that really matters so much as whether or not it achieved what it intended, though. As a charming yarn and as a tribute to New Orleans and the Jazz age, I think it’s mostly successful. It’s also really beautifully animated!

[jupiters-galaxy]

I've seen some people criticize how quickly Peter and Steph fell for each other (to the point of being the thing they treasure most), and while I do understand some of the criticism, I think there are a few key things that some people aren't picking up on.

-Treasuring each other IS NOT strictly romantic. While it's true that Peter is in love with Steph, and Steph with Peter, it goes deeper than their repressed love story. They ARE friends. They do genuinely like spending time together, although their connection is relatively new. They care about each other as people first; neither of them seem like they NEED to be in a relationship with the other. They seek each other out even when they're just friends.

-It's also important to remember that the lords in black only want treasured things in the metaphorical sense: they can't give up OBJECTS. It presumably has to be a person or a concept.

-It's important to remember that both of them have been through an unbelieveable ordeal. Peter's closest friends were murdered. Stephanie lost her DAD, and although they weren't close, that can't have been easy to stomach. I cannot stress this enough; Peter and Steph quite literally have no one else left. Peter has no other friends. It logically tracks for him to be attached to Stephanie, as she is someone who experienced the same traumas as him. From Stephanie's angle, she doesn't really like her friends, and since objects are out of the question, Peter is the only person who she feels truly knows her. He's really the only option for her, even if her feelings are confusing.

-I also want to point out that you can really kind of feel them falling for each other, although it is admittedly subtext. Peter is weak to Steph as early as the opening number. He does out of character things to make her happy; a compliment from her makes his day amazing; he faces his biggest fear in hopes of seeing her at Pasqualli's. Stephanie cares for him from the first day they meet, although her care is a lot more ambiguous. She teases him about how he's into her, but at the same time, she's protective of him, feeling horrible that he got beat up and wanting to stop it. Even beyond that, she's inclusive towards him, inviting him to hang out with her simply because she likes his company. Her attraction to him makes sense: we know that Steph has a thing for funny and smart guys, and Peter's geeky snarkiness ABSOLUTELY fits. Their relationship is one that just makes a lot of sense!

-Their relationship is actually portrayed really realistically near the end. They're not intense about their love, nor are they overtly sexual. In NPMD, they don't even kiss! The furthest they go is dancing close together and having conversations, cautiously stepping into a new relationship that they mutually want. Despite the heavy nature of their confessions in As Cool As I Think I Am (Reprise), the payoff is not drastic. The confessions were likely only so heavy because they both thought Peter was about to die. Of course he would go out detailing how he loves her, and of course she would say it back; their last memories together should be good ones. When faced with normalcy, they progress as most teens would.

-At the end of the day, they're two traumatized teenagers who already liked each other before the trauma. It makes sense that they feel like the other is the most important to them; after all, Grace is the only other survivor from their group, and they're thinking about her in a less than favorable way past Richie's death, if not sooner than that.

This is not to say they're perfect, but I think their portrayal was really sweet and a joy to watch. I think the implications are extremely interesting idk!! I love Peter and Steph, I think they're more nuanced than they're getting credit for. I love to see cringefail nerds getting badass and amazing girlfriends, let me have this!!!!!

Anyways yeah that's my hot take. One of many. NPMD is consuming me someone help

[ceaselesswatchersspecialboy]

I’m a little nervous talking about this, but I’ve had these thoughts for a while and want to get them down somewhere, so here we are!

There’s a common discussion within TMA of the Idea of human vs monster, and where the line between that is drawn, and this discussion especially applies to the avatar’s and their feeding habits, their desires to hurt others — their hunger. But, I think, that mentality can often lead to the real question being ignored, and that’s the question or choice.

It’s a common theme within TMA, and is prominent within the Becoming of avatars, and what they do after.

A good way of understanding Jon’s feeding in s4 isn’t through the lens of how human is he, rather it’s through the lens of how similar he and Melanie are. He and Melanie act as foils to each other during s4, their actions and choices emphasising their opposing paths.

The gist of it is both wanted to hurt people. It felt good. Both admit to this fact.

And the reason they chose it, is because they’re hurting. Melanie admits to this outright. She’s been angry so long, with little else for her, lashing out and desperate to survive, and suddenly, she has this thing etched into her bones, telling her that this anger is righteous, that hurting herself and hurting others is good. Both are aware that this isn’t good, of course, but it’s so hard to let go of that little, reassuring voice, because doing so means confronting yourself, and your struggles.

I speak as someone with C-PTSD, but this is a very realistic depiction of how it feels, at least to me personally. When you’ve been so powerless for a long period of time, and suddenly, something or someone tells that it’s okay to lash out, to hurt, it’s easy to fall into the destructive cycle, because hurting other people, taking away their power, it gives you a sense of control back, a sense of power.

It isn’t right, of course it isn’t, but it just feels so good.

This is again shown by Melanie and Jon’s separate paths.

Melanie ends up choosing to recover after the bullet is removed, when she could have just as easily found a new, self-destructive path to go down, and it’s not just because the bullet was removed. Taking away her agency here takes away from her arc. She chooses to accept help and she really does work on bettering herself. She doesn’t want to hurt people anymore. Jon doesn’t do that. He feels he can’t. He’s had his power taken from him more times than he can count, been at the mercy of people and monsters, and finally, finally he has power again. He’s put in the position of the tormentor and it feels good. He finds satisfaction in it. And, as with Melanie, there’s a little voice in the back of his head telling him this is right, no matter how guilty he feels afterwards.

He makes excuses to himself, tries to rationalise his own actions as a way of coping, finding a reason to do it again because it’s all he has. It’s a comfort. Is there a supernatural element present? Absolutely! The relationship between Entity and Avatar is one that can just as much parasitic as it is symbiotic, but I think more of Jon’s character is lost by dismissing his darker choices. If anything, the darker choices emphasise his compassionate choices, and vice versa.

Jon can be a victim and still hurt other people; that’s an important thing to acknowledge. Avatars are not just their fears, there is far more to their hunger than that, and they are who they are because of their choices and wants.

Basically, Jon and Melanie are wonderfully written characters and I really love the themes of choice in TMA, can you tell?

[stuckinapril]

You are so productive and living your best life I admire it so much! I don't understand how you do it... do you have any advice for forcing yourself to do the things you know are good for you even when you are feeling sad and not up to it? Have a lovely day ❣️❣️❣️

Plan your day hour by hour. This actually revolutionized my life. Plan when you’ll wake up, plan what you’ll do every hour of the day, and make it as realistic as possible to stick to your goals. Start with simple things and gradually ramp it up. Don’t overwhelm your day with 60 different goals. I’d pair one passive goal (be on your phone less, for example) with one active goal (study more, take more walks, read more) and go from there. It’s better to start small and be consistent than to start big and quit one day in.

Lower the resistance necessary to accomplish tasks. If you have somewhere to be early tomorrow, plan your outfit the night before. If you have studying to do, have your textbooks/notebooks/notes on your desk by the time you wake up. If you have an overwhelming task, break it into smaller subtasks and focus on them one at a time. If you don’t want to be on your phone in the morning, charge it somewhere you won’t be able to see the moment you open your eyes. I’m trying to overcome the phone issue right now, so instead of setting an alarm on my phone I just bought a digital alarm clock bc I know I’m way less likely to get on my phone that way. I’m lowering the effort needed to actually get started on a task.

Have motivational things handy for when you’re down!! I’m a highly visual person, so it actually really helps me to make moodboards. I have moodboards for things I wanna accomplish, moodboards for things I’ve already accomplished, a Pinterest board for affirmations etc etc. I have a list on my notes app for all the reasons why it’s important to me to accomplish my goals. I have another notes app page dedicated to pasting all the motivational quotes that help me whenever I’m in a funk. You could even print them and hang them up on your wall if you want. In times where instant gratification overshadows getting things done, make it very accessible to remember why they’re important to you to begin with.

Romanticize your tasks. I make silly to-do lists, I make sure I’m always in cute outfits when I’m running errands, I put on perfume and mascara and lip gloss even if I’m literally all on my own in my bedroom about to do a 3 hour study session. I love getting manicures bc there’s nothing more satisfying than studying with pretty dark red fall nails. This may sound extra but I go through my notes pretending I’m Elle Woods or something bc it makes it so much fun. A huge part of why I’m consistent with going to the gym is bc I buy pretty workout fits that just make me feel good. I wear lingerie under my clothes wherever I am bc it makes me feel like a bad bitch even if no one sees it. I don’t start a task with the thought in mind that I want to get it done already—I try to make the act of doing it in and of itself as engaging as possible.

To piggyback off that point, switch your environment if your current one isn’t serving you. Don’t just default to quitting if one approach isn’t working. If studying in your bedroom isn’t doing it, go to the nearest coffee shop. If the coffee shop isn’t working, do the library. Study indoors. Study outdoors. Study in nature. Hell study at a beach if you want to. It doesn’t matter where you are if you’re getting things done. Exhaust all your alternatives before calling it quits.

Set firm boundaries with yourself. This is so big. Self-care is absolutely treating yourself, but it’s also being your own parent and disciplining yourself if you feel like you’re not putting your all into something. In a world where it’s very easy to go “just a few more minutes on my phone” “I’ll do it tomorrow” “I can skip working out today” it’s really important to be able to parent yourself and exercise some tough love and do some things even if you don’t feel like you want to. I really struggle with this as a gen z girl bc this is THE era of instant gratification. But my goals are just more important to me than momentary comfort.

No zero days. Just bc you’re not being your 100% on one day doesn’t mean you should just lie down and do nothing. Being at 50% performance is better than being at 0%. I try to make sure I get some light tasks done on days where I don’t feel like going all in. It helps me not feel like I’ve just derailed my whole life, which consequently helps me move on from my ruts faster.

Look ahead. Can not emphasize this enough. Death motivates me like nothing else. You do not have an infinite time on this earth. You don’t want to be at the same place you’ve been at a year from now. Resist the “I’ll do it tomorrow” mentality as much as possible. Change happens in small increments & there’s no better time for it than the present. What may seem like little things you can skip out on now can quickly snowball into the very things that are preventing you from being where you want to be.

Acknowledge your limits. Someone with two full-time jobs and school should not be comparing themself to the progress of someone with one part-time job and like nothing else. I’m currently studying full-time and also trying to maintain a consistent workout routine, so I don’t expect myself to recreationally read more than 30 minutes a day, even if ideally I’d like that time to be way higher. I know it’s pointless to compare myself to someone who reads 70 books a month but has much less workload than I do. Comparison is inherently flawed bc no one else has been the dealt the cards you’ve been dealt. Tailor your schedule to your own unique situation. Make a list of your priorities and assign them to your hours accordingly.

Listen to your needs!! Mental health is the most important thing. You need to be in tune with yourself to know when you could be pushing yourself a little harder, and when it’s necessary to give yourself time off. If I’m in an actual burnout, I go out with friends. I go see a movie. I give myself the grace of being human and step back for a little bit. It’s completely okay to have those days, and acknowledging them helps you recover quicker. Take care of yourself <3

[piracytheorist]

I find it really important that in the last episode, Operation Strix didn't even cross Twilight's mind for a single moment. When he stands outside early in the morning, he becomes determined to "traverse the difficult obstacle" before him... but it quickly becomes apparent that this "obstacle" is simply Anya's inexplicable mood swings.

And while he goes by the entire day going along with whatever Anya asks to do, mentally noting what makes her excited and happy - and what makes her upset, like losing at mini golf - not once does he even mention the "mission". Subconsciously, yes, if asked, he'd say that Anya's happiness and stability is what Operation Strix depends on. But in his immediate thoughts, it's just him trying to make sense of the behaviour he sees, and trying to encourage things that will bring out positive behaviour.

Waiting until Anya gets a scoring point in mini golf. Letting Anya read comics while in the library - and taking note when she starts at the puzzle, then looks upset by it (though he misunderstands the reasons of her change in expression there, as he doesn't know she realized the puzzle wouldn't be an effective distraction for him). Taking her roller-skating, taking her to a magician show, getting her food she seems to enjoy.

And while you could say he's being a little too methodical with it - with all his "observe, analyze" internal orders... that's not really that far from what an actual caring parent does. The ship offers a lot of opportunities for entertainment, and just like a parent who wants to take some time off and offer stimulation and fun to their child, Loid takes a step back and allows Anya to guide him through activities, taking note of the ones she seems to enjoy.

And yet, Anya ends up looking like this.

But this time, Twilight doesn't resort to his usual "I'm a failure of a spy" rhetoric. He is confused, very much so, but he doesn't despair as much. Though getting upset, he puts his determination to see things through in priority.

And at the end? He fears that what will break apart is the Forger family, not Operation Strix.

Subtly, we start to see how his priorities are starting to change. Without him even understanding it, he focuses so much on keeping the family together "for the sake of the mission"... that he completely forgets to even think about the mission.

And then, he tries a quiet and kind approach, fitting it to Anya's needs. He asks Anya if her stomach hurts, he's glad to hear she's having fun but keeps his worried expression to encourage Anya to tell him what's really wrong, and when she shares her feelings, he's supportive, even showing sympathy by saying he would have liked it too if Yor could join them.

His final inner thoughts are him reminding himself that Anya is young enough to sometimes express her emotions in an unpredictable way, and that it was something as simple as missing Yor that made her look upset.

And thus, though he's being realistic about the possibilities of meeting Yor, he offers to try and communicate with her in order for them to meet up. As soon as Anya expresses her concern, he takes the role of understanding her reasons and providing comfort... and all without ever talking about how it would benefit his mission. In this episode, he's simply trying to make a little child feel happy and entertained, listening to her concerns, and offering solutions. And though he may not realize it immediately... the fact that he hasn't been wearing his WISE pin during the entire cruise speaks for itself.

Working as a spy and fully dedicating himself to this way of life is how he's managed to survive in a world of war politics, so it's certainly not easy to fully discard it in one go. But how he goes from "The Handler knew Anya relaxing was about Operation Strix all along" in the previous episode to "Focus on what Anya likes, be supportive and understanding, mission what mission" in this one is very carefully handled to show how even though his methods stay similar, his priorities are slowly shifting.

(Anime only fan here, don't spoil me for the manga)

[zafirosreverie]

Their reaction to you asking them out (BSD)

a/n: Lovecraft's mentioned in three of these other than his simply because I LOVE him. Sorry not sorry.

Doppo Kunikida:

"T-tell Dazai this joke isn't funny."

You blinked in confusion, before realization hit you. You didn't need Ranpo's mind to know that the blonde in front of you had a soft spot for you, it had been that way since you entered the ADA, and for you it was an immediate crush.

But neither of you had acted on it, keeping your interactions purely professional at first and then simply being friends. The complete opposite of Dazai. After rejecting his proposal of a double suicide with a simple laugh, the brunette decided that you were his friend and that was it, you had nothing to say about it, not that you cared much.

Since you had no ability, you simply worked as a secretary at the agency, but that didn't stop Dazai from dragging you into his chaos. When he wasn't bothering Kunikida, or traumatizing Atsushi, the waste of bandages was stuck to you, trying to coax you into doing something diabolically chaotic, simply because he was bored.

You usually ended up taking most of the blame, since Fukuzawa and Kunikida were softer on you anyway, but at the end of the day, Dazai was a good friend. He had given you the courage you needed to finally confess to Kunikida, after teasing you of course.

Honestly, you believed that if the blonde rejected you it would be because you hardly fit into at least five of his ideals, you didn't expect him to be jealous of his partner.

"It wasn't a joke" you said softly "but we can talk about this at lunch."

Kunikida looked at you surprised, his green eyes shining with distrust but with a hint of hope as well. You smiled at him and quickly walked back to your desk, not caring about the evident blush on your face.

For lunch, he would take you to a restaurant further away from the agency building and you could finally talk. You would show him that you were worth more than the ink in his notebook and even though he didn't think you would last long together, in time he couldn't imagine a life without you.

H.P. Lovecraft:

You sighed internally but tried to keep a kind smile on your face, although you honestly didn't know how much you could fool an ancient god with that. You mentally cursed Mark and John for convincing you this was a good idea, but you cursed yourself more for thinking Lovecraft would actually agree to go on a date.

"Explain to me?" he asked after a minute of just looking at you with those piercing but empty eyes.

"Uh?!" You stammered, jumping a little “D-don't you know what a date is?”

"No, I know that" he replied "I have been here since before humanity, I have seen you develop, break down, and rise again, and although I am never near you unless summoned, I know enough to know how those types of relationships work"

“Oh” you whispered.

You weren't really expecting a philosophy or anthropology lesson, you just wanted a yes or no (preferably the former), but realistically, when, since meeting him, have you been able to have a simple, easy conversation with Lovecraft?

"Then what?-" you started, but he interrupted you, still staring at you.

"Why would you want to form that kind of human bond with someone who...isn't?"

You blinked and, for the first time since you started this awkward conversation, looked at him. His face showed no emotion, as always, but there was a sparkle in his eyes that hadn't been there before, as if he really wanted to understand what was going on in your mind.

For some reason, the minuscule possibility of being a mystery to a man whose mere existence was the biggest mystery of all, made you feel important, like the entire universe was watching only you.

"I don't know" you shrugged "maybe it's your way of treating me a little warmer than you treat others, or maybe it's because my eyes can't see anyone else as soon as you walk into a room… Maybe I'm just crazy, who knows?"

"Why would you want to join your being to an evil eldritch god?"

“I don’t think you’re evil” you refuted.

"Then you don't understand me" he said.

"No, but I've never said I do" you agreed "but…if you really are older than humanity…shouldn't you be immune to the criteria of good or evil?"

Lovecraft looked at you with, what by his standards, must have been a ghost of amazement. He didn't respond, but the gleam in his eyes intensified and it only took you a few moments to register that his normally cold and indifferent aura seemed warmer and… joyful?

"You're not an ordinary human" he finally said "You're not afraid of the dark"

"I never have been" you smiled "Hawthorne says that will condemn my soul to hell…nice guy right?"

"Your soul already belongs to the abyss"

You looked at him curiously and swore the ghost of a smile tugged at the corner of his mouth. You weren't sure if that was a yes or no to a date, but the moment he took your hand, you decided it really didn't matter.

Edgar Allan Poe:

Why? Was it a joke? Were there hidden cameras capturing his humiliation? No, you weren't like that…but you spent a lot of time with Mark, maybe he had convinced you…No, he liked to make fun of Hawthorne, not him. So it didn't make sense, why would you ask him something like that? Why would you want to stain yourself with the same madness, anxiety and loneliness that accompanied him everywhere? Why would you want to subject yourself to such torture? Not even he could beat his own demons, why would you want to see them yourself? Why would you, of all people, ask him out on a date?

Those were the questions that ran a thousand miles an hour through Poe's mind as he looked at you silently, eyes wide and cheeks flushed. Karl had long since moved onto your shoulders, sensing the imminent defeat of his owner.

"…Edgar?" You asked softly, worried.

It was a good thing you were in his study, because the moment you touched him, the writer fell back as if he were a statue, making you jump and scream a little before running to his side.

"I think I broke him" you said to Karl, as you fanned the man on the floor.

"I'm fine" Poe grunted, sitting up.

It seemed like the hit was what he needed to get his mind working again. He hadn't really expected your confession, much less for you to ask him out, damn it, he hadn't even hoped that you might like him like he liked you. But there you were, looking really worried about him (and damn cute, but that was another story), and he owed you an answer.

"I-I'm sorry" he stuttered "You took me by surprise"

"I noticed" you laughed softly, awakening butterflies in his stomach "I didn't mean to"

"N-no, it's okay, just…I didn't think you saw me like that"

"Really?" You blinked “I thought it was obvious. Even Lovecraft noticed”

"He did?!"

You nodded. It was true, the entire Guild knew about your feelings for Poe, some had even bet how long it would take him to realize it or if you would have to tell him yourself (you could already hear Margaret complaining about having to pay Nathaniel and John), even the eldritch horror had noticed it and he was asleep 18 of the 24 hours of the day. It seemed like everyone knew except Poe.

"I understand if you don't want to" you said "don't feel obligated to-"

"No!" he interrupted you, making you both jump at his sudden shout "sorry… I do want to, it's just… it's hard for me to think that anyone would want to spend their time with me willingly" he admitted awkwardly.

You looked at him for a moment, not understanding how he could not see how cute, not to mention how incredibly interesting, he was. You smiled at him and held his hand tenderly, waiting for him to make eye contact with you.

"Don't worry" you told him "I do"

Nathaniel Hawthorne:

"I miss her"

Herman looked curiously at Hawthorne for a moment before following the man's line of sight. You were sitting, talking calmly with Steinbeck about the small garden you had decided to start a few days ago, and although the blonde was more than happy to give you tips and advice, it was obvious that your attention was more on the tired sea god at your side. It was no secret to anyone that Lovecraft was one of your favorite beings.

"And why don't you tell her?" the older man turned his attention to the minister next to him.

"Its not that easy"

Melville looked at him a moment longer before looking back at you. He was a wise man, and he has known Nathaniel for years, even before the latter joined the Guild. He knew the man's faith, his ideals and moral compass, he knew that he could be stubborn and immovable in his convictions and that few things mattered more to him than his religion. After Mitchell's failed attempts at a romance with him and his relentless way of ignoring Twain's jokes, it had become clear to everyone that Hawthorne was a man of god, that his devotion was to him, and no one else. Most simply opted to leave him alone when he wasn't needed for some mission and he had been fine with that. Until he met you.

Of all the new Guild members, you were by far Melville's favorite. You were kind, happy, calm, willing to learn and rarely caused problems. You were often the first to offer help to whoever needed it, and although you possessed a dangerous ability, you had complete control over it, so no one was worried about you hurting them. You were practically an angel, and it was obvious that you were quickly earning a place in everyone's hearts. Nowadays it was common to see Poe leaving his room more often thanks to you, or how Louisa laughed more, how Fitzgerald praised you even for the smallest things, and Herman himself loved the peaceful afternoons with you in his office. You were even replacing John as Lovecraft's favorite human. But it was obvious that the person you had most under your spell was Hawthorne.

The usually serious man smiled as soon as he saw you, he talked to you about all kinds of things, often even forgetting his Bible and his talk about sins, he accompanied you everywhere if you asked and was always the first to welcome you when you arrived from a mission, always making sure you were okay. It was a lovely sight, and Herman appreciated your presence in the other man's life. But all that ended a few days ago, when he had broken your heart.

Melville was the only one who knew the story thoroughly, listening to what you were able to tell him between sobs and what Hawthorne himself had confirmed the next day when he confronted him about it. Apparently, he had rejected you without hesitation, and although he tried not to make drama about it, it was obvious that his words hadn't necessarily been soft, but rather dry and direct. You had smiled and accepted the answer, before quickly leaving, but Nathaniel had caught a glimpse of disappointment and sadness in your eyes, which had pierced his chest for some reason.

It took him a terrible sleepless night and a tough talk with Herman to realize that he had made a terrible mistake. He hadn't wanted to realize the true nature of his feelings for you, he hadn't wanted to face what that meant for his faith and ideals, but he gave up when he couldn't get you out of his head for days. At first, he was surprised by your ability to act in front of others as if nothing had happened, but in reality you no longer spoke to him, you no longer smiled at him, nor did you look for him, you had left him alone, and that, like he himself confessed to Melville, felt like the greatest penance for a mortal sin, the sin of having hurt an angel like you.

"I can't face those broken eyes, not again" Nathaniel whispered, not taking his eyes off you.

"You've already lost her" Herman sighed "what else do you have to risk?"

The minister didn't respond, watching as you softly laughed at Lovecraft, who had fallen asleep with his head in your lap. He knew that the other man was right, he had already lost you, there was nothing more he could risk, the only thing he had left was the hope that you would give him a second chance.

Herman Melville:

(shhh lemme be, we love Sea Santa Claus in this house)

"My child" he laughed softly "I'm sure Mark would be happy to date you."

You blinked in confusion, as your cheeks quickly heated up. In the man's defense, you really shouldn't have confessed your feelings to him… like that. Seriously, what did you expect by basically yelling at him that you loved him while you played chess in his office?

"I- I don't like Mark" you simply said "not that way"

"Oh… John's pretty nice too"

“Steinbeck scares me” you shivered

"Really?" Herman raised an eyebrow “You spend a lot of time with him”

Was that… jealousy you heard in his voice? A part of you clung to that thought, despite the very clear surprise, confusion, and rejection in his voice.

"I do it for Lovecraft" you admitted "I like him… Steinbeck gives me nightmares"

Herman looked at you for a moment before sighing and laughing softly. Really, he couldn't understand you, the idea that someone as young as you, with a whole life ahead, could have fallen in love with someone as old as him, was ridiculous. But if he had learned anything in the time he had known you, it was that when you wanted something, there was no human power to change your mind.

And if he was honest with himself, you had truly earned a permanent place in his rusty old heart. You were a happy and confident soul, kind and gentle, something rare in the current Guild. Apart from him and Lovecraft, you were the only one who saw Moby Dick as more than just a ship, you had brought warmth back to his chest, and he would do whatever it took to protect you.

“I guess Poe is out of question” he whispered in amusement, gently taking your hand across the table.

You quickly understood the joke and caught the glint of hope in his eyes, which made your heart race and a huge smile bloom on your face.

"Nope" you said "I already made up my mind"

Herman smiled at you and nodded, bringing your hand to his lips to kiss it reverently. It would be awkward to explain this new step in your relationship to others, but it was worth it to see you smile.

"Besides, we all know that Poe belongs to Lovecraft. I'm not going to fight a sea god over him."

Louisa May Alcott:

"M-me? R-really?"

Louisa looked at you with wide eyes as you laughed softly and nodded, repeating your question for the third time, just to make sure she believed it.

"Would you like to go on a date with me?"

She felt her already red cheeks heat up even more and tried to hide her face in her hands. She was basically a tangled mess of nerves and little squeals.

Listen, she liked you too, ok? Louisa just wasn't someone who thought much about dates and partners and stuff, mostly because she had long ago accepted that no one would notice her that way, but deep down, she had to admit that her heart had always harbored a little bit of hope for romance. She just didn't expect that you, who had become Guild's golden girl thanks to your charisma and power, would be the one to be interested in her.

On one hand, she was afraid that this was doomed to be a failure, that the more you got to know her your interest in her would fade, but the braver little part of her told her that it might be worth it. After all, you had always been kind to her, you tried to include her in everything you could and it was not unusual for you to spend your afternoons reading silently next to her. You made her feel special, like no one had ever made her feel before. She supposed that, in a way, it had been impossible to stop her from falling in love with you.

"I-I…I'd love to!" She responded, a little louder than she would have liked.

But it didn't seem to bother you, you simply smiled wider at her and gently pulled her closer to you to hug her, giving her enough time to get away if she wanted to. Louisa hid her face in your shoulder and as she felt your hand rubbing gentle circles on her back, she was mentally grateful that someone was finally noticing her for who she was, not her power or position in the Guild.

Bram Stoker:

"Why?"

"Because now you have legs and I don't have to carry you on my back all the way?" you joked lightly, feeling a little silly under the vampire's piercing gaze.

Bram just frowned and tilted his head in confusion. You had told him that you would like to go for a "drink" with him, or just "walk around the fair", mundane things, but little lady Aya had told him they were "dates".

It had taken the poor girl a couple of hours to bring him up to date on modern courtship customs, and even longer to convince him that it was fun and romantic. In his time, there was not much room for romance, marriages were arranged according to the political and economic advantages that the union could achieve and that was all. Much easier if he was honest.

But that wasn't what bothered him, it was the fact that apparently you, of all people, could have developed feelings for someone like him. Yes, you had helped him and Aya escape from Fukuchi and had remained loyal to the end, despite your lack of ability, but that was precisely why he couldn't understand your reasons.

A mere mortal who didn't know who they were talking to, he could understand, but you? You knew what he was, you knew the monster you were trying to court. Bram was no fool, and despite his lack of understanding of modern times and customs, he had never been one to deny his feelings (from that to him acting on them was another story, of course), and could easily admit to himself that he had developed a liking for you, especially after the whole vampire apocalypse.

But you? What could you want with one of the ten calamities of humanity? It just didn't make sense, no matter how much he thought about it.

"Uh-…Bram?" you asked softly

"Why?" he asked again

"…because I like you?" you said, giving up on your jokes and opting to be direct.

"Why would you?"

"I don't know" you shrugged "I just do."

"Why me?"

"Why not?"

Sigma:

"You're cruel"

You blinked before frowning in confusion. It wasn't exactly the answer you had been waiting for. When you decided it was time to ask Sigma on a date, you had prepared yourself for a no or a yes, what were you supposed to do with this answer?

"Excuse me?" you murmured

"YOU'RE CRUEL!" he shouted, looking at you with tears in his eyes.

Now you were worried. You tried to approach him, ask him what was wrong, and apologize if you had upset him with your question, but he just walked away abruptly and turned his back on you, furiously wiping the tears from his face.

"Sigma-"

"Why would you?" he whispered "Of all the pranks you could play, why such a cruel one?"

"What?-"

"You know how I feel about you" he continued, completely ignoring your worried look "I'm not even good at hiding it, but I thought you'd at least stop Gogol from using it against me…why would you? Why would you give me hope like this?"

His voice broke on the last sentence, just like your heart. You watched him fall to the ground, covering his face as his shoulders shook from silent sobs and your mind tried to catch up with everything. You couldn't really blame him for thinking this was a joke, after all, you were friends with Nikolai, his main tormentor.

Usually, you tried to stay neutral about the pranks the clown played on the poor boy, mainly because you knew that if you defended him, Nikolai would just make an even more evil prank. But you didn't expect him to actually think you would do something like that to him.

You felt guilty beyond words, and you promised yourself in that moment that you would do everything you could to repair a trust you didn't even know you had lost. It didn't matter if Gogol or Dostoyesvky got upset, you swore you weren't going to let them (or anyone) hurt him again.

"I swear on my life that this is not a joke" you said softly, sitting next to him "I'm so sorry if I ever gave you reason to believe that I would hurt you like this."

Sigma glanced at you, but he didn't respond. You took it as a small victory when you moved his hair back a little to caress his cheek and he didn't move away from it. It took you a while, but in the end, you managed to get him to look at you, still with tears in his eyes, but a glimmer of hope in them.

"I really like you" you said "and I promise I'll do everything I can to make you believe me."

He gasped when you leaned in to place a tender kiss on his cheek, and his entire face heated up as you held him close to your chest. You both knew that it would take you a while to convince him that you weren't really trying to use him, that you were sincere in your feelings, but at least, you were pointing in the right direction.

Nikolai Gogol:

"I knew you couldn't resist my charm"

You rolled your eyes as the clown laughed maniacally in front of you. Honestly, sometimes you questioned why you liked him, and if this had been a good idea. You knew he wouldn't let you live with this, he loved any excuse to boost his ego and tease you, but deep down you knew you wouldn't want him any other way, murder and obvious insanity aside.

"Oh, but darling, you didn't think it would be that easy did you?" he smirked at you and you could feel a shiver running down your spine "oh no, before you date me, you have to prove how much you love me!"

"Oh no" you shuddered "on second thought, let's stay friends."

"No, no, no" he said, grabbing your wrist before you could escape "you can't back out now!"

You looked at him for a moment before sighing and giving up. You knew that there was no human power that could stop him when he planned one of his "games" and that no matter what you did, you had already let the cat out, there was no way he would forget your confession, much less that you could get out of this.

“Okay” you sighed “what do you have on your mind?”

Nikolai simply smiled at you before using his power to transport you somewhere else.

In the end, you ended up spending hours solving puzzles and tests that, if you were honest, weren't even too difficult, at least not by what he was used to, but it was frustrating that every time you finished one, another immediately appeared, it seemed like a never-ending punishment. You assumed he wanted to test your willpower.

However, the reality was that Gogol wasn't even thinking about it, he was simply keeping you busy while he dealt with the sudden rush of complicated emotions, doubts, and fears that washed over him. It wasn't a secret to anyone who was observant (which meant it was only obvious to Fyodor) that the DOA clown had really taken a liking to you, which was why he teased you so much, as an attempt to keep your attention on him.

He never expected you to have feelings for him tho, much less ask him out on a date. A part of him was happy about it, but his mind was yelling at him that he shouldn't accept, that he shouldn't be tied to anyone. His entire life was supposed to have been dedicated to seeking his freedom, he couldn't risk that, not even for you. You really were a danger to him, and for once, he didn't know what to do with it.

Ogai Mori:

tw: manipulation.

"Bold and brave" he smirked "I like that"

Are you okay? Is someone threatening you? To be fair, you really didn't know what you were getting into. You didn't know the true nature of the man in front of you, you simply knew him as the kind doctor you had met by accident on the street and who you sometimes ran into.

It was weird at first, but after the third time "casually" meeting each other, you just decided it was funny and started a friendship with him. Bad idea.

You had no idea of the danger you were in, you didn't know what he was capable of. Developing a crush on the Port mafia boss was probably one of the stupidest things you could do. But he had made you feel safe, appreciated, and it really wasn't long before he had you under his spell.

It wasn't really your fault though. Mori is a brilliant man and a skilled manipulator, he rarely took a step without thinking, and it definitely wasn't a coincidence that he found you. You had a powerful ability, one that would be a huge asset to the mafia or any organization that had you.

It had gone unnoticed for so long because, as you had confessed, you didn't really like using it, but it was only a matter of time before someone else found out, so he had made sure to get to you first.

Honestly, he didn't expect this turn of events. His plan was simple: lure you in with kindness, make you feel safe before showing his true colors and then offer to join the mafia, which was an understatement, he was more than ready to force you to join if you didn't accept of your own free will, he even had planned to use Elise (he knew you had a soft, motherly spot for children) to convince you.

The fact that you were offering yourself on a silver platter only made things easier for him. Besides, he wouldn't say no to other kinds of advantages and a pretty face. (He would never admit that in that time of "knowing you" he had developed a… liking for you)

[bangtaninborderland]

JJK - SEVEN (JK POV)

Summary: you know it isn't healthy, you know you should leave, but you can't and neither can he.

Genre: angst, hurt/comfort, kind of toxic relationship.

A/N: there was a slight demand to see jungkooks pov and I thought I’d indulge it! I will be updating all other stories in the next month please bare with me! Once again be kind, I tried to write this as best as I could I tried to think how my ex would be.

BTS MASTERLIST

READER POV

He’d been stuck on this song for weeks, and what had started as a moment of inspiration to create fizzled out into nothing more than an unfinished track giving him a headache.

He felt his phone buzz and he knew even before checking that it was you,

Baby 🖤: I’m home, will you be here for dinner?

He sighs, leaning back in his chair. Realistically he could go home, relax and eat a home-cooked meal with you but then he would have to come back here tomorrow and he really didn’t want to do that. Of course, he felt like an asshole always being at work but that wasn’t something he could control and he knew that you knew that.

He shook his head as he typed his response.

Him: No. Working late, don’t wait up.

Baby🖤: Okay, Love You

Him: Lo- “Jungkook?”

Jungkook was startled at the sight of Yoongi leaning against the door, closing his phone before answering him. “What’s wrong Hyung?”

“Mingyu is here asking for you.”

Jungkook frowned, the other hadn’t called him to let him know he would be coming by. “Why?”

Yoongi shrugged holding the door open for him. “I don’t know, just said it was important.”

“Oh, thanks Hyung.” Jungkook smiled at him before they went their separate ways,

Yoongi turns off into his studio and Jungkook to the waiting area.

“Jungkookie” he was met with the sighs of a sniffling Mingyu, he had clearly been crying.

“What’s wrong?”

“Can we get a drink?”

Jungkook sat next to him, shaking his head. “I’m supposed to be working, I told YN I wouldn’t be home so I can finish the song today. You can talk to me if something is bothering you, I have a little time.”

“I don’t wanna talk about it right now I just don’t want to be alone.” He paused, eyeing Jungkook before continuing. “If you’re busy I understand.”

He should go back to the studio, he should tell Mingyu he has to work but he doesn’t. He doesn’t because he has to be a good friend, he can come back tomorrow and work because he has to be a good employee and then he can work late to complete his weekend work so he can take the weekend off so he could be a good boyfriend. Jungkook always had to just be good, he had to do everything perfectly.

“It’s okay we can, let me just get my jacket and shut everything off.” Jungkook smiled, patting Mingyus's leg before going to finish up.

It doesn’t take him long and soon enough he is in the passenger seat of Mingyus's car on the way to whatever restaurant the other had chosen.

“How are things between you and your girlfriend?” Mingyu questions.

“It’s good I guess.” Jungkook sighs, not really wanting to open that can of worms. “I’m not giving her enough.”

“What do you mean?” Mingyus eyes flicker to Jungkook before focusing back on the road.

Jungkook leans his head on the window, sighing. “She needs so much attention and reassurance. I know I’m supposed to be the one who gives that to her but I can’t, I don’t even have the time to reassure myself everything is going to be okay. I keep thinking about how easy it would be to break it off and just go back to focusing on work with no distractions.”

“You seem pretty set on that idea.” Mingyu responded. “Have you spoken to her about it?”

“No.” Jungkook huffed. “I can’t, if I do she will just shut down her own needs to try and support me. It makes me feel worse knowing she ignores the things she wants, needs and deserves just to keep me happy. I don’t fucking know what to do.”

“Why don’t you ask for a break?” Mingyu suggests, pulling into the carpark of their usual hangout. “I’m sure she would understand.”

“I can’t do that if I want to leave then I can’t keep her hanging on to hope that may never come. She deserves the world, I just can’t be the one to give it to her.”

The car turns off and it falls silent before Mingyu clears his throat, leaning a little closer to Jungkook. “If you know you can’t give her what she wants then let her go.”

Jungkook didn’t reply, he couldn't. Mingyu was fucking right and he hated it more than anything in the world because she deserved better, deserved the fucking noon and the stars but he couldn’t fulfil that but he also couldn’t leave because as much as he could talk shit about whatever issues they have he loved her to his core, depended on her in so many ways he didn’t know who he would be without her.

Even if he should let her go he won’t, because he can’t stomach the thought he of being alone without the love of his life. He can’t stand the idea of someone else loving her, touching her, being the reason for her smile.

The time flew once they were inside the restaurant come bar, drink going down with a burn enough to make him forget about his inner torment regarding his relationship. Mingyu dropped him home with the promise of seeing him again soon.

Jungkook fumbled with the keypad a few times before getting it right, he wasn’t drunk just a little buzzed.

He was taken aback by how dark everything was, usually, you’d still have at least the kitchen light on. He frowned slipping his shoes off and heading straight the the bedroom. Maybe she had gone to sleep? He frowned again seeing the sheets untouched.

“Marco?” He called out, knowing if you were in the apartment it would get your attention.

He couldn’t help but feel a warmth in his chest and the memory of teaching you the child’s game. “Polo” he heard you call back.

“I thought you were working late?” She frowned, holding out a hand to him.

Jungkook groaned, not ready for a scolding as he slouched against the couch. “Yeah, well we finished around 7 so Mingyu asked if I wanted to get drinks.” He shrugged. “Don’t get all mad.”

“I’m not mad kook.” She was quick to reassure but Jungkook knew her better than that, she wasn’t mad she was upset and that was far worse. “I just missed you.”

And just like that he was sober, the fuzziness shrouding his brain courtesy of the alcohol he had ingested cleared up instantly. “Fuck I know okay, I know but I don’t need you putting pressure on me too I’m already working hard twenty-four seven, you want me to come home and be the perfect boyfriend to you but where is my time? Where is the time for me? It’s selfish of you to always put your wants first.” He knew he should shut up, knew none of that was true but he couldn’t stop himself.

“No I just meant that I missed you I didn’t-“ she sighed, the argument dying on her tongue. “I’m sorry.”

“You always say that. You just ruined a good day…god” he huffed, a hand running through his hair.

The second the words were out of his mouth he felt a twinge of guilt pang through him. Everything had come out wrong he should have been apologising but all he could feel was anger, anger at himself for being a fucking awful partner even though she had only ever been good to him and for whatever reason he still hadn’t figured out himself he found it all too easy to take it out on her.

“I’m going to shower and then I’ll sleep.” He knew walking away wasn’t right, they should talk, and he should apologise but he couldn’t look at her when she had that glimmer of hurt in her eyes, especially because he’s the one that put it there.

He stepped under the water, his head thrown forward as he let it wash away his worries. As much as he tries to focus on the sound of water pelting off the glass he can’t stop thinking about what just unfolded.

He should walk away, he should let her go so she can find someone who makes her happy but he won’t, and he knows deep inside she won’t leave either, no matter how much of an asshole he is.

He’s sad, although not surprised, to see the bed empty. On days like this, he knew you chose to wait up until he slept and he wasn’t going to interrupt that so he slid under the covers, bordering on that space of awake and sleep until he felt you slide in beside him. He pulled her closer to him, needing your touch before whispering an “I love you.” Placing a soft kiss on your head.

There was so much more he could say, so much he should say but he settled for the three words.

The next morning Jungkook woke up first which was a surprising occurrence but he decided to make the best of it. He quickly showered and got dressed before setting off for the kitchen. Making breakfast although a small act of love was where he decided to start making amends.

He flicked on a playlist of songs Taehyung had made him before letting himself be carried away by the copious chopping and frying.

He noticed her hovering in the doorway. “Good morning baby.”

Jungkook swore his heart grew at the sight of her smile. “Good morning.”

“Come here.” He called out, turning down the stove before opening his arms. He felt himself relax once his body was pressed against her as though it was made to be there. “I’m sorry for last night.”

“It’s okay.” She whispers but he knows it isn’t, regardless of what she says it isn’t okay, and it will never be okay.

Jungkook pushes her back a little, taking in her forced smile before asking “Is it really? Do you forgive me?”

“I’ll always forgive you.” She responded without any hesitation, that was a true answer as unhealthy as it was he knew she meant it with her entirety.

He knew he wasn’t worthy of you, knew that you loved and cared for him far beyond that which he deserved so he promised, he promised himself he would try, he would try to be better, be a fraction of the person she deserved and even if he couldn’t he knew it would be okay because they would always be there, needing one another.

“I’m in love with you.” Jungkook breathed, shifting his head and tilting her chin up to kiss her.

“I’ll love you for the rest of my life.” She mumbled back, a bright smile on her face.

And just like that everything fell back into their normal.

[piratecaptainscaptainpirates]

Yet another thing that will never not have me by the fucking throat is Ed's remembering his conversation with his mom in s1e5 - the "we're just not that kind of people" talk.

Because that's a talk that I'm pretty confident in saying most kids of color get when we're around that age, old enough to understand but young enough you don't get it. Ed's mom is obviously trying to be so, so careful with him - there's no way for this talk to be easy, and there's no way it won't hurt, but they're having it at home, where he's safe, while his father is asleep. She wants to keep Ed safe, but to keep him safe, he has to understand that there are beautiful, soft, amazing things like that piece of red silk, and he cannot have them. Given where she worked, Ed's mom no doubt had a very clear understanding of what happened to people who look like them when they try to step outside the role they were prescribed by society. OFMD absolutely nails what this conversation is like.

And the thing is, when you're given that talk, even though it's important and you have to know it and your parents are doing the best they can, you're going to internalize it. Ed clearly does; I know I did - I'm from a town that's 98% White and my parents told me in very clear terms that if anyone called me a slur I was supposed to just nod and smile and do whatever the fuck I needed to so I could walk away, and to this day if anyone starts being racist around me I just fucking freeze. When I see Ed scramble to hide that piece of red silk when Stede sees him with it, it reminds me so much of that, it breaks my heart. Even though Ed is likely sure, even by the beginning of s1e5, that Stede will not be mad at him for having it, he got the message that he's not supposed to own things like that.

I see a lot of talk about Ed's class issues, but it's not just that he grew up poor, he grew up brown and those two things go together to shape how he understands himself. Ed obviously internalized this talk; he's got more riches than you can shake a fucking stick at but we don't see him enjoy it. He kept that piece of silk hidden away and even though we know he loves soft, fine fabrics, his quarters on his ship are devoid of those comforts.

Ed has internalized that he's not the kind of person who gets nice things, and it's heartbreakingly realistic. It's so fucking well done. I really hope in s3 we get to see Ed slowly accept that he's just as worthy of having nice, comfortable things as anyone else.

[comicaurora]

How did you capture the feeling of ominous silence so vividly on this page? I can't imagine it's easy to effectively communicate silence in a medium without sound.

This question is so interesting it might spark a Detail Diatribe way down the line, but the bottom line is I think comics as a medium have a fascinating relationship with sound and how it synergizes or clashes with comics' unique ability to shape their pacing and implied timescale through the use of panel layouts and the inclusion or exclusion of movement lines and sound effects.

Gonna go back to Scott McCloud's Understanding Comics for this first bit-

Time in comics is incredibly fluid and strange, and the pace of the story is laid out by the artist but controlled by the reader, who reads the comic at a pace they determine. The artist can only imply and guide for how long they think any one panel should feel like it lasts, but they can't control how long the reader looks at it.

But the inclusion of implied sound - dialogue, SFX - subtly changes that.

Narration is the only text you can include in a comic that feels timeless and disconnected from the pacing of a panel. Dialogue, sound effects - and speedlines, a kind of visual indicator of movement and sound, also contribute to the feeling of how much time a specific panel should take.

Panel size and layout do a lot of the heavy lifting - wider panels can feel like they should take longer, narrow panels might feel sharper and shorter.

But when a panel isn't silent, sound - and correspondingly time, which is deeply linked with sound - is communicated through dialogue and sound effects, assigning an implied speed of the events in the panel.

If you want to communicate movement - a process that IMPLIES sound - you might include speed and motion lines and sound effects, which create the impression that the panel they're included in last as long as that sound effect does. A sharp "WAK" is probably a fraction of a second, but the ball moving through the air might take several seconds - it's moving, but we don't automatically know for how long, and the narration over it contributes to that feeling of timelessness. Then in the third panel we get the impression that the dialogue is punctuated by the "SMASH!" as the ball finally hits home. We can imagine how this would play out if it were animated, but the picture it's painting is a highly complex composite of the presence and absence of sound effects across these panels.

A "silent" panel with no dialogue, no movement lines and no sound effects can feel like a single moment frozen in time, no matter how dynamic the actual illustration is.

And even if you don't think that you think about this, you notice when the implied time of the panel and the implied time of the panel's implied sound don't line up. A movement that feels like it should take a fraction of a second doesn't align with sound effects or dialogue that feels like it should take the better part of a minute.

The way I lay out my pages is sometimes intended to produce effects like speed-ramping - going from normal-speed to slow motion by chaining panels with movement and sound effects with panels that have neither.

The silent panel feels like a frozen or slow-motion moment intercut between fast, frantic action, and if that middle panel had sound effects or speed lines, that would compromise the effect.

Realistically, total silence is an extreme rarity, but the stylization of comics typically ignores this. Sound effects are relegated to important or key movements - we don't add rustling sound effects every time somebody's clothing moves, but we might add it to a cape flourish. Every sound effect in a panel comes with an implied runtime. Overlaying several sound effects can produce a frenetic, fast-paced effect that implies that the panels are happening very quickly and a lot is happening in that short span of time.

But, for instance, adding dialogue might disrupt that impression, because the dialogue carries its own implied timestamp that is usually longer than a single sound effect. If the characters are too chatty, that can make the moment feel like it's struggling with two very different paces - one determined by the talking, one by the action. Because of that, I try to keep them mostly separated - dialogue-panels will have minimal sound effects, and movement-heavy panels will be dialogue-free.

This isn't something I usually think too hard about - it's just a matter of feeling it out until the pacing flows right. None of this occurred to me until I went back with an analytical eye. It's a remarkably sneaky element of the medium that I'm really intrigued about exploring.

[identitty-dickruption]

I really appreciate ur vocal stance about harm reduction. If u have a moment, could u perhaps link to, or talk about how harm reduction works with alcohol?

Thank you, an I hope u have a good day:)

of course! while I’m now completely sober, I wouldn’t have been able to get here without harm reduction, so it’s a very personal thing to me. that being said, to be clear I also see harm reduction as an objective good, even (especially!) if it never leads to sobriety

the thing about alcohol is that a lot of it is tightly regulated on account of it being a) legal, and b) easily accessible. so you don’t necessarily have the same safety concerns as you’d have with other drugs. it’s pretty easy to keep track of how much you’ve had, because most countries have some form of “standard drink”, which legally has to be printed on labels etc

other than that, harm reduction is fairly similar with alcohol as with other drugs. the way I was taught about it was to break harm reduction into three parts: mindset, context, and substance. before you can work on setting harm reduction goals, you need to understand the facts of when, where, and why you drink, and it can be helpful to work within those categories

mindset (how you feel)

what thoughts and feelings usually lead up to drinking?

are there thoughts and feelings that are likely to lead to a worse experience when drinking?

what are some other ways you cope with those same feelings?

harm reduction in this category usually means practicing self-awareness around this stuff. if you know you’re more likely to have a bad time if you drink while angry, you can set yourself some goals around not drinking while angry (or drinking less when angry). it also can help to set up some safety barriers so that drinking is less likely to hurt yourself or others

context (social + built environment)

where do you usually drink the most? how safe are these places?

are there people you drink more around or who encourage unsafe drinking behaviours?

what environments make you feel safest when drinking?

this is where most of the harm reduction work happens with respect to drinking. not drinking with people who encourage unsafe drinking can make a major difference. as can having an accountability partner, not drinking when alone, or otherwise planning ahead to keep you as safe as possible

substance (facts of what you’re using)

how much do you usually drink?

how much is safe for you to drink? at which point do you usually start to feel unwell?

what is the best way for you to track how much you’re drinking?

what other substances might be involved? how will they interact with alcohol? (including prescription medication!!)

this also includes knowing what overdose looks like, and having a plan for what you will do in case of overdose. being aware of what a certain amount of alcohol is likely to do to your body can also make it easier to drink safely

IN GENERAL: it’s important to be realistic with yourself. setting goals you know you can’t meet right now is a fast train to burnout, shame, and disappointment. even doing ONE thing to make yourself safer is GOOD. the safer you are the better, and whatever that looks like is good

I hope this has been helpful! feel free to ask any other questions about this either way :)

[cupids-scream-queen]

can u write something w bo sinclair and edging the reader? Like she's a flirt or something and keeps distracting him from his work and he gets sick of it and edges her??

❛ dollface, you're in my way ❜

-> Bo Sinclair × f!reader

Warnings: Edging, petnames, kinky shit by this point everyone knows my writing.

-ˋˏ ༻❁༺ ˎˊ-

Let's be realistic, you were a flirt. One of the biggest ones Bo had ever seen, and it helped you were little more than an airhead, making it real easy for him to keep you around.

You were gorgeous, and Bo loved everything about you. Except for your habit of flirting with him while he was working, creating some interesting problems for him.

Today was one of those days, Bo working on some project for the museum. You weren't particularly interested in Bo's work, but you enjoyed his company enough to sit still and talk to him.

"Baby, whatcha want for dinner?" You were sitting on an antique chair, watching your boyfriend tamper with some lights. You were wearing a short baby blue skirt and a white crop top with lace on the bust–something that looked incredible on you in Bo's opinion. You were sucking on a cotton candy flavored lollipop, your mouth making noises as you licked around it.

"I'm working—can't you suck on that goddamn thing later?"

"Only if I can suck on something else in the meantime," You shot back almost instantly, giggling slightly as Bo dropped a lightbulb on the floor. It shattered, leaving glass everywhere. Bo sighed heavily in annoyance.

"If you don't shut that goddamn mouth of yours, I'mma do it for you, babygirl," Bo huffed, half-joking. Looking at you, he smirked when he saw you adjust yourself, clearly in the mood but not directly asking. Sneaky kitten, aren’t you?

"Maybe I'd like that, Daddy," you were quiet on the word Bo liked you to call him during intimate moments, and you watched as his work jeans tightened instantly around his dick. It worked–your little comments worked–now the other thing you had to gain was him to fuck you. Which you craved.

Bo knew this, and he also knew the importance of his work. He'd have to fix it eventually, and Vincent was most likely wanting it done asap, and you begging for dick was going to prolong it by another day if you had your way. Sometimes, Bo would bet money on you having the higher sex drive.

He smirked, deciding he'd have some fun with you. Teach you a lesson about interrupting his work and ruining his progress—a lesson you had to learn, in his opinion.

"I'm going to tell you this once, is that clear dollface?" You nodded, and licked your lips obediently. Bo chuckled to himself. He was going to enjoy this. "I want you to take your panties off, alright? Put them on the floor. Then I want you to hike your skirt up and show me your pretty pussy. Can you do that for me?"

"Yes, Daddy," With almost as much enthusiasm as normal, if not more, you quickly took off your white lace panties, exposing your cunt for your boyfriend. He licked his lips.

"I want you to moan for me, and I want you to tell me when you're close. But you're not allowed to cum unless I tell you to, understand?" You nodded, your pussy already dripping in anticipation for Bo's lengthy fingers.

"Yes, Daddy, I understand," You whimpered, your legs high up in the air, your cunt wet and ready. Bo walked over, his work boots clonking on the floor as he took heavy steps in your direction. Kneeling, he teased the lips of your clit.

"Dollface, you're in the way of my work, you know that?" He growled, his fingers kneeding your clit. You whimpered in response, your thighs threatening to close around Bo's head. "You're so fucking horny for me, you've forgotten your manners. Isn't that right?"

"Y-yes Daddy," You said, your voice soft as you felt one of Bo's fingers push past your lips. He started to fuck you with one finger, your pussy clenching around it. He angled it up, pressing against your walls and searching.

"And I'm gonna hafta teach you some manners, ain't that right, whore?"

"Yes, Daddy...I need manners," You yelped as he pressed another finger in, scissoring you. Getting you ready for his cock, you presumed. Bo smirked as he added a third finger, your pussy full.

Slowly, he worked his fingers in and out of your folds, eventually moving his tongue down to stimulate you clit while his fingers were deep inside of you. You clenched around them, your pussy anxious and ready for dick, and you moaned at Bo's name.

"F-Fuck, Daddy, I'm close—" He slapped you, ripping his fingers out of you. You whined, your eyes threatening to release tears from the loss of orgasm.

"You ain't gonna cum until I say so, is that clear?"

"Yes, Daddy," You obediently looked at him, and he settled back between your legs, fucking you with three fingers and his tongue. He pressed it up against your clit, licking and sucking. You moaned at the sensation, making Bo lightly bite it, and you nearly howled with pleasure. You were getting closer and closer, and Bo knew it.

He stopped again, smirking as he withdrew his fingers and licked your juices off of them.

He then leaned down, spreading your legs open again with his hands, and licked a stripe up your pussy. You gasped, and he laughed against your cunt, enjoying the affect he had on you. He slowly licked circles into your clit, and then moved his tongue into your pussy, fucking you.

He rubbed circles into your clit as he tongue-fucked you, feeling you squirm and moan above him. Your hands were tangled in his hair, forcing him closer as you tried desperately to get to your climax, even though you guessed he'd rip it away from you again. He moaned as you pushed yourself farther down his tongue, and he felt as you started to grind against his face, a silent ask to cum.

It was denied, of course. Smirking, Bo pulled away just as you were about to release, taking your third orgasm away from you. You whined, practically crying by this point, begging for your boyfriend to let you cum.

"If you don't distract me any more, darling, I'll let you cum tonight," He promised, already standing up off the floor. "Now clean yourself up and put your clothes back on, I've got work to do."

masterlist

[mookymilksims]

ULTIMATE REALISTIC Sims 3 Roleplay Guide | Transform Your Slice of Life Gameplay! | Part 1

What is up my little MooMoo's, welcome back to my channel! If you are new, thanks for dropping by.

So I promised you all a slice-of-life roleplay guide, and here it is! This might be the single most important guide for my ultra-realism roleplaying series in The Sims 3. Traditional roleplaying in this game is a bit tricky, so you’ve got to get creative. With mods, you can maximize your roleplaying efforts with little to no labor.

And whenever you look up how to roleplay in the sims 3, you'll find yourself quickly being redirected to challenges, except when you come across my input.

I have so much planned to show and teach you all in this guide. We’ve got a lot of ground to cover, but I promise to make it simple and effortless. This guide is easy enough for beginners who’ve never roleplayed before, yet packed with fresh ideas and twists for veteran roleplayers.

I want you to think of roleplaying as a Sims 3 challenge, but not as strict or difficult. Everything I show you in this video are just suggestions, meant to inspire you and ignite your creativity. I want to excite you into playing this game differently and unlock the true potential of The Sims 3.

Unfortunately because there is so much ground to cover I am going to have to break this guide up into several parts.

There are in total 10 sections of this guide I want to be able to teach you, in today's guide we are going to be focusing on section 1: Basic Roleplaying: and things you need to understand about the game.

So, let's break down exactly what we're going to cover today:

Basic Roleplaying - Things you need to understand about the game.

Curating Your Sim's World - Setting the stage before you play them.

Personality Templates - Creating Sims you care about.

Style and Taste Bud Palettes - Refining your character's personality.

Hobbies and Routines - Enhancing your Sim's day-to-day lifestyle.

Vacations and Traveling - Adding excitement and variety.

Socializing Roleplay - Making your Sims’ interactions meaningful.

Mods for Day-to-Day Gameplay - Essential mods for realism.

Challenges and How to Transform Them - Keeping things interesting.

Storylines and Easy Ways to Put Them Together - Creating compelling narratives.

I care about your time, so we’re going to steamroll through all of these sections and videos together! Let’s dive right in and get started!

Basic Roleplaying

Remember when I said earlier that you need to have the right perspective to roleplay in this game? Most of you have been roleplaying to some extent even if you think you haven't.

Challenges are basically stricter roleplaying incentives. They give you a set of rules to follow in-game, where doing the opposite wouldn't make sense.

And this is the crux of roleplaying, essentially. It's about understanding the person you are playing as and what they would realistically do. It’s not just about completing goals, but about making choices that reflect your Sim’s personality, desires, and circumstances.

So, what exactly is roleplaying? At its core, roleplaying is acting out the life of a character you create. You’re not just controlling them like a puppet; you’re thinking and making decisions as if you are that character. It’s about stepping into their shoes and seeing the world through their eyes.

For example, if your Sim is an artist, you might decide that they spend their mornings painting in the park, meeting other creative Sims, and visiting art galleries for inspiration. On the other hand, if your Sim is a fitness enthusiast, they might start their day with a jog, followed by a healthy meal, and then head to the gym.

Roleplaying is about adding layers to your Sim's story. It's not just about what they do, but why they do it. Every decision should reflect their personality and circumstances. If your Sim is shy, they might struggle with social interactions, but if they’re outgoing, they’ll thrive at parties and gatherings.

This perspective transforms the game from a series of tasks into a rich, immersive experience. You're not just playing The Sims; you're living a story. And the best part? It’s your story, crafted by your imagination and choices.

What actions do you find yourself doing more than anything else in the game? What action is it that you focus on the most?

Skills. Jobs. School. And motive maintenance. These are the actions you find yourself doing the most in your gameplay instead of creating memories and developing your story.

What if I told you that skills, jobs, high school, and elementary school are actually not as important in the game as you think? There is nothing in the game that requires you to master a skill. So why are you maxing out their skills?

You don't always have to become the leader of the free world, especially if it's not even a lifetime wish for your Sim. The only thing you need to pass school is to not have a consistent F. Your children and teens were going to graduate regardless.

There are hundreds of mods dedicated to rebalancing The Sims 3 motive decay that would allow you more time in your day playing as your Sim instead of just feeding them.

When you change the way you think The Sims 3 was meant to be played, you begin to see just how much fun you could really be having in this game. I'm only saying this as the kid who stressed out about getting a B in-game, not getting that promotion by the end of the day, and freaking out every time my Sim's hunger bar got halfway full.

We should be having fun, relaxed, and enjoying our Sims' actual lives. Once you remove this stress from the equation, you're left with a bunch of freed-up open time in your Sims' day. And now, you have to fill it with creative roleplaying scenarios.

But don't worry, I've already got you covered on that in sections 5-10.

LifeSpans

If you already watched my lifespan and relativity guide, then you already saw me extensively go over this entire system. I realized very quickly how important a Sim's lifespan was to my roleplay. If the lifespan is too short, I don't have enough time in-game to care about my Sims, develop their stories, and complete pivotal moments in their character development. I used to turn their aging off, but in doing so, I missed out on the natural progressions of not just my active household but also everyone else.

A well-balanced lifespan is crucial for meaningful roleplay because it allows you to:

Build Deep Connections: With a longer lifespan, you have the time to truly get to know your Sims, form deep bonds, and invest in their personal stories. You'll witness them grow, change, and evolve over time, making their journeys feel more significant.

Develop Complex Storylines: Longer lifespans give you the freedom to create intricate story arcs. You can explore your Sims' lives in great detail, from their childhood dreams to their golden years, ensuring that no pivotal moment is rushed.

Experience Generational Play: Watching multiple generations of Sims grow up, interact, and leave their marks on the family legacy is one of the most rewarding aspects of the game. It brings a sense of continuity and history to your Sims' world.

Allow for Realistic Progression: A longer lifespan lets your Sims achieve their goals at a more natural pace. So that if the roleplay allows it, they can climb the career ladder, master skills, and pursue hobbies without the pressure of an imminent aging up.

Thank goodness I learned how to curate a mods list and create my own mods that addressed all of these issues. And thank goodness I shared it with all of you, so you don't have to do anything but install them and jump into the game.

Remember, a well-thought-out lifespan not only enhances your roleplaying experience but also enriches the entire game world, making every Sim's life story more impactful and memorable.

Questionnaires

Questionnaires are a great way to delve into the mind of your character, understand them inside and out, and effectively roleplay them in-game.

Think of this section as breathing life into your Sims' lungs. I personally find this portion to be fun while also gaining incredible insight into how my Sims think, act, and feel in-game.

This practice gives me so much confidence when roleplaying them. Without it, I find myself improvising without as much confidence, making certain interactions more awkward for me. I have to rewrite the interaction in my head, out of the game, to rectify it, when I could've just used this practice and character breakdown beforehand.

Why Use Questionnaires?

Character Depth: Questionnaires help you create multifaceted characters with rich backstories, motivations, and unique personalities. This depth makes your Sims feel more real and relatable.

Consistency in Roleplay: By understanding your Sims' traits, goals, and quirks, you can ensure consistent behavior and decision-making throughout their lives. This consistency enhances the realism and immersion of your gameplay.

Enhanced Storytelling: Detailed character profiles allow you to craft more compelling and believable stories. You'll have a clear sense of your Sims' desires and conflicts, making their journeys more engaging.

Improved Interaction: With a solid understanding of your Sims, you'll navigate social interactions more naturally. Knowing their preferences and relationships helps you respond authentically in various scenarios.

Reduced Improvisation Stress: Having a well-thought-out character profile minimizes the need for on-the-spot improvisation. You'll feel more prepared and confident, leading to smoother and more enjoyable gameplay.

How to Use the Questionnaires

Now, you don't always have to answer every question. You should aim to answer just enough questions in just enough categories to confidently roleplay your character in improv gameplay scenarios. Use the link below to the character question generator and begin breaking down your character. This practice not only enhances your roleplaying experience but also brings your Sims to life in ways you never imagined.

Remember, only answer enough questions where you get to know your sim inside and out. To enhance this further, consider their fashion style, and mini backstories behind their favorite food and color. Write this down somewhere where you keep a back up of your save file, so you can always reference it in the future if you get stuck on what they would do in a roleplay scenarios.

Link to Character Question Generator!

Conclusion

So here is where I feel is a good time to end the video, since I've given all of you a lot to think about. Let's quickly recap what we've covered so far:

Basic Roleplaying: We explored how to shift your perspective on gameplay, understanding that roleplaying involves making choices that align with your Sims' personalities and realistic behaviors.

LifeSpans: We discussed the importance of adjusting your Sims' lifespans to allow for more meaningful story development and character progression. I shared my mods and settings to make this process seamless.

Questionnaires: We delved into the practice of using questionnaires to breathe life into your Sims. This helps you understand your characters deeply, ensuring consistent and engaging roleplay.

Make sure to subscribe and hit that notification bell to become a part of the Milky Way Squad on your way out, so that you can be notified and come back for Part 2!

Thank you for watching and see you in the next video!