#actual epic final battle

[veiledfox]

} There really is something to good music making things memorable

[akkivee]

nurusara’s division rep battle yokohama version feat. guest announcer rosho and guide juto????? 🤔

[willosword]

hmm the ending was a little too vague for me to be that emotionally invested in it but regardless. good game! 

[tizeline]

Gearing Up: Part 1 (Tiz Sep AU)

<- Follow up to Cell Talk I Next Part ->

Epic Rap Battles Of History!!! Leo wanting to do the right thing VS Leo's need for his dad's approval! FIGHT!!!!

UGH FINALLY despite being really excited to get to this part of the story, I've been having a really hard time getting enough motivation to actually work on this comic, so the workflow's been pretty slow. Hopefully things will get moving now that I've properly gotten started on it! (I'm mostly excited about getting to season 2 because then I can finally stop drawing Draxum with his stupid helmet he's SO much easier to draw when he's not wearing all of that armour hhhh)

Also please ignore that I keep changing the way I do the layout for my comics I was too lazy for a more complicated panel layout ○|￣|_

[sneezypeasy]

The Lightning Scene, How Azula Targeted Katara (of All People), and the Doylist Reason Why That Matters

Mention Zuko's sacrifice for Katara in Sozin's Comet Part 3 as part of a pro-Zutara talking point, and invariably you'll get a Pavlovian response of:

"But Zuko would have taken the lightning for anyone."

(Not to be confused with the similar-sounding Pavlovan response, which is "Zuko's sacrifice ain't shit compared to a mouth-watering, strawberry-topped meringue dessert"*, which is actually the only valid counter-argument to how the lightning scene is a bona fide Zutara treasure, but I digress.)

Now, I've talked in depth about how the lightning scene is framed far more romantically than it had any right to be, regardless of how you might interpret the subject on paper; this is an argument which I still stand by 100%. That Zuko would have gotten barbecued for anyone, and that he was at the stage of his arc where his royal kebab-ness represented his final act of redemption, doesn't change the fact that the animators/soundtrack artists decided to pull out all the stops with making this scene hit romantic film tropes bingo by the time it played out on screen.

(I mean, we stan.)

There's also a deeper level to this conundrum, a layer which creeps up on you when you're standing in your kitchen at night, the fridge door open in front of you, your hungry, sleep-deprived brain trying to decide on what to grab for a midnight snack, and quite inexcusably you're struck with the question: Okay, Zuko may indeed have taken the lightning for just anyone, but would Azula have shot the lightning at just anyone?

But there's yet a deeper layer to this question, that I don't recall ever seeing anyone discuss (though if somebody has, mea culpa). And that is: would you have written Zuko taking the lightning for anyone else?

Or in other words, who Zuko would have taken the lightning for is the wrong question to be asking; the question we ought to be asking is who Zuko should have taken the lightning for, instead.

Get your pens out, your Doylist hats on, and turn to page 394. It's time to think like an author for a hot minute.

(If you don't know what I mean by Watsonian vs. Doylist analyses, and/or if you need a refresher course, go have a skim of the first section of this 'ere post and then scoot your ass back to this one.)

So. You're the author. You've written almost the entirety of an animated series (look at you!!) and now you're at the climax, which you've decided is going to be an epic, hero-villain showdown. Classic. Unlike previous battles between these two characters, your hero is going to have a significant advantage in this fight - partly due to his own development as a hero at the height of his strength and moral conviction, and partly because your villain has gone through a bit of a Britney Spears 2007 fiasco, and isn't quite at the top of her game here. If things keep going at this pace, your hero is going to win the fight fairly easily - actually, maybe even too easily. That's okay though, you're a talented writer and you know just what will raise the stakes and give the audience a well-timed "oh shit" moment: you're going to have the villain suddenly switch targets and aim for somebody else. The hero will be thrown off his groove, the villain will gain the upper hand, the turns will have indubitably tabled. Villains playing dirty is the number 1 rule in every villain handbook after all, and each of the last two times your hero's braved this sort of fight he's faced an opponent who ended up fighting dishonourably, so you've got a lovely Rule of Three perfectly lined up for the taking. Impeccable. The warm glow of triumph shines upon you, cherubs sing, your English teachers clap and shed tears of pride. (Except for that one teacher you had in year 8 who hated everybody, but she's a right bitch and we're not talking about her today.)

Now here's the thing: your hero is a hero. Maybe he wasn't always a hero, but he certainly is one now. If the villain goes after an innocent third party, there's basically no-one your hero wouldn't sacrifice himself for. He's a hero! Heroes do be like that, it's kind of their thing. The villain could shoot a bolt of lightning at Bildad the Shuhite, and the only thing that'd stop our boy Redeemed Paladin Bravesoul McGee from shielding his foxy ass is the fact that Bildad the Shuhite has the audacity to exist in a totally different show (disgusten.)

But. You're holding the writer's pen. Minus crossover shenanigans you don't have the licensing or time-travel technology to achieve, you have full control over how this scene plays out. You get to decide which character to target to deliver the greatest emotional impact, the juiciest angst, the most powerful cinematic suspense. You get to decide whose life you'll put at risk, to make this scene the most intense spine-chilling heart-stopper it can possibly be.

This is the climax we're talking about, after all - now is not the time to go easy on the drama.

So.

Do you make the villain target just anyone?

Or do you make the villain target someone the hero cares about?

Perhaps, someone he cares about... a lot?

Maybe even, someone he cares about... more than anybody else?

You are the author. You are the God of this universe. You get to choose.

What would deliver the strongest punch?

If you happen to make the inadvisable decision of browsing through these tropes on TV tropes, aside from wasting the rest of your afternoon (you're welcome), you'll find that the examples listed are littered with threatened and dead love interests, and, well, there's a reason for that. For better or worse, romantic love is often portrayed by authors, and perceived by audiences, as a "true" form of love (often even, "the" true form of love). Which is responsible for the other is a chicken/egg situation, one I'm not going to go into for this post - and while I'm certainly not here to defend this perspective as objectively good, I do think it's worth acknowledging that it not only exists but is culturally rather ubiquitous. (If you're playing the love interest in a story with a hero v. a villain, you might wanna watch your back, is what I'm saying.)

Regardless of whether the vibe you're aiming for is romantic or platonic however, one thing is for certain: if you want maximum oomph, the way to achieve that is by making the villain go after the player whose death would hit the hero the hardest.

And like I said, this doesn't have to be played romantically (although it so often is). There are platonic examples in those trope pages, though it's also important to note that many of the platonic ones do show up in stories where a love interest isn't depicted/available/there's a strong "bromance" element/the hero is low-key ace - and keep in mind too that going that route sometimes runs a related risk of falling into queer-bait territory *coughJohnLockcough*

That said, if there is a canon love-interest available, one who's confessed her love for the hero, one who has since been imprisoned by the villain, one who can easily be written as being at the villain's disposal, and who could quite conveniently be whipped out for a mid-battle surprise round - you might find you have some explaining to do if you choose to wield your authorly powers to have the villain go after... idk, some other sheila instead.

(The fact that this ends up taking the hero out of the fight, and the person he sacrifices himself for subsequently throws herself into the arena risking life and limb to defeat the villain and rescue her saviour, also means the most satisfying way this plays out, narratively speaking, is if both of these characters happen to be the most important person in each other's lives - at least, as of that moment, anyway - but I think this post has gone on long enough, lol)

This is, by and large, a rebuttal post more than anything else, but the tl;dr here is - regardless of whether you want to read the scene as shippy or not, to downplay Zuko's sacrifice for Katara specifically as "not that deep™" because "Zuko would have taken the lightning for anyone anyway", suggests either that a) nobody should be reading into the implications of Katara being chosen as the person nearest and dearest to Zuko, so that putting her life in jeopardy can deliver the most powerful impact possible for an audience you'd bloody well hope are on the edge of their seats during the climax of your story or b) the writers made the inexplicable decision of having the villain threaten the life of... literally who the fuck ever, and ultimately landed on someone who's actually not all that important to the hero in the grand scheme of things - which is a cardinal writing sin if I ever saw one (even disregarding the Choice to then season it with mood lighting and sad violin music, on top of it all), and altogether something I'd be legitimately pissed about if my Zuko-OTP ship paired him with Mai, Sokka, or just about anybody else 😂

Most importantly c) I'm hungry, and I want snacks.

*The Aussies in the fandom will get this one. Everyone else can suffer in united confusion.

[skyscrapergods]

Seeking battle music!

It is time now. Musical horses of the world, lend me your songs for this moment.

I need epic, sorrowful soundtracks of world ending calamity. I need a song where you lose everything. I need a song where you watch the sky drop to the earth like it's trying to crush the mountains.

This is a tragedy. This is slaying the one you love. I need you fall a hundred thousand miles, weeping with broken wings.

Here's what I have so far. I want songs, movie and game soundtracks, with and without lyrics, but especially those with orchestral accompaniment.

Make me think of giant titans clashing in the sky, their hearts breaking at the violence toward each other, even as they crush cities and states beneath them. Long teeth and blood, hitting like bombs, cresting like tidal waves in slow motion.

Here's some pictures for inspiration. I need More music to listen to while I draw the actual scenes.

Remember, these beasts are miles tall and wide. Their hearts could level kingdoms, and they are breaking.

This playlist is about VIBES not lyrics.

It's something to listen to while I write and draw, not for capturing the story. I personally DO like lyrics, but the ones in your songs don't have to match the story. If they do match story but not vibes, then I don't need them yet.

Highlights of songs that have the perfect vibe:

Church Of The Helix Choir - Bloody Sunday

Shadow of the colossus - a despair filled farewell

Avatar the last Airbender- the last Agni kai

JC Row -Final Eclipse

[fangirltothefullest]

I finally looked up what the fuck skibbidi toilet is because my students would not stop talking about it but they also NEVER would explain it

I would NEVER in a million years have expected it to turn into.... whatever the cinematic marvel of hell and theater level explosions that was. Like it's genuinely fascinating to watch the level of animation skill increase as the story proceeds. Because yes, there is a story, don't let the first fucking nonsense toilet horror fool you.

Mad respect actually that I went from "what the fuck is this, it's basically lol random silliness" to being absolutely engrossed in who wins this catastrophic war.

Now... my 9 year olds should NOT have been watching it. It's full of blood and violence and scary fucking faces ok? The toilet faces are frightening as hell.

BUT if you are like me and have been scared to ask and scared to look it up..... Skibidi Toilet is a series of like 75 short films (yes films, and it might not even be finished????) that starts out as a crack vid and ends up transforming into a VERY well done animated war between this race of toilet dwelling people singing the song while invading the planet and being fought off by a race of human-created camera, tv and speaker people fighting for their damned lives to defeat the invasion. I cannot stress enough that there are some battles that ABSOLUTELY look like it was made by a Hollywood animation department. There's epic fight scenes, terrors of war, giant amazing robot people, and you're watching always through the lens of a camera, which is fascinating.

Also the big TV does the :3 face all the time.

SERIOUSLY wild and crazy that THIS is what skibidi toilet is about.

There's a reason it has it's own wiki. Camera Titan my beloved.

[glow-worms-are-believers]

Fic idea number 4 (might actually be 3rd or 5th one idk)

Jason has started giving online cooking classes for free for a bit of fun relaxing community service thing. It goes real well, but there's this one student who one time out of two, closes the camera half-way through and sometimes leaves all together.

Now, Jason's not gonna be offended or anything, he gets it, but he's curious. Is the guy maybe shy because his dishes don't turn out right? Or is it just that he's really unlucky and keeps getting called away? Anyways, one day the guy is clearly going for the close camera button again, but it somehow doesn't work without the guy noticing.

Jason himself doesn't noticse at first but then he looks up from the sauce he's making and sees a green glowing fish trying to maim the guy who's fending it off with a knife. After that, the whole class is treated to a very intense battle between the zombie fish and the guy that looks epic and probably sounds like a warzone.

Finally, the guy manages to skewer the fish to the cutting board and trap it there, still struggling. As if noticing the silence from Jason (who's stopped everything to gawk like all the other students), the guy looks to the computer. Then his eyes grow wide as he realizes they can still see him. He flushes bright red before scrambling for the computer and then his camera feed is gone.

Jason is left reeling, "what the hell was that?"

[uluthrek]

inheritance cycle modern au in which all of the dragons are horses which makes eragon the underdog horse girl, saphira the underdog girl horse and brom the disgruntled and disillusioned horse trainer who doesn’t believe in the validity of this sport until he sees the ✨bond✨ eragon has with his horse saphira who is still as blue as she is in canon (don’t ask that‘s just how it works, if you question this, i‘ll track your ip).

and galbatorix is the aggressively eastern european horse girl dad who had some sort of hip injury that brought his eventing career to an abrupt end and now he must vicariously live through his protégé, murtagh, lest he kills himself. and thorn is the very expensive horse galbatorix bought for wish fulfillment purposes and murtagh and thorn are so horribly traumatized by all the stress and pressure of defeating little kids at the pony finals that they ✨bond✨.

oromis and glaedr are their direct opponents and galbatorix nancy kerrigan‘s them (oromis dies like he does canonically because honestly, hunters be like that) so murtagh can get his ribbon. and then there‘s the big final competition and eragon, underdog wonder magic horse girl, goes toe to toe with murtagh, tortured champion to be, and they have this epic horse battle (an 80cm clear round but the atmosphere is very intense) and eragon loses. but then brom delivers this epic speech about idk man like success and passion and whatnot and then he dies which gives eragon the final push to defeat murtagh but OH NO, thorn is HURT from being OVERWORKED and murtagh has an epic horse peril breakdown and tearfully tells galbatorix he‘ll withdraw.

so galbatorix goes „fuck the kid“ and gets shruikan (the very bad very big black warmblood stallion that shows up in every horse girl movie) to best eragon HIMSELF (but not before locking nasuada, the animal rights activist that murtagh has struck up a tentative romance with, in a porta-potty). and then him and eragon compete and it‘s INTENSE (meanwhile, roran and katrina have a sub plot about capturing a flock of runaway ducks that is constantly being cut to during that climactic scene) and shit is looking DISMAL for poor eragon until a vision of brom and also his dead mother, because this is a proper horse girl movie and not some bibi und tina bullshit, and that gives him the strength to defeat galbatorix.

and then he wins and thorn doesn’t die and someone frees nasuada from the porta-potty and she gets to punch galbatorix in the face. and fírnen (who is a horse but also still green) emerges during the post credit scene and meets arya and sets up a cash grabby amazon prime spinoff series and roran and katrina successfully capture the ducks and everyone is happy and there is no more horse peril.

the whole thing takes place in exactly one horse show afternoon. it makes such perfect sense actually you can fit everyone in. nar garzvog‘s at the grill and makes hot dogs. islanzadi does nothing but drink cheap wine and bitch from the sidelines. angela mans the beverage stall and tells everyone who wants to listen (or doesn’t) that toads don’t exist. solembum is the raccoon on her shoulder who violates all fda guidelines by simply existing. orrin is nasuada‘s bitter ex boyfriend who pretended to be vegan for years so she‘d like him only to be dumped for murtagh and his emo swagger in a heartbeat. orik is a shetland pony.

[seoulzie]

a cat-astrophic interview

WHEREIN: beomgyu casually mentions he has a little one at home ..

彡 pairing: idol!beomgyu x gn!reader 彡 genre: lil crack & fluff! 彡 warnings: none!

SEUL SPEAKS! ✎ first fic! feedback nd reblogs are greatly appreciated! >< the cats name is miso kekeke

the fluorescent lights of the studio buzzed overhead, casting an artificial glow on beomgyu's face. he was on a talk show, the usual whirlwind of energy slightly dampened by the fatigue of a long day. the host, a bubbly woman with a contagious laugh, was wrapping up the interview.

"so, beomgyu-ssi," she chirped, leaning forward conspiratorially. "txt is known for being a group of close friends, practically family. but do you have a special someone waiting for you back home? maybe someone you take care of?"

the question caught beomgyu off guard. he hadn't prepared for anything beyond the usual questions about music and upcoming promotions. his mind flashed to the image of you sprawled on the couch that morning, hair a mess and eyes glued to a cartoon. a smile tugged at his lips.

"actually," he began, the playful glint returning to his eyes, "we do have a little one at home keeping things interesting."

the host gasped, a flurry of whispers rippling through the studio. staff wondering what the hell was going on. the host's eyes widened. "a little one? beomgyu, are you...?"

"being a dad?" beomgyu finished her sentence with a laugh, enjoying the delightful chaos he was unknowingly unleashing. "not quite! but it definitely feels like it sometimes."

he then proceeded to launch into an elaborate, albeit slightly exaggerated, tale about the trials and tribulations of co-parenting your "little one." he described epic battles over spilled milk (courtesy of miso’s playful swats at his morning cereal), late-night diaper changes (which, of course, involved wrestling a wriggling cat into a new catnip-filled toy), and the constant struggle to maintain a balance of order in your "messy" household.

with each embellished detail, the host, clearly flustered but trying to maintain her composure, peppered him with questions. beomgyu, ever the performer, reveled in the attention, completely oblivious to the potential social media firestorm he was igniting.

▹ time skip

beomgyu bounced into the living room, post-interview glow radiating from him. you were sprawled on the couch, a half-eaten bowl of popcorn precariously balanced on your lap, engrossed in a reality show marathon.

"did you see the interview?" beomgyu chirped, collapsing dramatically onto the other end of the couch.

"nope," you mumbled, eyes glued to the screen. "busy catching up on the drama between brenda and tatiana."

he chuckled, that adorable crinkling of his eyes you loved so much. "well, you're in for a surprise then."

finally tearing your gaze away from the tv, you raised an eyebrow. "hit me."

"they asked about life at home," beomgyu began, a mischievous glint in his eyes. "and i, being the honest guy i am, mentioned how much fun it is taking care of our little one."

your heart skipped a beat. "little one?" you echoed, a cold dread settling in your stomach.

"yeah!" beomgyu exclaimed, oblivious to your growing panic. "taking care of miso is, like, the best part of my day. she;s such a messy eater, though. catnip everywhere!"

relief flooded your system, momentarily drowning out the rising tide of amusement. "beomgyu," you said, trying to keep a straight face, "our cat is not our child."

beomgyu's smile faltered slightly. "cat?"

you burst out laughing, the tension dissolving. beomgyu, ever the endearingly dramatic soul, looked like he wanted to crawl into a hole.

"don't worry," you reassured him, wiping a tear from your eye. "just imagine the headlines tomorrow: 'txt's beomgyu secretly has a love child!' the internet will melt down."

beomgyu groaned, burying his face in a cushion. "this is why i shouldn't do interviews without my members."

the next few hours were a whirlwind of laughter, exasperation, and panicked scrolling through social media. the internet, as you predicted, had gone into meltdown mode. fan theories ranged from a secret marriage to a hidden child Beomgyu had somehow kept under wraps.

when things settled down, a new hashtag, "#BeomgyuIsADad," was trending worldwide. you and beomgyu, snuggled on the couch with a very confused-looking miso curled up between you, couldn't help but laugh.

as beomgyu sleepily mumbled apologies into your hair, you knew this was just another story to add to your collection of endearingly chaotic beomgyu memories.

© 2024 seoulzie

[gayelderstourney]

OLD MAN YAOI BRACKET ROUND 1

Propaganda:

Bob Zanotto/Helmut Fullbear:

THEY LITERALLY MADE MR CRY THE FIRST TIME I PLAYED THE GAME. THEY LOVE EACH OTHER SO MUCH AND THEY FINALLY GET TO BE HAPPY TOGETHER. YOU DONT UNDERSTAND HOW MUCH THEY MEAN TO ME.

they are married in canon and are epic and amazing. they had sad canon events where bob thought helmut was dead for like 30 years or something but helmut WASN'T dead his brain was still alive and they are reunited in the game first by way of stealing an evil dictator's body and then later on they put helmut's brain in a ball as a temporary fix while they go out to find his body which has been frozen in ice. the game forces you to walk through bob's memory of saying his vows at their wedding ceremony and it's seriously some of the most romantic and heartwarming shit i've ever heard, especially "just when i thought i was turning to seed, you made me bloom again" like my god. i love them

they're gay and old as hell!!!! there's a level dedicated to their wedding!!!

Helmut is voiced by Jack Black and is currently a brain in a ball, and Bob knows him so well that the mental image of him in his drunken mind says things Bob KNOWS the real Helmut would never say. Also Helmut is temporarily in the body of a guy voiced by Elijah Wood-

Craig Cuttlefish/DJ Octavio:

well you see they used to be friends but were on opposite sides of the great turf war. cuttlefish gets a 14 year old to go stop octavios army. also they argue in splatoon 3 which is just part of the 100+ year divorce arc BUT AT THE FINAL BOSS IN THE JAPANESE VERSION THEY SHARE THE ICONIC LINE THAT CUES THE CALAMARI INKANTATION AND IN THE ENGLISH CUTTLEFISH TELLS OCTAVIO TO "HIT IT" AND START THE MUSIC AND MUSIC IS SO IMPORTANT TO THE SPLATOON UNIVERSE YAAAAA ik its grasping but its lovers to enemies

Literally I have seen so many people call this old man yaoi.

Old men divorce!!!

They're old men who made their divorce the problem of every young person in their lives <3. 100 years ago during the Great Turf War between inklings and octarians, Craig and Octavio were the chosen ambassadors of their respective species. They got along well, but unfortunately found themselves on opposite sides of the war. During one of the battles Craig shot Octavio in the heart. The inlkings won the war and the octarians were forced underground. For years afterward both men grew bitter towards each other, and eventually Octavio attacked the new Squidbeak Splatoon (a group of secret agents recruited by Craig). Octavio lost both times and got imprisoned in a giant snow globe (and Craig calls him cute). In the latest game Octavio got over his hatred for Inklings (Craig's species) and used his flying mech to help defeat the BBEG of the game. After the final fight, Craig said something to the effect of 'that old rascal turned out to be not so bad!'.

Alright ok hear me out! These two old men have fought in wars for their races against each other and have the craziest pathetic old man homoerotic tension ever. They like, went from at least respecting each other before the war and then they were forced to fight each other and then when Cuttlefish's side won, Octavio went underground like a pathetic lil wet cat and later on he kidnapped Cuttlefish because of game related reasons and both of them still have way too much homoerotic tension!!! And then Octavio gets owned and then in the second game Octavio decides that "Hey actually, lets kidnap Cuttlefish's granddaughter" and the old man isnt even there cause hes busy being a pathetic old man in the under-underground!!! And in the third game they go fron rival/enemies to reluctantly working together to save the world from actual extinction bc some durry bitch wants to cover it in fuzzy ooze and like, both of them have so much old man ship potential and just- theyre still pining for each other even after over a 100 years man,,,,

I personally headcanon Cap'n Cuttlefish as homophobic, but I see the ship a lot and think it's funny.

They’re both at least like 125 probably a bit older, they are so divorced, like peak lovers to enemies back to lovers, Cap’n Cuttlefish calls Octavio cute in Splatoon one immediately after you rescue him from Octavio kidnapping him? So dysfunctional, so gay, so old

They fought in the Great Turf War which was said to be over 100 years ago, Capn Cuttlefish was, well, a captain I believe (he had some sort of rank even if he wasn't a captain, like he led a battle that's singled out in the sunken scrolls of the first game). they act so divorced in the singleplayer mode like they cannot stop insulting each other specifically but octavio always comes back and like kidnaps or insults captain cuttlefish it's so. and when the great zapfish gets stolen in splatoon 3 captain cuttlefish is like "it's the octarians again i know it" like divorced behavior. also it wasn't this time and octavio gets super weird about it. maybe you should stop using children as props in your drama though.

my favorite war crime divorcees <3

They basically are friends to enemies to lovers. Both of them fought in a war that hurt DJ Octavio so bad he can’t become an inkling.

friends -> enemies -> lovers. what more is there to say

they are soooo divorced

they were so gay their breakup ended a war

Craig Cuttlefish got sucked dry by a bear

they got divorced but then they got remarried . they fuckinf hate eachother but they also make out sloppy style and i do not know how that works because neither of them have mouths in their swim form which they are both permanently stuck in. love wins but also loses at the same time with these fucking losers

they are sooo divorced omg. istg they were dating when they were younger and then war n shit happened and now theyre bitter exes who probably still make out sometimes. Makes it so much funnier that theyre old ass men (both over 100!) and Cuttlefish has grandkids

They were on opposite sides of a war and still fell in love

[saintsenara]

What parts of canon do you find the most frustrating/that you are dissatisfied with/wished that was handled better/explored more? Mine is the inconsistency of Voldemort as a character. How he is described as being perhaps the most talented student that Hogwarts has ever seen and so powerful and intelligent but regularly made such dumb decisions e.g. in the final battle where he still uses Avada Kedavra despite seeing it not work before. I like the explanation that Horcruxes rotted his brain

thank you very much for the ask, @sarafina-sincerity!

the parts of canon which i find the least satisfying all have the same thing in common: their morality is individualist.

the harry potter series has - at its core - a really profound and very black-and-white belief that good and evil not only exist but are rooted in the individual. and while i understand why this is the case - the later books in the series are governed by the genre conventions of folkloric epic and, especially, of christian folkloric epic, which means that the whole seven-book narrative arc ending in a battle between christ and satan after which all is well is only to be expected - i don't like it.

so here we are... ten things i hate about canon, for fanfic writers to win my heart by interrogating in their work...

i hate the series' insistence that everything is fine once voldemort is dead

the middle books in the series - especially goblet of fire - do a really interesting job at hinting at the endemic rot in the ministry of magic, and the ways that the state and its enforcers perpetuated harm during the first war that was indistinct from that perpetuated by the death eaters - above all the use of internment without trial for suspected death eaters [which is a reference to something the british state actually did in the 1970s!].

they show how widespread blood-supremacy and magic-supremacy is, even among people who don't openly support voldemort; how the wizarding population is kept deliberately ignorant by what appears to be state-controlled media; and how no serious efforts have been made to eradicate the conditions which enabled voldemort to attain such power.

this is then forgotten completely in deathly hallows, where the fact that almost the entire civil service keeps working for a government which is committing genocide is hand-waved away with "oh, people are scared", and both the epilogue and jkr's post-series writing take the view that kingsley manages, as minister, to preside over a government which easily sheds all its old prejudices and starts working properly.

i don't like this! i think it's just much more interesting for corruption to be impossible to fully eradicate from the government, for blood-supremacy to have long-standing causes which actually take a lot of very hard work to untangled [especially the fact that the wizarding world not appearing to have a welfare state means that those whose lives are poor or unstable are prime targets for radicalisation], and for kingsley to have the same capacity for leaning on the prophet and worrying about his polling numbers as any other politician...

i hate that the series changes how the death eaters are written between half-blood prince and deathly hallows

connected to this shift from the series hinting at the broader issues in the wizarding world to a flat battle between good and evil is that the death eaters, their aims, and their modus operandi are written very different between half-blood prince and deathly hallows. in the former, the death eaters can be situated very easily as anti-state sectarian terrorists who have all sorts of complex analogies within british history and politics. in the latter, they're just caricatures of pure evil - which is why the death eaters introduced from the latter stages of half-blood prince onwards, especially the carrows, are considerably less interesting as characters than those, such as lucius malfoy, barty crouch jr. and bellatrix lestrange, who are introduced earlier.

it's also why the voldemort of deathly hallows feels so uninteresting. i don't like the fanon that the horcruxes render him insane at all - when he's shown outside of the epic battle between good and evil in that book, he's shown to be as lucid and cunning as always - but he ends up having to flop because his only purpose in the overarching narrative is to be killed. in the earlier books, in which he's a paramilitary kingpin poisoning and corrupting a society which was designed to exclude him because of the fact of his birth in revenge for its treatment of him, rather than satan and hitler's lovechild, he is so much more interesting.

i hate the series' belief that slavery is fine

obviously, one of the biggest examples of state malevolence in the series is that wizards own slaves. like many readers, i loathe that the house elf plotline ends up being reduced from its potential for radicalism in chamber of secrets - in which dobby mentions whisper-networks of elves who decry their treatment at wizards' hands - to what we see from goblet of fire onwards - in which elves love being enslaved and think that any attempts to free them from their subjugation is cruel.

i also hate that elves' freedom is then hand-waved away as part of the general race towards "all was well" with the implication that hermione found it easy to undo what appears to be centuries of state-sanctioned oppression without any pushback at all.

the house elf plotline is one of the clearest distillations of the series' individualistic morality. harry abhors the treatment of dobby at the malfoys' hands entirely and only because he doesn't like the malfoys. he abhors voldemort's treatment of kreacher, but sees absolutely no issue with sirius' because he likes sirius - and he clearly sees no issue at all with his own legal mastery of kreacher, seeing as, literally minutes after the end of a war in which the good guys fought for the rights of muggles and muggleborns to be seen as fully human... he is considering ordering his slave to make him a sandwich.

i hate that the series doesn't show the realities of resistance

the reason i think the whole "why does voldemort keep using avada kedavra, isn't he supposed to be clever?" question arises is because the series is incredibly resistant to the idea that the good guys must have to kill as well, which makes it look like it's only the death eaters using it while the order use lots of clever magic that the stupid terrorists are too thick to think of.

this is idiotic - not only because the killing curse is canonically flawless unless the thing you're blasting is your own horcrux and so the order would use it for efficiency's sake alone, but because the reality of being a resistance fighter is that, even if you're on the "right" side, you are going to have kill people or they will kill you.

lupin is completely right in deathly hallows that harry is breathtakingly naive to avoid shooting to kill and that - without the protection of genre conventions allowing him to be preternaturally merciful - his resistance to killing is going to result in him being destroyed by the enemy. it is inconceivable that the rest of the order don't using the killing curse - and the question of what this does to their souls [is it murder if you believe yourself to be justified in your actions?] and their senses of self post-war is so interesting to think about - and i wish we were shown this in the text.

especially because molly absolutely blasted bellatrix with it.

but i also hate that the series thinks that violence is fine when the good guys do it

this is primarily another example of the black-and-white "this is fine because harry's good" theme which runs through the series, which we see in things like harry using sectumsempra on draco malfoy in half-blood prince or the cruciatus curse on amycus carrow in deathly hallows. harry's overarching response to committing attempted murder is to sulk that the incredibly minor punishment he receives is reducing the time he could spend hitting on ginny, and his response to torturing amycus is "lol. lmao."

the series thinks - again and again - that cruelty and violence are completely fine when the person they are perpetuated against "deserves" it, and it does not bang.

and that the series allows the good guys more complexity in characterisation

the role played by the house system in the story - and, above all, the fact that our heroes are all connected to one particular house with straightforwardly admirable associated characteristics - means that the villains receive less opportunity to also have positive traits intermingled with their negative ones - and, therefore, complex and interesting personalities.

i also dislike that when non-gryffindor characters - especially slytherins - do reveal themselves to be brave and loyal etc., instead of recognising that this is because bravery can be multi-faceted the series suggests that they should be recategorised as "belonging" to a "good" house.

or, in other words, me and dumbledore's "i think we sort too soon" line in deathly hallows are enemies for life.

i hate that the series blames merope gaunt for dying

and - of course - the main way a villain isn't allowed as much complexity as a hero is that the series never examines the impact of voldemort's childhood on his adult self. while we see hints throughout canon of just how profoundly affected he is by his institutionalised childhood and the weight of his grief over his parents [his mother especially] - such as him learning as a baby never to cry for attention because it's futile - this is hand-waved away throughout the series by dumbledore-as-the-voice-of-god as irrelevant. the eleven-year-old tom riddle is straightforwardly evil, that he grows up in an orphanage is used as nothing more than narrative colour to underline how creepy he is, and dumbledore's spectacular mishandling of their relationship is viewed by the series as undeniably correct right up to the very last moment [when harry imitates dumbledore by - and we should call it what it is - deadnaming voldemort in their final confrontation].

but the most egregious thing that dumbledore does when discussing the course voldemort's life takes is blame merope gaunt for her own death in childbirth, by implying that witches are immune to one of the most common causes of death throughout human history if they just try hard enough and then saying that a nineteen-year-old girl whose life appears to have been nothing more than unrelenting abuse and misery [perpetuated both against her and by her] lacked the moral fibre to try hard enough.

and this infuriates me.

i hate how the series treats female characters who don't fit its narrow spectrum of "correct" womanhood

merope is but one victim of the series' general issues with treating women who aren't its heroes - all of whom are exactly feminine and beautiful and clever and talented enough that we know they're good people, but not any of these things in an extreme which could make them vapid or arrogant or defiant of social norms or so on.

the series takes a very low view of women who exist outside of narrow boxes - whether they are interested in a hyper-feminine aesthetic [lavender brown, rita skeeter] or a more masculine one [marge dursley]; conform to stereotypes about being bitchy, flighty, or vapid [pansy parkinson, romilda vane] or refuse to adhere to social expectations to be polite, meek, and demure [fleur delacour]; are unmarried, are not inherently maternal, and/or are cruel to children [bellatrix lestrange; petunia dursley; dolores umbridge]; are unrestrained emotionally [cho chang; moaning myrtle] and so on. and i don't like it.

and i also hate that - connected to this - the series uses physical appearance - especially weight - as a shorthand for [female] characters we're supposed to dislike.

what it says on the tin, really - if the series doesn't like a character, especially if the character is a woman, you can almost guarantee that they will either be fat or be unusually thin.

and finally...

i hate that the series prioritises one form of love - love as suffering and as sacrifice - over all others

part of the series' march towards the epic two-person showdown between good and evil is that harry is made to endure trial after trial - including his death for the salvation of mankind - in the name of love. obviously this is because he becomes, by the end of deathly hallows an allegory for christ, but it also fits into the series' view - articulated most frequently by dumbledore - that love, suffering, and sacrifice are all synonyms.

the acts of love the series foregrounds - snape's willingness to endure anything because of his love for lily; sirius' willingness to rot in azkaban and caves and grimmauld place because of his love for james and harry; harry giving up a love that's like "someone else's life" with ginny so he can go die - are all sacrificial, and the series generally takes a dull view of love that is fluffy, silly, carnal, selfish, soothing, transformational and so on. lavender and bellatrix's open adoration of their lovers is mocked; dumbledore's sexual desire for grindelwald is punished by his sister's death; tonks and lupin's uncomplicated happiness in the birth of their son is not to last.

but happy endings and silly jokes and forehead kisses are love too. and the hill i will die on is that they have even more potential to bring about the salvation of the world than constant suffering and abiding.

[mochiwrites]

gentle touch of morning

( a small scarian epic au piece <3 reblogs do more than likes! )

It’s funny. 

Over the twelve long years Scar spent fighting, leading his men into battle, the thought that kept him going was his eventual homecoming. Every waking thought was of his husband and son, and Scar’s reason for living, for breathing, was his family. As he sailed rocky waters, faced monsters and gods alike, lost men after men, Scar wished for nothing more than to be home, to awake with his husband sleeping beside him. 

But as he stands in his home, the one he most intimately knows, Scar feels… wrong. Out of place. He’d woken up early, savoring the sight of Grian’s sleeping face (he could never get tired of it), and felt so restless that staying in bed for any longer seemed impossible. So Scar took to walking around his home. 

He and Grian built this place up, together. The memories are some that Scar looks back on fondly. He could never forget it, no matter how much time he spent away from it. Scar only fears that it has forgotten him. 

Scar takes easy steps, walking and reacquainting himself. He notes the pictures, most of them being of his son. He hardly sees Grian in any of them, perhaps one or two, less than a handful. And the ones that Grian is in, his smile doesn’t light up his face. It makes Scar frown. 

He wanders for a bit, traversing each winding hallway with careful movements. It’s as if he fears the house may collapse at any moment, or some attacker may jump from the shadows, perhaps a god will catch him off guard and finish him off. Not even in his home does he feel the full safety he’s supposed to. These walls feel foreign, unfamiliar. Even if he can picture everything clearly in his mind, knows this place like the back of his hand. Scar still feels like a stranger. 

Eventually, he finds himself in the kitchen. He pauses in the doorway, catching sight of another person. 

His son. 

His little Pitta. 

Well, not as little anymore, as a young boy at fourteen. But to Scar it still feels like he’s just an infant that he could cradle in his arms. Another thing time robbed him of. So many missed moments, opportunities, to watch his son grow. And while Scar knows that there are still many years to come, to see, a piece of him mourns the time he lost.

For a moment, Scar keeps quiet. He watches his son, taking in his dark brown hair and hazel colored eyes. He’s the striking image of both Scar and Grian somehow, even if they aren’t related to him. But Scar loves him all the same; would move mountains to give him whatever he needed. He can’t help but wonder what kind of person his son is, what he likes and dislikes. Does he resent Scar for leaving? Does he consider Scar his father, or a stranger who left a loving husband alone for years on end? He doesn’t want to find out. Not now. 

Scar stands there until he can’t anymore, finding hazel eyes landing on him. He watches the way in which Pitta’s eyes light up, turning all shiny and bright when he notices his father. He turns away from the counter, abandoning the slices of bread he had taken out. He smiles, and gods, does his smile look like Grian’s. “Papa!” Pitta greets, the timbre of his voice cheerful and soft. 

“Hey, Pitta,” Scar returns, heart melting each time he’s reminded that he’s finally returned home. He never thought it would happen, that maybe it’d take him longer, or maybe something would strike him down on the way back. But against all odds, fourteen years, and Scar is home. His son stands in front of him. 

“What’re you doing awake? Is dad up too?” Pitta questions, raising a brow at him. 

“Uh…” Scar blanks, unsure of what to say. It’s not like he’s going to tell the truth, Pitta shouldn’t have to worry about him. Scar has already caused him enough pain, there’s no need to cause more now that he’s actually here. “Gria— your dad’s still asleep,” he stammers. The words feel awkward on his tongue, like they shouldn’t be there. This life of domesticity… he doesn’t know how to go about it. It isn’t just some enemy he can cut down. 

The very thought makes him nauseous. 

“Oh!” Pitta blinks at the response. “Well, that’s… good.” He nods to himself awkwardly, and Scar hides a grimace. 

He… really doesn’t know how to interact with his son. 

There’s this dark curdling of doubt in his mind that begins to creep up, settling over him. He’s afraid. Worried that this is one thing he’ll never overcome. It’s a familiar feeling, an old friend, a once enemy turned begrudging shadow. It’s a feeling he experienced in battle, traversing home, taking his castle back from scoundrels that dare to stain it. But there is a new fear that joins it, overwhelming like a tidal wave. 

Does he even know how to be a father? 

Scar feels his breath sharpen just a tad, skipping a beat and hastening. He can feel hands curling around his throat, beginning to press into his skin. He feels it tightening on him, the grip firm. The pressure starts off as something light, until the fingers of Fear dig deeper with each shakingly quiet breath. It gets stronger and stronger, straining his lungs until he can feel his throat being squeezed, choked. 

“Papa?” Pitta’s voice breaks him from the spiraling thoughts, from the overwhelming fear sneaking in. 

The hands around his neck relax, and the terror recedes, sinking back into the depths of his mind momentarily. He allows himself a moment to breathe, a chance to suck in a soft breath and recenter. His vision clears, and he becomes aware of the way his heartbeat pounds in his ears, loud like a drum. 

He manages a smile, “I’m uh, gonna go check and see if our Sleeping Beauty is awake.” Keeping his eyes trained on his son, Scar tries to maintain his light smile. He takes a few small steps back, slipping into a casual mask. He’s gotten quite good at it over the years of putting on a brave face. “Be right back.”

Pitta watches him, brows creasing in concern as he goes. “Oh… okay,” he answers, sounding resigned as Scar retreats. 

Scar turns around, and brings himself back to the beautiful olive tree where his Grian is fast asleep. The sun shines down on him, cutting through the green leaves. The light spills into their bed, painting a halo in the soft yet sandy blond locks of Grian’s hair. He rests in their bed, eyes shut and face relaxed. His body is curled somewhat, the blanket tucked just over his shoulders. 

Staring at him, taking in the near angelic sight, Scar takes a few breaths to calm himself. He walks over to their bed, sitting down on the edge, right beside Grian. He contents himself with just sitting there, watching the rise and fall of Grian’s chest. It feels a little easier to breathe, with the love of his life right here, peaceful. Scar can almost allow himself to pretend he lives in a world where he never went to war, where he never had to leave his family behind. He can almost allow himself to pretend he was the husband and father he should have been. 

Chest aching and overflowing with doubt and regret, Scar reaches out. Tenderly, Scar brushes some of Grian’s hair away from his face. He ever so softly tangles his fingers in the silky strands as he rhythmically cards through his hair. Scar’s expression softens, chest swelling with love for the man before him. He drags the pads of his fingertips along Grian’s head, feeling the soft locks under his touch. 

He can’t imagine what it was like, doing so much alone for so long. Scar has always believed Grian to be strong, the strongest person he knows. But this? Scar doesn’t think anyone could compare, not even the gods. 

Not in the way it matters, at least. 

His thumb idly strokes Grian’s cheekbone, loving and sweet. “I’d be lost without you, my light,” he murmurs. Because it’s true. Scar would’ve given up a long, long time ago if he didn’t have Grian and Pitta to come home to. Grian is his rock, his eye of the storm, his compass. Scar is caught within Grian’s orbit, forever wrapped up in him. There’s nothing he wouldn’t do for this man. Grian kept their home in one piece. He raised their son. He handled whatever it was that Scar couldn’t in his time away. Grian held out hope for fourteen years that Scar would come back to him. 

Scar owes him everything and more. But most importantly, Scar owes him his love. And by the gods will he offer every last ounce of it, every drop. Scar is a man. No general, and certainly no hero. He is just a man who wants to pour his heart and soul out for his spouse. Scar is just a man in love. 

Beneath his touch, Grian’s face twitches, and he begins to stir. “Mmm… Scar?” he mumbles, still groggy and waking up. 

“Good morning, my love.” Scar smiles at him, brushing away a particular curl of hair before stroking his cheek. “Sleep well?”

“‘ink so, yes. It was warm with you,” Grian answers, leaning into the hand on his cheek. “What’re you awake for?” 

Scar pauses, if only briefly. “Uh, well, y’know. Just admiring my pretty husband while I have the chance,” he answers, which isn’t entirely a lie. 

Grian looks at him with clear suspicion, but doesn’t push. Instead, he sighs quietly as pushes himself to sit up. “You can do that when I’m awake too,” he teases, leaning to press their lips together. Scar is more than happy to sink into it, using the hand on Grian’s cheek to angle his head slightly, deepening it. The kiss is sweet, loving. It’s slow and patient, carrying the patience of fourteen years within it.

When they pull away, Scar rests their foreheads together. “I guess I can, yeah,” he agrees softly. “Mind if I take a few more minutes to admire him?” 

Grian smiles, kissing the corner of his mouth in return. “I suppose.”  Scar simply smiles, and gods is he happy to be home. No amount of fear could ever leave him unhappy to be back with the loves of his life. Never. 

[wakkass]

It's impossible to put into words how much I love designing characters, especially for AU.

Yes, I recently had an avatar AU, and I really wanted to draw Katara from there (and also Zuko). I usually draw a static pose in order to display all the details of the clothes. This is such a kind of character sheet that helps me to better imagine the scenes in my head.

If you're interested in reading about the AU itself, then there will be some information about it.

I apologize in advance for mistakes in the text, English is not my native language. But, I hope, this will not interfere with understanding.

In general, my AU concerns the ending of the series, because at some point it seemed unrealistic to me. There is too much positivity with the obvious problems of the post-military space, as well as little logic in some moments (for example, I don't understand what Zuko was doing in Ba Sing Se. Did he abandon his newfound throne to the mercy of fate with the risk of a palace coup? Did he not feel the effects of a lightning strike? The longer I think about it, the surreal it seems to me).

At some point I thought, "this is all like Aang's dream, in which everything is intentionally good. As if this is the ending he wants, but it's unattainable." And then it dawned on me. But it really looks like his fantasy about the future after defeating the root of evil. This explains why Zuko recovered so easily, why everyone is just relaxing and having fun without a drop of post-trauma. Because Aang wants everything to be so naive and simple after defeating the Fire Lord. Because he's dreaming about it.

I know this is a very hackneyed narrative technique. It's pretty easy to say "this is someone's dream" to deny any events. But I found it curious, especially against the background of the episode "Nightmares and Daydreams", where Aang's dreams already simplified the reality around him. For me, it's like a lead-up to the finale, where he actually sleeps.

You ask, "but why is he sleeping?". I also asked this question, and the answer to it killed me. Because during the battle with Ozai, when the stone hit Aang in the wound, he fell into a coma. His body was paralyzed because his brain perceived it as a repeated lightning strike, again fatal. The avatar's state was the only one that did not allow Aang to die, but only to fall into a coma. And instead of an epic battle, we have a little helpless boy spending a huge amount of energy just to maintain his life.

The second Aang collapsed, he disappeared, leaving Ozai alone with the remnants of his temporary power. And no one else saw the avatar…

I'll leave the intrigue for you about this, but for now I'll tell you about the concepts from the art.

Naturally, everyone searched for Aang, and, naturally, they did not find him. Katara and Zuko were the only ones who did not participate in the search, for several reasons:

Zuko was rehabilitated for a very long time after being struck by lightning, and Katara nursed him (I'm sure there are a lot of fics about this topic. The only difference is that there is no romance here. The focus of my AU is not on it, but on the problems of the consequences of the war). He survived, but he had major problems with his heart, digestive system and spine. Who noticed the cane in his hands? Yes, Zuko couldn't walk without it. From now on and forever. He was physically unable to leave the palace, and Katara maintained at least some of his condition.

Even after Zuko's rehabilitation, it was necessary to keep the power in his hands. Imagine what a shock the Fire Nation experienced when not just the former Fire Lord was overthrown, but the country's policy changed dramatically. Now Zuko needed to keep power in his hands and establish a new regime as soon as possible, before his opponents raised armies and people against him. This boy, who recently sat quietly at a military meeting, needed to show unprecedented strength and power to everyone: both officials sought to turn the situation in their favor, and the people who wanted stability and prosperity. But how to do this if Zuko couldn't even breathe normally, and getting out of bed required tremendous effort? It was impossible… Anyone else would have given up, but not Zuko. He has never given up without a fight and has never turned his back on danger, even if he risks dying.

It hurts me a lot for him, too. Fate has never stopped pushing Zuko against obstacles, but this time he couldn't rely on himself. He almost couldn't bend, his body almost didn't obey. He was an easy target and there was nothing he could do about it. This helplessness irritated him, saddened him, oppressed him. The only thing that wasn't broken yet was his spirit, and Zuko was barely able to maintain it in such conditions. If it wasn't for Katara, I don't know if he would have coped in the end. She was now his only support, his only ally in these cold oppressive walls, the only rational grain in his doubts.

You ask, "Where is Iroh? Where is Mai?"

Iroh, along with the White Lotus, took on a mission to liberate the Earth Kingdom from the Fire Army and establish relations with the kingdom. In fact, Iroh now shared power with Zuko: uncle was engaged in foreign policy so that his nephew could focus on domestic policy.

With Mai, everything was much simpler: after getting out of prison, she was completely disappointed in the guy who always left her. She sent him a letter, where she finally ended their relationship, and left with her family somewhere far away. Perhaps she and Zuko will cross paths again and will be able to establish a relationship. But not now.

Katara remained to help Zuko not only with treatment, but also with his policy. As a resident of an almost disappearing tribe, as well as an able leader, she helped him with projects and plans to improve the quality of life of the population and actively participates in them. She performed those missions that Zuko can only entrust to her. After all, she was a friend he could rely on and to whom he could open his feelings.

In her design, I wanted to reflect the combination of two cultures: Fire and Water. I was based on the designs of the "12 Kingdoms" (if you haven't watched this gorgeous anime or haven't read ranobe, I strongly recommend doing it. This universe is no less interesting than the avatar's world, I'm sure you'll like it), because the palace intrigues and the plot with winning the respect of the court reminds me very much of the story from there.

One day Zuko's legs finally gave up, he could not get up. All the stress he was going through was breaking his body so much that at some point the Katara's treatment stopped working.

It was a very difficult moment for both of them. Zuko has just started to promote his ideas and defend his rights to the throne, and Katara sincerely did not know what to do. If the truth about the true state of the Fire Lord had come out, all the ill-wishers would not leave this opportunity and attack, this couldn't be allowed. They urgently needed to create the appearance that everything is in order, but how?

Zuko came up with a very brazen idea. He asked Katara to use bloodbending on him to simulate walking. It was a very difficult request for her, because this skill represented the worst face of the war, it was created to torture people. And the last thing she wanted was to torment Zuko. She hesitated for a long time, he saw it, but he couldn't wait. He couldn't stop, it wasn't a luxury he could afford. Therefore, he went out, trying not to get up and move much.

Naturally, at some point his weakness was noticed at the most inopportune moment. Naturally, at this moment Katara couldn't let Zuko fall. Imperceptibly under her sleeves, she moved her friend's body like a puppet, causing him as much unbearable pain as most would not stand. But Zuko was not like that. He stood it.

It looked like this to me somehow:

They were both very depressed that day. He was suffering physically because of Katara's bending, and she could not believe that she had caused the suffering of a person dear to her. It broke and scared her, she opened the way to the Hama's madness, and was very afraid to fall into it.

Zuko assured her that it was impossible. Hama didn't have people to guide her, while Katara has friends. Maybe Zuko didn't consider himself the best moral mentor, but he promised to be there in the most difficult moments for Katara, and now he won't leave her.

This encouraged her and opened her eyes to her own cowardice. She was afraid of the darkness of Hama, and instead of curbing it, Katara hid it in herself, ignored it. And that's what it led to: the person who needed her help suffered. But she didn't want to run away anymore. She wasn't going to give up without a fight and turn her back on those who needed her.

At the beginning, Katara trained on herself, experiencing the same pain as the victims of bloodbending. Careless movement of blood through the vessels could cause internal bleeding at any time, it was very dangerous. The Hama's voice in her head pressed on her conscience, saying that innocent people felt all this pain, and only Katara was to blame for this.

Later, she learned to control the flow of water on puppets, like Hama. The point was to pass water through the threads without bursting them. Absolute control was required here, and Zuko taught her the techniques of firebending for self-control. This was necessary for Katara, because the Hama's voice in her head did not subside and did not allow her to correctly distribute her forces. It seemed like Katara was about to stumble, but Zuko wouldn't let her do it.

Gradually, Katara mastered this skill and tried to draw blood on Zuko's legs. The effect was unexpected. Her great willpower and desire to help him resulted in healing. Zuko began to feel his legs, and Katara discovered the reverse side of this bending. No, she didn't heal him completely, it's too early for him to get rid of the cane. But maybe one day she will become so strong that she can do it.

Katara realized that there was no evil magic, there was only evil intent. This was her first step towards learning to look inner demons in the face, and not to hide them in herself when it was possible to hurt others.

But what about the other design?

Katara's father sent her a letter asking her to return. Her family needed her help, because she was the last waterbender, a carrier of culture and skills, as well as a healer of a new level, the daughter of a tribal leader.

At home, everything was not the same as before, moreover, everything taked shape as a Northern Tribe. I really like the idea of the comic "North and South" about the problem of assimilation. Only here has Katara accepted all aspects of its culture, even the most unpleasant ones, and she would not give up so easily when this newfound knowledge was in danger of disappearing.

Actually, I wanted to draw her outfit of this arch. I wanted to redesign the costume for myself, because I like to do it. I kept the front strands of Katara, we don't talk much about them.

I would really like to describe the path of the rest of the team and what they do, of Aang and what happens to him. But I'm already tired of typing, and you probably read.

After all, the post is more about designs, and not about the AU itself, so the goal to reveal some of my ideas has been achieved in principle. Maybe sometime later.

Hope you enjoyed reading this :3

[prettynice8]

Kinkmas Day 12: Lingerie

Pairing: Eijiro Kirishima x male reader

This guy

Summary: So, you say some shit to Bakugo, and he WRECKS your uniform, making Kirishima kinked up

Warnings: Kissing, biting/markings, sex, lingerie DUH but in the form of a torn-up costume.

Word count: 1,356

You were practicing, which you don't often do. Fighting fellow children to get better at ruthlessly beating the shit out of other people in the future, not exactly your thing. Though today was different because you heard that it was a men's only practice, fucking score. None of those women ruining anything by being there, now you could admire your classmates without anyone intervening, and this practice went hard as fuck, tee hee.

Everyone was in their hero outfits to make it seem more real, and holy shit were you wet, watching people duke it out, everyone surrounding them, cheering them as their sweaty bodies clash into one and other.

The people fighting currently were Bakugo, who was possibly the most annoying kid in the grade, and Kirishima, who was one of the hotter men, especially in that shirtless costume, you would fuck both of them honestly.

When the fight was done, everyone went off to do their own training, except you, who just stood there, only being here to ogle at the hot men. You just kind of stayed in a corner uncomfortably, your skin tight costume not helping much.

You just stood there until finally Bakugo came over to you screaming.

"What the fuck are you doing just standing here idiot!" He shouted, coming really close to you, so much so you could feel his hot breath on your face. He had that angry look on his face.

"Fuck off, I'm not affecting your life at all, go thrust your dick in a hot pocket or whatever desperate people like you do." You flared back. You honestly weren't even that mad at what he said, you just really didn't like him, doesn't mean you wouldn't suck his dick until it turned into laffy taffy though.

He stared back at you, rage filling his face. He grabs you by the chest, surprisingly having a firm grip with how tight it is.

"LISTEN HERE MOTHER FUCKER, BITCHES LIKE YOU HAVE NO RIGHT TO TALK TO ME LIKE THAT! I WILL FUCK YOUR SHIT UP; I WILL EXPLODE THAT STUPID LOOK ON YOUR FACE WHORE!" He shouted at you once again, this time a lot more aggressive as you can tell with the all caps. You just stared at him, completely apathetic to his tantrum. It was also at this point that his little bitch drew attention to the two of you.

"You would like to fuck my shit up wouldn't you queer." You said, looking him dead in the eye. Every He looks PISSED, his grip previously on your costume is now caging you in, the smell of smoke originating from his hand is apparent in the air.

Kirishima notices this and actually worries that Bakugo might kill you and goes in between the two of you. Bakugo tries to reach over him but is unable to.

"FIGHT ME YOU PUSSY!" He shouted, now just spewing shit out of his mouth.

"Bakugo, calm down." Kirishima demanded gently in his sweet smile. "You're being over dr-"

"Sure," you cut Kirishima off.

Everyone stared at you, astonished, the queer that just sits there and looks pretty is actually going to fight Katsuki Bakugou, and that's exactly what you do.

It's an epic battle, truly one for the ages. Every hero in training there is astonished with how well you hold yourself, not faltering once. Such a duel that would rival the best in his- and you lost immediately.

Twinks can't fight as easily as that, which is your excuse when everyone asks you what kind of pathetic excuse of a fight was that, if it could even be called such.

Oh, and there's one other thing. Bakugo let off quite the explosive blast and uh, completely wrecked your costume, and I mean WRECKED. It is in tatters, holes and tears throughout the whole thing. You also don't have anything under it because of how fucking breath takingly tight it is... including underwear.

So here you are, standing practically naked in front of all of your classmates. Not a word from any of them, they're all too stunned to speak, except for that cocky bastard Bakugo.

"Fucking slut, I knew you couldn't fight for shit." He degraded, laughing his ass off.

"As if this wasn't your plan this entire time, trying to see me naked. That's really weird Bakugo, why would you do something like that? I would've done it if you just asked." You teased, causing his rage to boil back up to the surface. He walks towards you, ready to beat the shit out of you again, but Kirishima stands between the two of you once again as well.

He puts his hands in front of both you and Bakugo, separating the two of you. Kirishima tries to fight off Bakugo once again as he screams at you.

"FUCKING WHORE BITCH SLUT, SAY THAT TO ME ONE MORE TIME!"

"God you're thirsty for me." You said, not affected by any part of this whole ordeal. Kirishima continues to struggle with Bakugo, fending him off from attacking you. During his attempt, he accidently grips onto your exposed nipple tightly, causing both of you to blush, and pull away from each other. This leaves Bakugou with the perfect opportunity to charge after you, in which Kirishima catches him in the act, throwing him to the ground.

Kirishima then leads you out of the area so you can change, among other things. You just go along with it, rather be here than out where everyone can see you naked, you'd rather do it in a place that isn't so chilly.

You think he's just being a nice guy, until he leads you into the supply room. He locks the door behind the two of you, then kissing you deeply, in which you instantly reciprocate.

"I'm sorry, but you just looked so hot with that tattered uniform." He apologized.

"I usually have that effect on people." You bluntly said, he laughs at your remark before going back to kissing you. Sticking his tongue in your mouth, exploring it. He then entangles his tongue with yours.

He then lays kisses down your neck, stopping when he gets down to your nipples, sucking and nipping at them. His hands then go down to grab your exposed ass, causing a loud moan to exude from your mouth.

Then, to your surprise, he takes off his pants and reveals his girthy cock with a medium length, a big red bush at the base. He picks you up by your thighs, you react instantly by wrapping your legs around his hips as he sets your back to the wall.

"Are you ready?" He asked,

"Fuck me already." You responded, horny as all hell.

Fuck you he does, shoving his big dick in your ass. He starts off slowly, easing in so he doesn't hurt you. He kisses you, hoping for you to calm down so he can ease in better, which works quite well.

He starts to speed up, making you moan much louder. He then starts to lick open parts of your costume that lead straight to your skin. The feeling of his warm tongue causes you to moan somehow even louder.

He starts to exclusively lock on your perky nipples, using his shark teeth to nibble at them. The sensation of his teeth on your sensitive nips nearly enough to make you cum from that alone, but when you add his dick pounding into your ass makes your climax all the closer.

His hands have a bruising grip on your ass as he thrusts up into you continuously, chasing both of your climaxes, which is exactly what happens.

You cum all over his stomach, he follows in closely after a few more thrusts, shooting his thick load in your ass.

"Holy fuck that was amazing." He panted, head laying on your shoulder while he quickly gasped for breath. He then sets you on the ground, holding you steady so you don't fall over on the floor with your shaky legs.

"Let's do it again." You said, leaving the room, still wearing the torn uniform.

THE END

[star-rie]

a long rant/idea/rambling of how i want bbc merlin plot to go

Season 1

General: stays the same (light-hearted season) but merlin starts to question gaius and kilgharrah, empathizes with morgana. Elyan is introduced somewhere between episodes. Gwen father didn’t die. Mordred ISN’T introduced yet. Morgana is gaslighted by merlin + gaius (not forever i swear guys)

Finale: merlin vs nimueh (epic battle this time), merlin is almost close to loosing but gaius helps him, however nimueh survives

Season 2

General: introduction of mordred on the second ep (merlin hates him), ep 1 is abt balinor (mentor figure for merlin + should meet with hunnith), arthur finds out abt ygraine (and yes merlin lied abt it) + starts questioning uther, we got more arthur’s pov when merlin is at the ‘tavern’ (episodes where merlin is not there and focuses on arthur instead), morgana finds out abt her magic. Freya + gwen romance plotline happened. Percival + Gwaine introduction, merthur kiss but they never acknowledge it (yep they’re in denial)

Finale: kilgharrah lost hope of merlin so he turns to nimueh (in a hidden scene nimueh told arthur the truth abt his birth), nimueh + uther battle (but nimueh lost NOO), balinor DIES, merlin stops kilgharrah, glimpse of morgause (at the ep end). Morgana made a decision to kill uther

Season 3

General: aithusa is born (morgana + kilgharrah + merlin really likes her), morgana villain arc (she finds out that merlin is gatekeeping magic from her + merlin trying to kill mordred lmao), either morgwen romance or gwencelot (i can’t choose), gwen’s father died, this season = gwen’s arc

Finale: magic reveal, uther’s death, morgouse + morgana attacked the castle, morgana and morgouse fighting + breaking of to their own path (morgana realizes morgause is kind of twisted evil)

Season 4

General: arthur banning merlin from camelot (merlin runaway arc), arthur + gwen + the knights running the kingdom, morgana redemption arc, morgouse + aggravaine becomes main villain, political shit in camelot (like other kingdom who also despises sorcery/power manipulation, an in-depth look of other kingdoms), GAIUS DIES, hunnith + aithusa + kilgharrah scenes, mordred + merlin + morgana bonding, ygraine scenes, arthur trying to forget merlin but CANT, oh and aggravaine is also a villain here but he actually has personality and pure evil, arthur getting excalibur, arthur is really struggling to find himself here (to be like his father or follows his heart). Btw merlin is there and it shows every time magic related enemies attacks camelot/everytime arthur is about to die really but he’s literally in the shadows now and arthur pretends not to notice

Finale: morgause + aggravaine attacking the kingdom, arthur accepts + forgiving merlin + morgana back and assign them as court sorceress + court physician, hunnith scenes, arthur tolerating magic, adopting mordred (apology for killing his father lol), probably adopting aithusa

Season 5

General: arthur lifts the ban against magic, marrying merlin, cendred is a villain here (however he is introduced in s4), merlin GETTING A STAFF (also introduced in previous seasons but he’s worthy of it here, arthur made it btw and it’s a power up for melrin)

Finale: morgause + cendred finale attack, a few deaths (they won thoe cuz this is the good ending)

End:

Camelot brings a new era (symbolizing change)

Arthur: King

Merlin: consort/court dragonlord with titles like “king arthur’s shadow”

Gwen: Court Advisor/head of the house

Morgana: Court Sorceress

Aithusa: Court Dragon

Why i think merthur should be canon:

1) they’re gay

2) real reason: so i think its good for the plot too since magic is a euphemism for gay, relates to the theme of arthur bringing change to camelot but other than marrying a servant, he marries a MALE servant who has magic ☺️🫶😘🙏

Series ends with everyone at the roundtable, gathering for a meeting

Okay that’s it let me know what you want to change 🥰