#a bit in my feelings so i wrote this out

[lgcseojin]

✱  BSIDE 002

— DATED 7.13.2023

Seojin sends his younger brother off

The room is silent save for the occasional sniffle and whimper. Tears streaming down his younger brother's face cascade down his cheeks and neck — a waterfall of regret and fear. Seojin keeps his back turned, closed fist pressed against his mouth. In his other hand, he grips an electric shaver. The five round heads look up at him; gaze cold and steely.

"... I don't wanna go..." The young man sniffles. "Please don't make me go. I messed up. I really fucked up!"

"Chanhyeok... You gotta go... and don't even try to think about running away when you're there. Someone would come and get you." The sigh that falls from Seojin's lips is a heavy one — brimming with reluctance. However, he makes no ado about the process, running the trimmer through his locks bit by bit. Large chunks of black hair fall at his feet. "You're lucky I'm doing it here. When I went, the guys pulled my hair and cut my head."

"Hyung..." His little brother chokes out a whimper, hands moving to grab his neatly trimmed head. Seojin places his palm to the back and hums curiously in response. "I'm sorry..."

"Huh? For what?"

"E...— Everything. For... for causin' you trouble, bein' a pain in your ass the past seven years... mom and dad's, too. Dahye prolly hates my guts and Dasom doesn't even wanna do stuff do with me anymore... I'm sorry. I'm real sorry." The apology becomes mangled amidst hoarse sobs. "Wh—When I get done, I'm gonna get you a new guitar and take Sommie to Everland... a—and..."

The plea for forgiveness tugs at Seojin's heart strings. A solid lump pulls at the back of his throat. He looks upward to mitigate the stinging in his eyes. The most he can choke out in response is a strangled chuckle and shake of his head. He hands him the small bag of belongings he is able to keep after slipping a letter inside.

"Let's go. Everyone's waiting."

Dear Park Chanhyeok little bro, It's really funny. You're going at about the same age I did, and dad, too. All of us outta nowhere. I guess it doesn't matter that we aren't blood related at all cause it's true that these Park boys are a bit crazy, huh? Anyway, it's better to get it out of the way. I know what your goals are. You have people waiting for you to come back so do it quickly, got it? When you're there, do as they say. Don't cause any trouble, don't talk back. Don't showboat. Strive to just be average or you'll end up like me. Eat your meals. All of it. Even if it tastes like shit. Drink any water you can get. If a guy pressures you to smoke, sneak out, or pull a prank on a higher up, don't do it. Be on your best behavior and keep your mouth shut. You might end up in fights. Don't punch back. Keep on standing straight. Find some kinda hobby. Make friends with good guys. If you end up causing shit, everyone gets punished. I know they let you have your phone but don't use it too much. Give it up when they ask you to. Keep it and film something if any hazing goes down. Call me, or mom and dad if anything happens but go to your superior first. I'm sure stuff has changed since I've been there. I heard things are getting better or so I hope... If you wanna make it to the other side, you have to listen to me. You know how serious this is and I don't want you to have a hard time. Since you joined our family seven years ago, I knew there would be a lot to handle but you are my brother now. I care about you. You know I'm not great with words and might think I'm overbearing but it's for your best interest. I've watched you grow up from a teenager into an adult and I know you have a good heart in spite of everything that you've been through. You're scared but I know you can get through this. I'm rooting for you. Love you, Your one and only hyung

[lazylittledragon]

ok someone please correct me if i'm wrong but am i weird for thinking those 'audiobooks don't count as reading' posts are ableist as fuck????

[da-birb-writes-sometimes]

How You Turn My World; Chapter 3

As the reality of your situation sets in, you try your best to survive in the Underground... and find a way out. Little do you know though, someone else is trying to find you.

Character; Lilia Vanrouge

Content; Gender-neutral reader, more shenanigans, getting more into the meat and bones of this fic

Content Warnings; Swearing

Word Count; 3.2 K

Chapter 1 | Chapter 2 | Chapter 3 | Chapter 4 |

Do not put my work into AI - I will push you into the Bog of Eternal Stench

Your night for the most part was uneventful. The horrid screaming had thankfully went in the opposite direction, away from your tree-top abode. Although throughout the night, little crowds of glowing eyes had amassed at the bottom of the tree, but they made no attempts to reach you. Even though they couldn’t reach you, you couldn’t help but feel unnerved, since all you could see was their eyeshine, and hear them chittering to each other.

Great, they’re probably pointing and laughing at the new fool in town. ‘Oh, look, Jim, a new plaything! Don’t they look stupid hanging in a tree like that? Fufufu.’ But you kept quiet, and just watched them, as much as they did you, making sure they didn’t try any funny business.

They didn’t stay for long though, either leaving due to their curiosity being quenched, or from how boring you were trying to be; silent, and watching, not moving. If worse came to worse, you would have started chucking rowan berries at them; if fae don’t like the tree, they probably wouldn’t like the berries either.

Eventually, the dark night dissolved into the dim glow of dawn, and once you could actually make out your surroundings and it wasn’t just one large mass of darkness, you started making your way down the tree. You were a bit proud of yourself, seeing that you had 1) survived the night, and 2) not fallen out of the tr—

Snap! … you celebrated too soon, since the branch you were using as a foothold gave way, and you tumbled your way to the ground. At least the fall wasn’t too high up, but it still stung like a bitch, and you’d definitely have a bruise; both to your body and your ego.

At least there was no one around to see you eat dirt.

Sighing, you rubbed your eyes, and smacked your cheeks; fighting off sleepiness. Focus; you need to get home. Read the damn book Mr. Sparkles gave you… damn prick is probably gonna call in a favour later…

With a still sore butt, you found a mossy rock that looked somewhat comfortable and sat down, opening up your ‘How Not to Die in Fairyland; For Dummies!’ book (not really the name of it, but it was damn close).

“Chapter nine; how to leave the Underground,” you muttered, flipping to the page. Weird, it’s only one page? 

“While leaving the Underground is possible, it is a task that not many have accomplished. 

Of the possible ways include;

Finding a portal; typically an enchanted faerie ring, or royal portal.

Finding a fae and tricking them into owing you a favour

One should leave the Underground before their thirteenth day. Should you stay beyond thirteen days you will not be able to leave the Underground, and will be a permanent resident.”

You shut the book, taking in a deep breath. What has it been, ten hours? It was hard to tell, the blurring of time. But at least you had a rough time of twelve days to find a portal — or have a fae owe you a favour — and get the hell back home. If worse came to worse, you were not above some benign trickery so you could see your idiots again.

…

…

Lilia had arrived home safe and sound, slept in his warm bed, and had some of his … delightful home cooking before he was due back at the castle. And while he was eating the somehow overcooked yet still raw eggs, he couldn’t help but wonder how the little Beastie was doing; how you were doing.

He didn’t technically owe you any favours, since he had given you that handy dandy book — if anything, you owed him, since you did say ‘thanks’ and everything — but curiosity is a fickle thing, and you seemed interesting. Humans typically reacted more when they ended up here, and made no proper moves to ensure that they made it back. But you, the little Beastie? Lilia saw a fire in your eyes, of both ire and determination. You wouldn’t give up easily, and while it was entertaining, he also knew that trouble could, and most likely would, follow wherever you go.

Last time a human like you ended up in the Underground… it didn’t end well (said human nearly burnt the Queen’s labyrinth down to the ground). Hopefully though, you didn’t prove to be as foolish, or as obsessed with fire as the last human. Who knows, maybe you would even escape! If you didn’t though, the court could use a new fool, and you seemed amusing enough to please their majesties whilst not incenting their ire.

“Hmm, wonder if their majesties have felt the intrusion,” Lilia hummed to himself, cleaning up his dishes. He could easily just magic it away, but the trip to the mortal realm had taken a lot out of him, so he was stuck doing some good old fashioned manual labour, not that he really minded. Doing the dishes was better than being digested by some mangy, overweight, cat.

A crack of lightning sounded outside, disrupting the otherwise beautiful and peaceful day. “That answers that question!” Lilia sounded too cheerful for what many fae considered to be a bad omen, as lightning rarely meant a good thing when it concerned the royal family.

A raven came to rest on the windowsill, eyes glowing green; a messenger.

Lilia tapped its beak, letting the message play.

“General Vanrouge, I require you to apprehend the trespasser on our land, lest they taint the soil,” the raven recited Queen Maleficia’s message. “Shall you deem it necessary to use drastic measures, so be it… To call this number back, place a coin into the raven’s mouth. To save this call—”

Lilia groaned, but coughed up a bronze coin so that the Queen didn’t send more ravens to his house on his day off. “Our guest shall be dealt with swiftly, I assure you of that.” Lilia ended his call, the raven blinked, coughed out the coin, and flew off in a ruckus of cawing.

He sighed, and cracked his back. “Hopefully our guest can understand… and not hit me with a broom this time.” With a snap of his fingers, Lilia poofed into his trademark green sparkles, and he was a bat again. Instead of being lost in the mortal realm though, he was off to find you, who was most likely lost in the Underground… hopefully you didn’t get eaten or fell into the bog again, since he doubted the Queen would want a dead(?) or putrid smelling guest.

“Beastie, Beastie, Beastie, wherever could you be?”

…

…

“Where the hell am I,” you wheezed. You had been walking for a good bit, since hey, the bog really smelled bad, plus you didn’t want to stick around long enough where the creature that was screaming last night decided to come back and make an appetizer out of you. So, you were walking. Where to? You had no idea, all you knew was that you needed to find a portal somehow, of the mushroom variety, or royally produced.

Currently, you were fighting gravity and making your way up a steep hill, but you knew you would be able to see over the dense forest canopy once you reached the top, and maybe, just maybe, you would be able to make sense of your bearings. Would you know where you were once you reached the top? Pfttt, no, but at least you would know what exactly was around. A sulfuric rotten egg-smelling swamp was one thing, but you wouldn’t be all too surprised if you found out there was a man-eating daisy patch or some other nonsense here.

Finally, you made it to the top of the hill, and you caught your breath before looking out towards the horizon. To the north, the sea of trees continued for what seemed forever. East, the trees made their way into a grassy plateau where there seemed to be a village of some sort in the distance; quaint. South, uh, the swamp, definitely not going back that direction, you’ve had enough of that swamp. And west, a castle, surrounded by a maze.

“An enchanted faerie ring or royal portal,” you muttered, weighing your options.

You had about twelve days left to get out of this place. You could spend those twelve days trying to find a so-called ‘faerie ring’ in the forest since those things were mushroom circles, but the chances of finding an enchanted one seemed to be slim to none. On the other hand, castles usually equaled royalty, which would equal portal. Knowing royals though, they were probably batshit insane. Also, if they felt like you were lying or trying to dupe them? Hey, they could apparently turn you into a slug or some other easily squishable being if they wanted to. And you really didn’t want to be turned into a slug… now at the moment at least.

“Forest,” you looked at the forest, “or castle?” You could also go east, but the grassland didn’t exactly scream portal potential or had any rowan trees (or any trees for that matter). “That is the question. Look for weird mushrooms and maybe get eaten by some critter, or potentially piss off some royal and end up as said critter. Hmmm.”

You groaned, and flopped down to the ground; both options weren’t all that appealing, or even guaranteed that you would find a portal. Rolling over to your stomach, you opened up the book again, seeing if it had anything that could help you make up your mind on the options in front of you.

Scanning over the table of contents, there was nothing about where to find a portal in the woods. There was, however, a handy dandy chapter on fae etiquette, including government specifications… 

You looked up towards the castle again, eyeing the maze. And started coughing out into laughter at your situation. “Pfttt, didn’t I wish that the Goblin King would whisk me away from my life,” you wheezed. “And here I am! In the fucking Underground with a labyrinth?!” Your laughing subsided into a tired sigh, and you set your eyes back towards the castle. “The irony is astounding really.”

At least you didn’t have to worry about some baby being turned into a goblin… right? 

No, no, you only wished for yourself to be taken away, no one else. But would that mean you would end up as a goblin? Fae? Or as some weird pet or servant to a fae? Hopefully not… and at least you had the somewhat credible book that Mr. Sparkles gave you. 

Shit, I owe him a favour though… CURSE YOU SARCASM!!!! 

Well, maybe Mr. Sparkles will cut you some slack, since ya know, you did save him from Grim… but you also did hit him with a broom… and insulted him… I am so fucked, aren’t I?

…

…

You eventually got to the entrance of the maze (the labyrinth?), and sat down on a bench outside of it, huffing and puffing. “Does everything want to–” you stopped that sentence, knowing your luck, if you said it out loud, it was bound to happen. “Never mind that…”

“Never mind what?” A voice said to your right.

You shot up and whipped your head around, coming face to face with a door(?) with a face. “I-”

“You never mind!” A second voice said, and on your left was another door, sending its counterpart a dirty look. “You know better than to meddle in such affairs!”

The right door, which was a weathered red, rolled its eyes at its neighbour. “Bah! Curiosity killed the cat-”

“But satisfaction brought it back. I know!” The left door, a brilliant blue, huffed. “Ignore them, they do this to everyone.” They sneered (if doors could sneer) to their neighbour. “Don’t you have anything better to do than trick people?”

Did I just get in between these two during something?

The red door got offended, turning even redder by some means. “Like you should be one to talk! ‘Oh my dear traveller, one of us two doors is a liar and does nothing but lie! Do not let my neighbour fool you!’ It’s the same every single time with you!”

It’s giving bitter divorced couple who for some reason still live with each other—

“I would do no such thing!”

“LIAR!”

“NO YOU ARE THE LIAR!”

You groaned, their bickering was starting to give you an all too familiar migraine. “Will both of you shut up?!”

Both of the doors tch-ed at your remark but stopped their nonsensical arguing, and you rubbed at your temple, easing away the building tension. But they turned their attention to you, looking at you with a mix of curiosity and something else… doors couldn’t be fae… right? The book didn’t say anything about talking doors… could they be portals? It couldn’t be that easy, nothing was ever that easy.

“Did anyone ever teach you any manners, mortal?” The red door huffed, turning its nose up at you. 

The blue door looked at you with a similar expression, “Yes yes, awfully rude you know! Lucky it's just us though, and not the mistress. Oh ho ho! She would turn you into a newt for that!”

I wasn’t too wrong about them turning me into a slug I guess… would a newt be an upgrade in this case? Since they have bones— 

“And you’re a door,” you deadpanned, “you both haven’t been polite either, ya know?” You had better things to do than kissass to two sentient doors, so no, you weren’t going to be polite. “So the sooner you tell me which way to go, the sooner I’m out of your… splinters?”

The doors grumbled but didn’t raise any objections.

“As you may have overheard, one of us is a liar,” they both said at once. “One of us will lead into the labyrinth, whereas the other will lead you back to where you started your journey.” They both chuckled, looking at you with amusement. “It is up to you to decide which is which.”

You looked between the two doors, weighing your options. “And what if I just walk into the labyrinth? What happens then?”

The blue door hummed, “Well, it would eat you!” … why did it sound all too cheerful about that?!

“So I don’t really have any other option then, do I?”

“Nope!~” They both gave you cheerful smiles, and you were half tempted to go off into the woods and find that magic portal by your lonesome. At least then you wouldn’t have to deal with a pair of divorced doors, and a human-eating labyrinth that belonged to some mistress that would turn you into a newt if she felt like you were being snippy with her.

You sighed. Of both the doors, the blue one seemed more sympathetic, whereas the red door was more harsh… “Okay, red, open sesame!”

The red door looked shocked that you picked it over its counterpart, but it opened nonetheless. The blue door grumbled that you had chosen its neighbour over it, but stayed quiet.

When the door opened, all you could see was black. 

“Do you actually lead anywhere?” You threw a rock in, but no sound came out. 

The red door was silent though; apparently, when it was open, it couldn’t talk. And while you didn’t miss the bickering, you really wanted answers, and the blue door wasn’t saying anything either. 

Sighing, you walked forward, hoping that you had chosen the right door. Once both of your feet were over the threshold, light started to filter in. Did I choose right?! But before you got too ahead of yourself, you felt the ground give way under you, and you were falling; falling towards an all too familiar sulfuric-smelling bog. 

“SHI-”

…

You were back in the bog of eternal stench, and spitting the rotten egg-tasting water out of your mouth again. And this time, Mr. Sparkles wasn’t here to make you magically smell better either. Nope, you were stuck smelling horrible until you could find a change of clothes.

Crawling out of the water, you grumbled and hissed curses towards that red door. Of course, you would end up here again! Why not! Laugh it up, Underground! Laugh it up!

“I hate it here,” you seethed, wringing out as much water as you could from your clothes. 

Shit, the book! But the book was still dry… Fuck you, book. Fuck. You. Of course, the book would stay free of wet and stench, whereas you were now shivering, since the water was frigid, plus you were angry and embarrassed that you had been deceived.

It was no use though just sticking around here lamenting and fuming. So you hoisted yourself up and marched back to the labyrinth; and even though the trip was a good three hours, your anger and pettiness drove you forward.

“YOU-” you hissed, pointing a finger at the red door.

The red door looked at you, looked to its blue neighbour, and then back at you before it started laughing. “I see someone took a little dip-”

You got up in its face, “Fuck you, asshole.” You turned around and marched up to the blue door. “Open up,” you cracked your knuckles, not breaking eye contact. And either your intimidation worked, or your smell was so offensive that the door just wanted you gone; weaponizing the stench works wonders against prissy doors.

“Th-” You remembered your first blunder; do not thank the fae. “You are too kind.” And you stepped through the blue door, which was as dark as the red one, but once the door closed, you didn’t find yourself back in the damned bog. You were now in the labyrinth, and perhaps a step closer to finding a way home.

…

…

…

Lilia found himself in the bog, looking around for the Beastie (you). But they were nowhere to be found, save for a wet spot on the grass and some torn-up moss.

“Ah,” he suppressed a laugh, “they fell in again, I see. Poor Beastie.” At least they’ll be easier to find.

He summoned a glass orb, a looking glass of sorts, and looked inside of it. “Show me the human,” he whispered, sprinkling it with some green magic. “And show me their location.”

The glass orb multiplied into three. The first orb showed a close-up of your face, an annoyed yet determined look on your face. The second orb showed that you were surrounded by hedges. And the third and final orb showed that the hedges were actually the Queen of the Underground’s personal labyrinth.

“… at least they can’t really run off anywhere.” But this wasn’t a great turn of events. Many people, both human and fae alike, had tried their best to navigate the labyrinth. But it was a fickle thing; you had thirteen hours to reach the castle, and if you didn’t within those thirteen hours? You would be stuck within it, as one of the beings that tried to stop trespassers from reaching the castle.

Lilia pinched the bridge of his nose, “Beastie, what have you gotten yourself into?” And he turned into a bat, flying off to try and find you. While the Queen did want you apprehended, Lilia would rather it be with his own hands, and not be held liable for any further actions or decisions you made.

...

...

...

...

Tags; @afunkyfreshblog, @cheezy-moon, @eynnwwyjth, @ithseem, @lucid-stories, @ryker-writes, @twistwonderlanddevotee, @xxoomiii

~~~~~~~

Author's Note; After a little break from writing this fic, I'm back! I hoped you enjoyed this chapter, even if it was only for the pay-phone/raven and the divorced bickering doors!

If you liked this, do check out my masterlist for more content!

[fellshish]

A bad writing teacher can really mess you up even if you know they’re wrong

[petitepatateuwu]

It's way too hot and I am way too tired to do any more efforts, so excuse the critical lack of quality here.

If you didn't know, Cole is my favourite Power Ranger :D

And while I was binge watching Ninjago I had the pleasant surprise to see him physically and mentally traumatized in season 5 😈

And since I'm a huge sucker for angst, my brain immediately thought of developing that idea in order to hurt my beautiful baby boy some more. That and also the fact that my brain immediately looks for logic in the laws of cartoon physics (I really shouldn't do that...)

So I bring you the "Cole is a Ghost Kind-of-Saga". I still have a few more ideas to exploit, notably adressing the ways the other ninjas will help him cope with his new condition :3

And maaaaybeeeee a small comic too 😇

Anyways, I will let my brain rest a bit for now and sleep.

[ozzo-the-wozzo]

I need to you guys to stay with me and imagine Adrien Agreste experimenting with what to wear after he quits modeling but being hopelessly lost on where to start so, after much consideration, he gets the brilliant idea to mimic his friends clothing aesthetics.

So naturally one week he’s wearing a backwards cap and baggy jeans in an attempt to mimic Nino who is ecstatic and another he’s wearing a lot of flannel which makes Alya roll her eyes and another him and Marinette are practically twins much to his delight until she gently tells him he only likes it because they are matching and he should probably keep looking until he finds something that is his own.

But instead he just keeps on mimicking classmate after classmate until he runs through them all and he starts talking to Kagami who’s figuring things out herself and doesn’t provide much to go off of and he settles on wearing suits until someone mistakes him for Felix.

So then he decides to move on from people and starts to look on Pinterest at Marinette’s suggestion and he copies the outfits down to a science but why does everything STILL feel not right? He decides it’s the website so he moves on and copies what he sees in magazines and in ads and it feels a little better but he also feels a little sick when he does it and why isn’t anything right and he’s twisting the ring on his finger so much it’s leaving a mark and hes pacing around the mansion and it has so many portraits and his dad is in all of them and why is he suddenly getting the feeling nothing he puts on will ever be right and why in the world does this stupid ring feel so heavy.

And so after a month of experimenting, he gets up in the morning one day and decides to try on the outfit he always used to wear and attempts to do his grown out hair the old way and looks in the mirror and stares at himself for a while. He slips on his sneakers and then the door rings and he heads downstairs to meet Marinette for school. As they’re walking he is still trying to decipher what he feels and he suddenly realizes that his dad would like this outfit a lot. He smiles to himself and tells Marinette and she smiles weakly and says she supposes he would and then avoids his eyes.

Adrien feels that familiar twist in his stomach that tells him something isn’t right, but when he tries to reflect on why that would be he’s only met with the same fuzzy memories of his father that he can’t quite sort out. He wonders if that’s where the unease comes from but then he shakes his head because those memories must be good because his father died a hero.

And so he wears the same outfit he always wore, ignoring the fact it feels a little too tight on him and that it makes his new ring feel heavier than ever.

[howlonomy]

You & my partner have gotten me on the Martlet x The Roba pairing train so I gotta ask; was there an 'O h.' moment for either of them when they had the realization?

YEESSS ONE OF US!! ONE OF US!!!!

i think they would both have an “o h” moment. i think martlet would have it during the period between clover dying and the barrier being broken. the crew spends a lot of time together, broken with grief, and struggling to support themselves. so martlet travels from snowdin to the dunes a LOT. suddenly her big ass house is too big, shes so separated from her friends so far away. she has dalv, but he wasnt there for clovers death and didnt see what she did. ceroba knows the feeling well. so i think martlet spends a lot of time with ceroba at her house; doesnt move in, because she cant bear to let go of her house, but spends a lot of time there.

you would expect martlet to have a big exciting moment of realization but i think she would just. realize it on a random day. and THEN she would freak out and immediately avoid ceroba and talk to starlo. who tries his best to stop martlet from panicking and mitigate damages but they both realize how stricken and traumatized ceroba still is from chujin and kanako and clover so. they cant really do anything about it. so unfortunately now starlo is subjected to martlets ramblings and lovestricken conversations like shes a teenager wirh a first crush

CEROBA HOWEVER. DOES get a big “aw fuck” moment. when they get to the surface she asks martlet to move in with her; it just makes sense, now that they’ve spent so much time together. might as well. so martlet moves in and just fits right in, taking care of kanako and ceroba when she needs it, being handy, and just generally being a good roommate! and then ceroba watches martlet teach kanako how to woodwork, both of them struggling to read martlets blueprints and stumbling around trying to find a single nail and she cant help but laugh and realize how happy she is. how she never thought she would see her family happy like this again after chujin. and then she realizes that.. she feels the same way about martlet as she did chujin. she sees a partner (platonic at the time, anyways) helping raise a child and live in her house and show affection to anyone and everyone, even her, and she realizes she loves martlet

and then she ALSO dumps all this info to starlo who sits there like “my god my dumbass bisexual friends dont want to talk to each other”

[yellowocaballero]

Omg hi Ms. Yellow Caballero big fan of your work <3 For real though, I'm really excited that your sharing the Weekenders, it was a joy to read and I'm bongocat-ing now that others also get the privilege to read it as well.

Referencing your tags, would you please elaborate of ableism in fandom and, like you said, how fandom treats characters with unpalatable disabilities?

Hi Ms. Bud Lite I'm a big fan of you <3

TL;DR A fear of writing characters of highly marginalized identities shields you from criticism and discomfort, but it's actively stigmatizing to people of these identities and as a writer you really need to get over yourself and write The Icky People.

I guess I'll come out swinging on this one and say that fandom doesn't like severe mental illness. (As a note, when I say severe mental illness (SMI) I mean illnesses such as psychotic disorders, bipolar disorder, substance use disorders, personality disorders, etc)

Obviously, nobody likes people w/SMI. It's just insanely egregious in fandom to me, since fanfic writers absolutely love writing characters or HC characters with depression, anxiety, or a specific variety of PTSD That Isn't Scary. People actively reject any character HCs for a SMI. When people write a character with SMI, they nicely downplay it, ignore it, substitute it for a disorder they like better, or rewrite it. It's completely untolerated, in both headcanons and in fanfiction, and every time I bring it up I always get the most interesting reasons why somebody couldn't possibly acknowledge a character's SMI in their writing. I've heard all of these:

"I don't know enough about the disorder to write it accurately." Do research.

"I'm not X, so I can't really depict it." You probably aren't a cis white man, but you depict those guys just fine.

"It feels insulting to the character." There is no shame in having a SMI.

"I can't understand what it's like, so it's better to be cautious and avoid giving characters stigmatized identities." There are LOTS of experiences that you'll never understand because you've never had them - you just don't want to write anything you're uncomfortable with. People with SMI make you uncomfortable, and you don't want to write anything that makes you feel uncomfortable, or think of a comfort character in an uncomfortable way. SMIs are marginalized differently than solely depression/anxiety/The Nice PTSD, and by refusing to write them you're actively contributing to the stigma.

I think (?) I've spoken in the past about how I believe that the rigorous external and internal policing of writing people of marginalized identities is actively harmful towards efforts to increase diversity of experience and background in fiction. A lot of fanfiction writers are just terrified to write people who they can't directly relate with, because they're worried 'they'll get it wrong' and be Big Cancelled. I think this is negative enough when it prevents people from going outside of their comfort zone, but on a macro level I think this results in people refusing to write characters of marginalized identities as all. It's an insidious thought process, and it's reflected in people's unwillingness to diversity their writing or acknowledge canon diversity.

'Well, I don't understand what it's like to be Black, so I don't want to write Black people'. 'I want to project on this character, so I only want to write them with mental illnesses and identities I have'. 'If I write a marginalized character incorrectly people will yell at me, so I won't write a marginalized character who's marginalized differently than me at all'. Can you imagine writing a lesbian character with a boyfriend because 'you feel uncomfortable writing lesbian experiences'? It's blatantly homophobic. But people do that with disability and race/ethnicity ALL THE TIME.

People with SMI notice that you feel uncomfortable with them. It's obvious. They notice when a character has a SMI + anxiety, and you only write their anxiety. They notice when a character displays symptoms of a SMI in canon, but you write it out. And POC notice when the characters of color are written out. I know we all like to project on the blorbos and relate to them, and in the joys of your own head do whatever, but as a writer if you only stick to identities you're comfortable with you are actively being a worse writer. Which to me is the REAL sin lmfao.

[brinkle-brackle]

hello all. they r hugging

[chekhovstrap]

It annoys me so bad when people minimize what Alicent means when she repeatedly says “you have no idea the sacrifices that were made to put you on that throne.” Like it’s her entire fucking life!! She was a child when her father told her to go to Viserys’ room in her mother’s dress to comfort him. She was a child when she married him and was subsequently forced to bear his children. Her life was the sacrifice, one that her father was more than willing to give in service of his own ends. A lamb to the slaughter. It’s that violence that fuels the machine, perpetuates it. She’s scarcely been able to conceive of her existence outside of wife, mother, daughter, queen which is synonymous with woman for her (forever upholding the kingdom, the family, the law—). There is no person in all of that, only a tool. An implement to be used by others and later discarded (I wanted whatever you impressed upon me to want). It is a fucking miracle that she was able to find a way to eventually extricate herself from it and I cannot stress that enough. By freeing herself in this way it’s like she legitimately found a way to explain astronomy in the absence of physics because, really, she had no model outside of Rhaenyra and her loud disdain for things associated with “womanly” duties and responsibilities. And Alicent had spent such a long time resenting her for it. And even what Rhaenyra eventually had wasn’t true freedom, because of course it couldn’t be. It wasn’t sailing across the Narrow Sea and eating only cake. It was making her prison a bit more comfortable. It was if I must get married, I will have some say in who it is to. If I must bear children, I will decide who sires them. The option to choose what style of chains she will don. The only control she felt like she could exert, but that still played by the rules and conventions laid out for her. This illusion of choice.

[moe-broey]

GOD SORRY I'M HAVING ANOTHER ALEAR FB MOMENT BECAUSE ALFONSE. ALFONSE. ALFONSE.

HOW ARE YOU GONNA. START THIS FUCKING CONVERSATION. By saying,

Okay cool cool cool. And in the MIDDLE of the conversation how are you gonna say This

Like it is Dawning on me. A slow horror seeping in. He is further clarifying like. This was a really hard thing for me to take on but I do think of you as my Friend. Okay. So we're Friends. That's fucking awesoem dude I love that for us.... like I cannot emphasize enough maybe I'm just blanking on Early dialogues but like. This REALLY feels like the first time he's acknowledging and solidifying the player As His Friend (which is A HUGE DEAL. TO HIM. VERY IMPORTANT. PLEASE TREAT CAREFULLY.)

Hhhow are you. Gonna. End the conversation with This.

HEY. ALFONSE. QUICK QUESTION. IF. IF THIS IS IN FACT THE FIRST INSTAMCE OF YOU ACKNOWLEDGING THE FRIENDSHIP. HHHOWWW ARE YOU GONNA FUCKING CALL ME THAT‼️‼️‼️‼️‼️‼️‼️‼️‼️‼️‼️ INSANE FUCKING THING TO SAY TO SOMEONE YOU "JUSY BECAME" FRIENDS WITH??????????????? OBVIOUSLY. We've been here For A While. At least a little while. Certainly not a long while. But oh my god I am now thinking about the timeline for this. When does he fucking say this to the Summoner. Obviously whenever the player gets his 5 star 40 convo. Which is. Whenever. But oh my fucking god my comparison to Alear in tbe start what if this was all in like two weeks. ALFONSE. ALFONSE. I HAVE SO MANY QUESTIONS -- aaaand he's gone. FUCK

[deoidesign]

Hello I stumbled across your profile and I just say I love your art style! I've gotta ask, how'd your develop it? And do you have any advice for someone who can't decide what they want their art to look like?

Thank you so much!

To be entirely honest, I don't feel like I truly "developed" my style. I feel a lot more like I finally let myself draw it! But I am incredibly deliberate with my work, and I do have clear tendencies and preferences... So I'll do my best to explain how I got to where I am now as an artist.

It's important to remember that "style" is something of a nebulous concept. It changes with you as you grow as a person, and most artists can work in and emulate many art styles! Art really is a form of communication with yourself, and your "style" is a reflection of the tendencies and preferences you have. My art does not look how it looked 5 years ago, and my art will look different 5 years from now too. I've changed, and my art reflects that!

(2012, 2018, 2023; two pieces I remember being incredibly proud of and considered my best work up til that point, and then my most recent piece)

What you need to do, as everyone will tell you, is study the fundamentals (anatomy, perspective, form and structure, lighting and shadow, color, and composition) so you have the proper tools to make the most informed decisions possible about your art, and so you can deliberately break or follow rules as you please for your desired effect. I know it sounds silly to learn rules if you're not gonna be following them anyways, but they help you be much more consistent and intentional! More knowledge is NEVER a bad thing to have!

However, I know it's a bit demoralizing to just be told to study fundamentals. Everyone knows you're supposed to do that, but it takes YEARS to learn, and people want their art to feel how they want it to now (which is very very very normal to want!)

So on that front, I have 2 follow up suggestions that I personally find helpful (of course, everyone is different, so it's not like this is the only way to learn! But, if it resonates with you, it might mean it will work for you too.)

1: Separate study from application

I believe this is beneficial for a few reasons:

If the goal of every piece is learning, it can become frustrating, overwhelming, and boring

It's harder to self critique when there are multiple variables to investigate. I like to study one fundamental at a time

Study (usually) works best with a large quantity of output, whereas application of knowledge (finished pieces) is often more satisfying and effective when you get to take your time

Deliberate practical application of what you've learned in a finished piece helps cement the learning in your mind, and also lets you get satisfying finished pieces with noticeable improvement after a good study session!

I've found that keeping these things separate helps me improve faster and more deliberately, and it takes a lot of the pressure off of both aspects! I'm not worried about my studies looking beautiful, they're just to learn! And I don't feel pressured to critique my finished pieces, cause they're just for fun and to make something pretty. I personally find this helps me have a much healthier relationship with my art.

When studying, copy! Copy things as best as you can, all the time. It gives you something to compare to for self critique (and of course, if you're copying someone else's work and you share the study, ALWAYS give credit, share the original, and say it was for study.) In application, don't copy: reference. Make it yours!

2: Let yourself do the things that feel "easy" or like "cheating"

This one is simpler: nothing in art is easy.

If something feels easy to you, most of the time it's not because it's actually any easier... It's because it's part of your natural tendencies and preferences! This took me forever to realize, but as long as you're actually doing some study, then you're learning. You don't need to learn All The Time. When you're doing the "application" portion, you should let yourself do whatever is actually the most fun and feels easiest! This is where your style will start to come through, and where you get to learn about yourself. Take the pressure off, and have fun!!!

The only cheating in art is theft. If you're not stealing, then it's allowed!

My whole life (and yes, still!) I'd get regular criticism about both my style and my subject matter. You will too. You'll see a thousand different styles, and a hundred different things to admire in each. Your heart will ache that you don't draw like others do.

But art is a form of communication with yourself. It's like your voice, or your accent; just something that's a part of you! It can be fun to mimic others', but when you sit to have a conversation you speak naturally. (I know some people want to and do change their voice, but this is a metaphor and metaphors aren't perfect)

Don't stress so much about what you want your art to look like, especially if you're not sure. There's a lot of value to be had in constant experimentation, I think it'd be rather boring to only draw one style the rest of my life. What I draw is what I want to see, right now, for who I am now! It's a part of me and comes naturally, if I let it!

I hope this helps!

[navree]

Any reminder is shallow in the face of the real thing. He knows what it feels like to lose a child. He knows what it feels like to lose Jason Todd. The case feels more like papier-mâché, a pale and unworthy imitation, than anything else. A bad magical run-in reminds Bruce that there are far worse things than a mere reminder of a tragedy.

Fandom: Batman (All Media Types), DCU (Comics) Pairing(s): Jason Todd & Bruce Wayne Words: 3,349 Chapters: 1/1

[batsplat]

Is Valentino Rossi the best rider in 1vs1 battles?

ehhhhh *shrugs* I mean. the best ever? like. who knows. the best in the field most years he was competing in the sport? maybe, I guess?

this is one of those questions where I don't really like giving definitive answers but am more interested in how you'd even go about assessing it? like, what metrics are you looking at, what are the criteria, can you put numbers to it or do you have to be super holistic about it or what. I think the 1 vs 1 is already an interesting distinctions, because that is a little different from just talking about wheel to wheel skill. they're related skill sets, but it's not the exact same

so. to bring in an example with a sample set of races I imagine most people reading this are pretty familiar with. let's say we're comparing valentino and marc in direct combat with each other. let's say we put the races where they're fighting one-on-one for basically the entire race in one box, so assen 2015 and catalunya 2016. let's say we have races where one of them is working their way through the field - and it's all building towards the confrontation between the two of them, so say a qatar 2013, a qatar 2014, an argentina 2015. let's say you have a very intense fight that doesn't last the whole race, like sepang 2015, or an extended 'duel' that is basically a defensive ride without any actual overtakes, like silverstone 2015. now, you may have noticed that from this list, valentino... kinda wins a lot of these? not qatar 2014, plus sepang 2015 is in the 'this cost both riders too much to have a winner' camp, but except for that? it's a strong record for valentino. however! the moment you take away the '1 vs 1' qualifier, suddenly the record looks way kinder to marc - you have a catalunya 2014, a phillip island 2015 and a phillip island 2017 go in his favour, while only assen 2017 is a multi-rider dogfight that involves both of them where valentino ends up taking the win. I do think when you're considering 'rivalries' and how a particular dynamic develops over time, it's worth looking specifically at what's happening in extended one-on-one combat and differentiating that from dogfights! because it is a different vibe, because it matters if you're just focused on one guy. but of course both categories still matter in assessing direct combat... even if there are also different skills involved in those different types of fights. valentino, even very late in his career, was still particularly adept at challenging and outsmarting individual riders, and it's a specific format he clearly did thrive in. so. yeah. both of these general categories are indicative of w2w ability, even if they're not quite the same - either in terms of the skills required or in terms of narrative implications

here's another issue. valentino tends to win the race-deciding extended confrontations against marc, but obviously that too isn't entirely reflective of what happened when they met each other on-track. this is because during their time together in the premier class, marc was winning a lot more races than valentino and generally had more pace than valentino, so a lot of on-track confrontations that marc came on top of where typically one-and-done type situations. overtake and move on, overtake and move on. so while you still have a misano 2014 (valentino overtakes marc and marc eventually crashes while attempting to keep up) or a brno 2014 (another valentino overtake where he pulls clear), you then also have laguna 2013 (the corkscrew move is the end of that battle), le mans 2014 (a single overtake around halfway through the race after which marc easily pulls clear), indy 2014 (an early tussle that eventually becomes more marc domination), motegi 2016 (similar, except here valentino ends up crashing), thailand 2018 (valentino can't keep up the pace once marc has gotten past)... like, we get to a place where we're risking penalising marc for 'being very fast' and not sticking around once he's gotten the overtake done, which does also feel wrong? it's an odd balance - because, again, when we're talking Actual Rivalries then it does matter who is winning an extended battle, psychologically if nothing else. like if that's the bit that mattered the most to the outcome of your race, if that's the bit people will remember years to come, if you invested a lot into winning that fight, of course it does matter. but that's narrative, not skill... is this really a good way of assessing how good someone is at 1 vs 1 duels?

I picked the example of that specific rivalry not just because it's the one most people are most familiar with or because I love engaging in discourse about that rivalry - but because I think direct rivalry comparisons are probably the most straightforward way you can approach trying to figure out who is 'better'... and marc clocks in just behind casey as the one who has the most balanced record against valentino w2w. like, biaggi is basically a walkover, and honestly you don't really have that many extended 1 vs 1 duels except for welkom 2004. and for sete, obviously a great rivalry (and I've always believed you don't need a rivalry of equals for it to be good and fun), but also once you get past that sachsenring 2003 turning point then the balance does go out of the window. I've been thinking about this in relation to a longer ask I've ended up massively overthinking (surely not), but I was kinda startled looking back at just how one-sided valentino's record is against jorge. like, unless I'm forgetting some major battles, the most extended scrap you can point to that jorge won is for his very first premier class win at estoril 2008 - and that's also pretty much settled by around halfway/two thirds through the race. but the actual 1 vs 1's that last much of the race? catalunya 2009? sachsenring 2009? motegi 2010? well.... hm. races that build to a battle like sepang 2010 also go in valentino's favour, and even extended tussles like le mans 2011 and phillip island 2014 are more valentino W's. hell, even various short and sweet battles like jerez and indy 2008, misano 2009, motegi 2015, aragon 2016, sachsenring 2018 generally have valentino come out on top - though in this category there's some exceptions, like qatar 2008, indy 2009 and jerez 2010 that all involved jorge besting valentino in a short direct fight

which raises another problem... we do need to in some way acknowledge that valentino simply ends up in more of these fights than most of his rivals - and as a direct result ends up winning more of them. like, once jorge clicked into title winning form in 2010, most of his wins became 'shoot off the line and win way ahead of everyone else with metronomic consistency'. I'm not saying all his race wins were like that! and he did win some great duels in his time in the premier class, especially against marc. but of course, he did that kind of dominating races a hell of a lot more than valentino did - whose approach to winning races was more 'qualify wherever, amble off the line, get moving around halfway through the race and figure things out from there'. now, I discussed this point a little bit here in the context of 'was valentino still successfully mind gaming the other aliens' - but just to bring it back, valentino was deliberately approaching his races in ways geared primarily towards being able to fight his opponents, even to the level of how he set up his bike:

you see this most extremely with something like laguna 2008, where valentino flat out knew he didn't have the outright pace to win - his entire strategy was built around not being the fastest but being able to fuck with casey. in that situation, he's not got the speed, he's building his entire strategy for the win around wheel-to-wheel disruption. and this, plus the regularly mediocre qualifying and starts, does just mean that statistically speaking he's overtaking more riders in his average win than any of the other aliens are. like, if that's your primary metric, then yes! he's clearly very good at w2w! by extension he's also very good at 1 vs 1 duels! if you're looking at riders who have clocked in more than a certain number of wins and do the maths of average overtakes per win, then, yes, I would imagine he tops that metric. does that make him the best? ... well, again... it does feel like you're risking penalising the better qualifiers and starters for being better qualifiers and starters and not ending up in seventh place at the end of every single first lap

so, you've got 'how they measure up against their direct rivals' and 'average numbers of overtakes' as ways to begin considering w2w ability as well as 1 vs 1 track record. then you get into increasingly nebulous waters... here's another potential metric for w2w skill I quite like: efficiency in overtaking. not naming any names, but there are certain riders who, when attempting to work their way through the field, will just. get stuck. even though they have a clear pace advantage over the rider directly in front of them. leading to incredible amounts of faffing about rather than just getting the overtake done. obviously, valentino does like to engage in some faffing about too, but generally speaking he's only doing that when he's in close proximity to the race leader and can realistically get himself to the front of the pack fairly quickly. he's very efficient when he's actually working his way through the field. of course, this is something marc is similarly excellent at, as he has shown plenty of times this year... which. well. this is where we run headfirst into another problem: this sport has changed a lot over the years and some things are simply not at the same difficulty level as they were in past years. so, sticking with those two, which of these is a 'better' comeback? 2006 sachsenring, where valentino starts tenth on the grid after tyre problems in qualifying, at a track he doesn't really love and in serious championship trouble, but works his way to the front before having to fend off the chasing pack that is coming back at him all the way until the chequered flag? or 2024 sachsenring, where marc starts thirteenth on the grid after having been impeded in q1, at his speciality circuit that he's visiting for the first time on a new bike, and works his way up to p2 despite his fractured rib and finger in an era where overtaking is a lot harder than it was in 2006? well, first of all, congrats to both of them, very nicely done. but secondly, that's kind of the problem, right? while I'm sure prime valentino in this era would also regularly be doing that marc/pedro thing where they make the commentators go 'oh ho ho they said overtaking was impossible in motogp these days!!' - at the end of the day his approach involved some built-in faffing about that was also more feasible back in the day. if we're assessing w2w ability, we do need to make some kind of allowance for era - which also affects how often riders are likely to find themselves in 1 vs 1 duels in the first place

here's another plausible metric: last lap battles. this is ALSO something that is super era-dependent. casey in his whole time in the premier class gets involved in like? about four battles that are still going on in the final lap? there's definitely a few I'm forgetting, especially if they weren't for wins/podium places, but it's definitely not a lot. compare and contrast with how the 2017 to 2019 era played out. everything back then was tyre management, tyre management and more tyre management, and dovi in particular was big on the 'eh let's win this race at the slowest possible pace' thing, where everyone crawled around the track as slowly as they could get away with before pulling the pin a few laps before the end. obviously, the characteristics of that era were a) very beneficial to dovi, in that they rewarded both those who knew how to make those specific tyres work (and his decline in 2020 was largely linked to the changes in tyres) and those who were very good at managing last lap duels, but b) inherently were more likely to produce last lap duels than a few other eras. like, in the alien era, which regularly featured gaps of. idk. seven seconds between the front runners, the characteristics of those bikes (as well as those riders) just meant you had very few battles that lasted that long. so inherently, it's harder to judge riders like, say, casey on how good they are in that kind of situation, not least because you are working with such a tiny sample size. and those battles are a big feature of how we remember 1 vs 1 duels!! people love last lap duels!!

now, yes, obviously valentino's record in 1 vs 1 last lap duels is very strong, and there's really only a few he loses over the course of his entire career. dovi is another strong contender in that particular category if we're just limiting ourselves to riders this century (which we are). (unfortunately, those two kinda took turns to be competitive so we didn't really get much of a direct h2h, but off the top of my head I think it's a pleasing 2-2? dovi takes qatar 2008 and le mans 2011, valentino takes qatar 2015 and argentina 2019. I feel like I'm definitely forgetting something.) but again, you do end up in caveat central with this metric. look at marc, who was reliably finding himself in last lap duels specifically at tracks he and/or the honda were quite poor at - again, ragging on that record too much does feel like you're penalising him for managing to get there in the first place. on the other hand, is it really fair to take too much credit away from dovi in handling those situations - surely, at the point where you're arriving in the last lap together, you're at a stage where both riders have a decent chance of winning? on the third hand, it is worth pointing out that dovi is more often than not in the lead going into those last laps, and is fending off a sort of on-the-edge last gasp 'might as well have a go' marc attack. 'last lap battles' is inherently quite a loose term, and how much should who's leading going in be considered a criterion? does it matter if you actually have an overtake or not? does it matter when in the lap the overtake happens? it's obviously quite an arbitrary category... sete makes a mistake headed into the last lap at sachsenring 2005 that gives valentino the lead, while marc makes a mistake on the penultimate lap of catalunya 2016 that essentially ends his victory challenge towards valentino. how do you compare those?

and at a certain point, you need to get away from the headline numbers and start thinking about what it actually means to be good at 1 vs 1 duels. you get into categories like 'race management' - choosing when best to make your attack, balancing risk and reward, not making risky overtake attempts for no good reason when you could just wait for half a minute longer, making sure not to needlessly fuck your tyres while pushing too hard too early. there's ability to actually execute overtakes, which is a question of race craft, creativity, and also about being able to play the opponent. there's various defensive abilities - somebody like pecco exemplifies this, who is both very hard to initially overtake in part due to his ability on his brakes, but is also adept at immediately re-overtaking (a favourite trick of his mentor too, as it happens). to borrow from another sport's terminology, you can contrast 'conversion' and 'steal' rate - if you have the superior underlying pace at crucial stages of the race, are you actually converting that into your maximum achievable result, or conversely if you have inferior pace, can you steal a result your pace doesn't 'merit'? obviously, you get a massive blot in the copy book every time you fail to convert any kind of result by crashing out or by bagging yourself a severe penalty for your race conduct. what about the psychological dimension? your ability to put pressure on another rider, e.g. by showing them a wheel here or there, to force them into a mistake rather than 'just overtaking' them via pure skill? is reputation and intimidation part of your skill set when it comes to wheel to wheel ability? the off-track 'work' you're doing on the opponent, and the prior weight of their expectations for this fight... your ability to study and analyse riders to pinpoint where they are at their strongest and weakest, while also figuring out where they're going to expect an attack and where they won't - maybe even sucker them into thinking it will come from somewhere differently than it actually does... on sheer weight of his track record, you'd have to say valentino is pretty much peerless in some of these categories. and, yes, some of these skills are weighted quite clearly towards the '1 vs 1' element over the 'multi-rider dogfight' element of w2w skills. they're more about terrorising a specific rival than thriving in the chaos

so. what does all of this mean. what's the actual answer. is valentino the best at 1 vs 1 duels. well. who knows. even if we're ignoring the historical dimension and limiting ourselves just to this century, there's too many confounding factors - from different racing eras within that time span to different individual approaches to racing - to allow us to truly evaluate who the 'best' is. I think the cleanest way to summarise it is... from the great riders this century, valentino is the one who most depends on his 1 vs 1 skills (and w2w skills more broadly). that's his unique selling point in a way you wouldn't say it is for any of the others... the guy who gets closest is dovi - but I still reckon his biggest skill is his tyre management and that was the most important differentiating factor that made him so competitive in 2017-19. his ability to scrap w2w comes second (and is absolutely a constant throughout his career), but really that's the bit that allows him to take advantage of the tyre whispering skills... it lets him finish the job, if you will. whereas with valentino, his brains and cunning broadly speaking and his w2w more specifically - and especially the 1 vs 1 stuff - is like, his x factor. I mean... obviously he's also good at the other things - I called him a mid qualifier but of course it's worth remembering he has 55 career pole positions in the premier class, more than jorge or casey or dani. this is primarily a function of his longevity and all of them are definitely better qualifiers than him, but like. of course he's not slow. it's just that relatively speaking, when compared to the other aliens, he's the one who is winning the least via his actual raw pace. here's one metric for that: in valentino's seven premier class title campaigns, he only has the highest average grid position in only three (and during his super dominant 2002 season, it's joint with biaggi). in three of those title-winning seasons, he's the second best qualifier on average, and in one of them he's only third best. the only other seasons this century where the best qualifier on average doesn't win the title are 2015 (marc just beats jorge, valentino is quite a distant third), 2020 (joan mir icon winning a title with an average grid position of NINE POINT FIVE SEVEN lmaoooooo, only seventh best on the grid), 2022 (fabio is a little ahead of martin and then pecco) and... that's it

which kinda means that... can you say valentino's objectively better at 1 vs 1 battles than the other aliens? well, no. I mean, sure, I do feel fairly happy to say he's better than jorge and especially dani, more *wiggles hand* about casey and marc - because with those two there's enough confounding factors in comparing them to valentino and they've also challenged valentino often enough directly that you can make the alternative case. in the end you do kinda go... well, it's very much a 'all these guys were at their best in very different versions of motogp' thing. what you can say is that for valentino, 1 vs 1 prowess is a bigger part of his game than it is for his fellow aliens. his route to victory both on an individual race level and on a title fight level is built around engaging in a lot of these fights and winning them - and, given how successful he's been, of course you do have to conclude that bit of his game is clearly operating on a high level. so when you compare that to both casey and marc, those two really do have other bits of their games that are more important to their success. fewer of their race victories percentage-wise have been won through 1 vs 1 duels. casey is dominating enough races from the front he's not even doing all that much w2w tussling. marc might be losing plenty of these close duels, but he's relentlessly at the front enough that this consistency is what's giving him titles as much as anything else. whereas valentino's entire approach is tailored towards finding himself in those kinds of direct scraps, winning said scraps, and then using those scraps as a way to demoralise the opposition... unsurprisingly, he's got the biggest sample size of that style of battle and has a very high success rate. who knows if he's the best, but he is the most dependent on that specific skill. and he sure has had a lot of practise at those duels, which I imagine will have gotten him just a little closer to being perfect

[godsfavoritescientist]

Building off of what I wrote in my fic "Sparks," I'm really compelled by the idea of Ford genuinely no longer being interested in sailing around in a boat with Stan by the time they were seniors in high school.

I like the idea of it not being just a symptom of the resentment that had been building between them, nor it being a dream of Ford's that only paled in comparison to west coast tech, but it being a genuine loss of interest on Ford's end. I think it complicates things even further in some really juicy ways.

Like, imagine going through high school slowly losing more and more interest in the dream you've shared with your twin and only friend ever since you were little kids. How do you break it to him? How do you explain it to him without making it sound like a rejection of him? Without it making him hate you?

How do you explain it without it feeling like a spit in the face to all the hard work he's put into a plan that started out as a way of him comforting you by telling you "it doesn't matter what people say about you, you're going to be an adventurer who sails away into the sunset and never has to hear their mockery ever again, and there will be babes and treasure and heroism, and then they'll all see how cool you really are!"

And all through high school you think to yourself, "he's going to move on to more realistic dreams any day now, and then I won't have to say anything about it!" But no matter how many times you mention something else he could do with his life that he seems interested in, or bring up the challenging logistics of traveling around long-term in a boat, he sounds just as committed to the childhood dream as ever, and completely oblivious to how apprehensive you sound.

So resentment grows, little by little. Because that's easier than confronting the soul-crushing levels of guilt that are building up inside of you, every time you don't take an opportunity to tell him you don't want to do the plan anymore. You don't have a single person in your life who modeled how to have difficult conversations for you. As far as you know, having this conversation with Stan would crush him into tiny little pieces and then he would hate you forever, and you can't stand the idea of losing the only friend you've ever had.

So tensions grow. A lack of interest turns into a bitter resentment that, if you were really being honest with yourself, is directed more at yourself than it is at Stan.

And then the falling-out happens, and it seems like you were proven right. Stan hates you now, and he's never going to forgive you for giving up on his dream. But two can play that game, so you try to hate him too. Because if you hate him too, then maybe it won't hurt as much that he never came back. That he never even turned up at school, or by the boat, or in through your bedroom window in the middle of the night. He knows what dad's like, and how he says impulsive exaggerated things when he's angry, and haven't you both dealt with his harsh words countless times before and been able to dust yourselves off and joke about it later? So why isn't he back at home, joking with you about how absurd your dad acted that night, being impossible and belligerent about ruining your dream, but at least now you're even, because you've ruined his dream too.

-

And now imagine you find out he risked the lives of everyone in existence to bring you back, right after you had accepted your fate was to die killing Bill. It would be terrifying and confusing and infuriating. If he cared so much, why didn't he do something to reconnect with you sooner? Why did he ignore you in favor of trying to make it big without you? Why didn't he take the infinitely safer and simpler action of reaching out to you without you having to track down his address and send a desperate plea for help? You were convinced that he didn't care enough to bother with you unless you had an important enough reason for him to come. But even then, he thought your plans were stupid. He didn't want anything to do with you, not even with the world at stake.

Did he save your life out of guilt? Does he pity you that much? It doesn't add up with what he did in the decade leading up to shoving you into the portal. And the dissonance between the version of him in your head that hates you, and the man who held out his arms to welcome you back to your home dimension, is so strong that you feel like you're being lied to again, like you're back in the depths of gaslighting and manipulation that Bill put you through, even though there's no way that's what Stan is trying to do... right? You can't figure it out, so you run away from it. You don't want to know the answer to whether or not Stan hates you, because you don't know which answer would hurt more, so you try to make him hate you more than ever, because at least then you would know for sure how he feels.

And in the end, after he sacrifices his memories for you, and for the world, things seem clearer. The layers upon layers of confusion and anger and hurt seem to have washed away like drawings in the sand, leaving behind the simple truth: that you two had an argument, and didn't move past it for forty years, and despite everything you put each other through, you both still want to re-connect.

So you sail away in a boat together.

And at first, it's wonderful. It's exactly what you want. It feels like an apology to Stan, and a thank-you for saving the world, and a once-in-a-lifetime chance to heal the rift between you two, and it's good to be back on earth, and you wonder why you ever doubted the dream you two once had.

But then, after the first long journey you spend on the sea together, when you get back home to dry land, Stan is already talking about planning your next adventure out on the open sea. He recaps every adventure you had on the first trip, over and over again, and he wants to chat with you all through the morning and long into the night, and you don't have the words to explain to yourself that you don't have enough social battery for this, and suddenly you're slipping back into the horrifyingly familiar feeling of Stan being overbearing and needing space from him and how could you think that? How could you think that about him after everything he's done for you and everything he's forgiven you for? But the longer this goes on, the more you realize that you still don't want to spend the rest of your life sailing around with Stan. It's great fun in moderation, but the idea of your whole life revolving around Stan and going on adventures with Stan and being in a boat with Stan with no time to be by yourself thinking about your own things and figuring out your own dreams makes your skin crawl with a claustrophobic kind of panic that you still don't know how to put into words forty years after the first time this feeling grabbed you by the throat and ruined your friendship with Stanley.

But the first time this happened, it nearly ruined his life forever. You can't let yourself feel this. You don't feel this. You're happy to spend the rest of your life fulfilling Stan's lifelong dream, and making up for the time you crushed his dream, and sure, maybe he crushed your dream once too, and maybe it would be nice for him to support your dreams like you're now doing for him, but you can't say that. He saved the universe, and it would be horrible and ungrateful and cruel for you to try to voice these feelings, especially when you don't know how to voice your feelings without it making other people feel like you twisted a knife into their gut. So you try to pretend the feeling isn't there.

You go out on a boat with Stan again. You planned out another incredible journey together, and this should be fun, and you should be happy about this, but the unspoken feeling you shoved as far down in yourself as it could possibly go is eating you alive. The worst part? Stan is starting to notice. You have never been good at hiding your emotions. The trick to it has always been to convince yourself you don't feel it at all, and not think about it, and that has always worked like a charm. But whenever the emotion claws its way back up to the forefront of your mind, you can tell Stan knows something is wrong. So you can't even give him the happy ending he deserves. You can't even convince him that you want to be here on the open seas forever with him, like he deserves. And you keep trying and trying to hide it, but Stan keeps asking in roundabout ways, like "You're being awfully quiet, sixer," and "whats that look on your face?" and eventually it comes exploding out of you like a shaken-up soda bottle dropped on its cap.

And then it's like you're back at home in New Jersey again, standing in the living room while dad grabs Stanley by the shirt. It all comes pouring out of you, in the worst possible way, with the worst possible phrasing, like a pandora's box of monstrousness, and Stan tries to fight back against the sting of your words, but you're made out of acid and you're burning through him and you can see it on his face, and there's never any coming back from this, not this time, you'll just have to either jump into the ocean or become a monster forever, so Stan can hate you more easily again, and-

-and at the end of the outburst, you're still on a boat in the middle of nowhere in the ocean with your brother, in dangerous waters, and you have things to do to keep the boat running smoothly.

You can't run away from him. He can't run away from you. You're stuck here for at least a couple more weeks, even if you turned around and sailed back towards shore right away.

-

And the thing that compels me so much here, despite how unbelievably angsty it all is, is that it sets up a situation wherein the Stans might end up forced to actually address the decades of resentment and confusion and wanting-to-reconnect-throughout-it-all that they thought they could gloss over and heal with enough time spent adventuring together on a boat. They might end up forced to actually address the crux of the issue that drove them apart in the first place: Ford wanting a little more space to feel like his own person, and to feel like he's able to have his own dreams, too.

It wouldn't happen easily, nor right away, but if they were stuck together on a little boat in the middle of nowhere surrounded by magical creatures they have to protect each other from in order to make it back home alive, then after they had one fight where they brought up all the things they silently agreed to never bring up again, it would probably happen many more times, and each time it would leave them both angrier at each other than ever, until eventually something honest slipped through amidst all the saying-anything-except-what-they-mean bickering. And once enough of these honest moments slipped through, then they would have a thread to tug on to start to unravel the gargantuan knot of their decades of unresolved conflicts.

And then, eventually, maybe Stan could learn that he can have a good friendship with his brother without needing to be glued to him at the hip, and Ford needing a certain amount of alone time doesn't mean he dislikes him or wants to abandon him, and Ford could learn that he can be honest and have a meaningful connection with someone without it driving them away and making them hate him.

[averlym]

some very very quick costume shorthands!