#and also a lot of people don't understand the dynamic we have

[kradeelav]

Hello! I want to learn how to draw content on the more spicy side, but I'm unsure where to start. Do you have any tips/resources for it? I would love to make Corrin/Gunter art and some of my other favorite pairings. Thank you in advance!

on the practical/technical side:

having a solid understanding of anatomy helps, of course - the basic bone structure of course, but how skin, fat, muscle hangs as well. you don't actually need to watch live-action porn to get references (i never have believe it or not), but i do follow a few historical kink/bear magazine archivists online. personally i find that there's more of a variety of beautiful shapes and humans in those old photos, and you generally know it's consensual since they've personally submitted them.

you also can't go wrong with reading other erotic comics ... i say comics vs illustrations since you start to see the pacing of these scenes like any other human interaction and the tools the artists use. when does intimacy turn into foreplay? when does the artist/mangaka zoom in to capture the sensation of the moment? what clever tricks do the artists to capture the climax when the bodies are all pressed together and when finding a good camera angle is tricky? how do they show the heightened feeling with symbols and textures? how is kink power dynamics shown with characters in different positions? do you show faces and the expressions to show the pleasure or not? what comics feel cold and manufactured to you versus ones that capture real eros? why? etc.

on the mental side:

if you're anything like me, you might have a lot of shame to untangle when it comes to harder varieties of erotic art. (i hope not! not everyone does. but it's unfortunately common given the societies we live in.)

it's going to take a while, and it's going to feel really weird at times when you draw something that's uncomfortably intimate or taboo, but that's when you know it's working and you gotta keep pushing through.

you gotta keep drawing.

privately, i have a personal rule that i'll draw anything at least once; if i feel afterwards that it turned out to be a personal squick, i won't go there again, but that guideline has been marvelous to start breaking through the manufactured idea of disgust and also just to experiment with putting myself in other people's shoes about what they find hot. sometimes it's surprising! i've learned a lot.

lastly, on that note - draw what you find deeply intimate. forget about other people. selfshipping? the most niche kinks possible? the kink that feels like the internet can't stand? who gives a shit about them (no taste, the lot of them).

draw the human. the tenderness, the visceral, that overpowering desire for you that almost scares you with how intense it is and that sends your brain alight.

that's going to be timeless.

[piratefalls]

1. Happy nov 5th, i still cannot believe it's real

2. TELL US ABOUT YOUR BFF!

HAPPY NOVEMBER 5 AKA WHAT THE FUCK WAS THAT

oh friend, this is an interesting question, because i guess the answer relies on what you mean by bff. like, my longest friendship? that's sarah, we've been friends for the last 25 years (mind you, I'm 32, so basically my whole life). in terms of closeness? absolutely sarah, because we're absolutely the embodiment of the "talking about a serious thing in text and then talking about something completely unrelated on social media" joke. but that term also basically covers everyone else i consider a friend friend.

here's the thing: i grew up in a village of 2,000 people. (yes, a village.) my closest friends today are people i grew up with. some of those people are also my friend's husbands. those people are my tribe, my ride or die, the ones who've seen the ugliest sides of me and loved me through so much. the people who instituted the table of truth rule so that we could speak freely because that shit was on lock. each of them has a special place in my heart. this post would never end if i went on a tangent about each of them individually. as a collective, they are my BFFs.

ask me a question for sleepover saturday!

[tpwrtrmnky]

hindsight

[ID: A two-panel comic with crudely drawn stick figures.

Panel 1: The lime green person is talking to the leaf green person and the moss green person.

Lime: "I... have a confession to make."

Leaf: "Go ahead."

Lime: "I want to rewatch the Wizard Child movies."

Leaf: "Didn't the wizard author get incredibly chromophobic?"

Lime: "Yeah I just... It's nostalgia you know? They meant a lot to me when I was a kid."

Panel 2: The three are on the couch.

Lime: "All right, let's go."

Leaf: "It's so weird how the wizard author just turned chromophobic though. Like I remember this series being pretty good for its time. It'll be weird seeing their work contrasting with their views now."

Moss: "I'm just glad we got the movies for free through normal and legal means. Heh."

End ID.]

[ID 2: Scenes from three Wizard Child movies.

Wizard Child and the Simplistic Morality: A slightly round child with a propeller hat is talking to a child with no hat.

Round child: "I am so fucking fat and greedy I am textually shown to be fat because I am greedy and also evil."

Hatless child: "You are to infer my moral purity from juxtaposition with this fat child. Woe is me for our shared parent has deprived me of a propeller hat."

Wizard Child and the Goodness of Wealth: An adult wizard is talking to the child, who now has a wizard hat.

Wizard Adult: "Wizard child you are secretly extremely rich."

Wizard Child: "I will form biases regarding the bankers all being triangular for some reason!"

Wizard Adult: "Your wealth is deserved because your true parent was Good and therefore you are also Good."

Wizard Child: "Now we should acquire consumer goods. Buy consumer goods!"

Wizard Child and the Dark Family History: A blue-grey horse person is talking to the wizard child.

Blue-grey: "No, wizard child. You don't understand. I am one of the good ones, because unlike the bad ones I don't try to spread my curse that makes you a blue-grey horselike creature to others!"

Wizard child: "Wow uncle blue-grey you are one of the good ones! I forgive you for being a horse because I am so good I would even forgive horses. I sure hope you don't conspicuously get killed off later in this movie!"

End ID 2.]

[ID 3: Oh hell no there are even more of these.

Wizard Youth and the Tokenistic Relationship Dynamics: A square headed wizard youth is talking to the former wizard child, now a wizard youth.

Square Wizard Youth: "Wizard child, as the only person with a square head in this entire series it is my duty to inform you that you are the savior of all people with square heads, too. Let us build a one-sided relationship that only furthers your character development, after which I will immediately lose all plot relevance."

Wizard Youth: "I will do this because I am a maturing wizard youth and need disposable relationships that don't threaten the endgame!"

Wizard Youth and the Escalation of Stakes: The Dark Wizard, a sort of grey-green person with a cloak, is pointing at Wizard Youth.

Dark Wizard: "Wizard Youth, I have returned!"

Wizard Youth: "Dark Wizard! Why are you green now?"

Dark Wizard: "Evil magic made me green! I am green with envy towards all who are good!"

Wizard Youth: "I will not engage with how you are clearly based on fascist ideologies and yet this narrative plays into fascist aesthetic sensibilities!"

Wizard Youth and the Post-Hoc Revelations: The Wizard Youth is leaning over their Wizard Mentor, who is laying in a pool of blood.

Wizard Youth: "Wizard Mentor no! You can't die!"

Wizard Mentor: "It is fine, wizard youth. My death will further your character development into a wizard adult. Also, I was secretly a very very dark purple this entire time. I never brought it up so I could retain narrative approval.

End ID 3.]

[ID 4: Wizard Adult and the Overdue Conclusion. Three panels. I am sorry.

Panel 1: The dark wizard is dueling the Wizard Adult with magic beams.

Dark Wizard: "Evil green beam!"

Wizard Adult: "Good red beam! Despite the enormous variety of magic in this series this is what our final battle looks like!"

Panel 2: Wizard Adult stands victorious over the dark wizard, who is dying on the ground.

Wizard Adult: "In the end, dark wizard, you were defeated because I am morally superior to you."

Dark Wizard: "I was a product of systemic failures. There will be someone like me again someday!"

Panel 3: Zoom in on wizard adult, who says:

"Not if I can help it. Because I am going to be a wizard cop now. The moral of this story is that all systemic issues can be solved by finding a bad guy to beat."

End ID 4.]

[ID 5: Four panels.

Panel 1: Return to the green trio on their couch, watching the TV say "The End." All are are silent.

Panel 2: They are sitting on the couch. Moss is looking at their phone.

Lime: "Yeah so there were maybe a few signs we missed because we were children."

Leaf: "Yeah. A few. Some."

Panel 3: Continue conversation.

Lime: "So what did you think, Moss?"

Panel 4: Zoom in on Moss, who says: "I've been zoned out on my phone since the second movie. They lost me at the magic stuff. Wizards aren't real."

End ID 5.]

Start - Previous - Next

[nereidprinc3ss]

kiss it better

in which spencer notices your bruised knees and tries to make it up to you

18+ (fluff, allusions to past intimacy) warnings/tags: gn!reader i believe, reader has bruised knees lol, guess why, implied intimacy, hurt/comfort, sorta implied d/s dynamics maybe?? spencer is so smart and not very smart, but forever my no. 1 cutie pie a/n: why do i love writing about smut like before and after smut way more than i actually like writing smut LOL anyways here is this cause i haven't been posting very much!!! (also ik I said I don't like babe as a pet name but shhh) and GIF :D

“Hey,” you grunt as you flop on the bed in your pajamas, rumpling the neat covers. “Pay attention to me.”

Spencer holds his Sudoku off to the side and watches, eyebrows raised, as you scoot closer, tossing your leg over him. Soon he’s abandoning the book and pen on the bedside table in favor of hooking his fingers under your knee and stroking your leg, much to your delight. 

“Okay. What kind of attention would you like?”

You allow him to put his other arm around you and settle your cheek on his shoulder. 

“This is pretty good.”

“Oh, good,” he says with only a hint of teasing, leaning down slightly to kiss your lips and then the tip of your nose. 

When he pulls away you can’t help smiling up at him like a lovestruck idiot. Obviously he’s perfect all the time, but in his glasses, with his hair messy, wearing a navy crewneck instead of a button up and tie… he’s just… he’s just so…

He’s just so alarmed?

“Honey, your knee.”

“My knee?” Your own brows furrow and you track his eye line, craning your neck to look down to the blotchy sprawl of purple and red marring your skin. “Oh.”

The pillow is soft under your head where it falls, unconcerned even as Spencer gawps at you, baffled by your nonchalance. 

“What did you do?”

You snort. 

“What did you do, Spencer?”

It’s cute, the way his lips move as he silently repeats the sentence, trying to discern the meaning of your words. 

“What do you mean? I did something?”

“Babe.”

The knot between his brows has not loosened any—in fact you’re worried he’s going to give himself a headache. Or at least make himself dizzy, with the way his eyes cycle between your own. You try again, covering his anxious hand on the bend of your leg with your own. 

“When we got back from Penelope’s thing, the other night?”

Slowly the understanding seeps into his expression—soft guilt in his eyes, and a deep red stain in his cheeks. At least his face relaxes. 

“Oh.”

God, he’s so cute. He can’t hold eye contact, looking down once the shock of embarrassment has faded and swallowing, a little frown twisting his features once more. You reach up, brushing his cheek with a thumb and adjusting his glasses. 

“What’s wrong?”

The question comes out too smiley, but you can’t help it. 

“I hurt you,” he says, quietly, utterly ashamed. “I’m sorry. I didn’t mean to.”

“I kinda think you did,” you tease, and Spencer says your name with a serious edge. You try to quit grinning so much. “Baby, it’s fine. You didn’t hurt me. Don’t you ever get mysterious bruises?”

His eyes are wide and honest on yours when he meets them again. 

“No. My iron levels are optimal.”

Naturally. 

“Okay, well, lots of people do. Sometimes I get a bruise and I have no idea what it’s from because it never hurt. These,” you look down, gesturing to your knee, “never hurt. It’s just what happens when your knees hit the floor.”

“Well you shouldn’t have been on the floor,” he scolds, countering with a sweet touch on your cheek. “I’m never letting you touch the floor ever again.”

Your shit-eating grin is back and better than ever. “Oh, so you’re going to carry me everywhere we go?”

“If that’s what it takes. I don’t like seeing you bruised up.”

“It’s okay. I bruised myself doing something I love.”

At this Spencer rolls his eyes and kisses you once more before gently pushing your leg away and getting out of bed. 

“Where are you going?” You ask, all smugness gone and more concerned than you ought to be as he flicks the bathroom light on. For a moment you receive no answer, but then he reappears bearing a white tube. 

“Give me your legs,” he says, sitting next to you on the bed. You swing your legs over his lap and watch on in mild interest as he dispenses lotion from the bottle and tosses it aside, carefully rubbing it into the bruised skin. Every few seconds he glances up to gauge your reaction, and though it’s definitely tender, you avoid wincing. “You don’t have to do that. I can tell it hurts.”

You laugh. 

“Yeah, well, it didn’t until you started trying to fix it.” The ointment is pungent and you make a face. “What are you rubbing all over me?”

“This is vitamin K and Arnica. It will make the bruises go away faster.”

“Aw. You don’t think they’re pretty on me?”

He sets the bottle on the nightstand and retrieves the pen he’d been doing Sudoku with earlier, uncapping it. Your heart swells as he draws tiny sad faces by the bruises on your knees, glasses slipping down his nose as he focuses intently. 

“I always think you’re pretty. I just never want you to be hurt, ever.”

“Are you done taking care of me now?” You ask, reaching out for him. The pen joins the bottle and suddenly he has no concern for your bodily health, practically crushing you with a hug. When he speaks it’s muffled by your shoulder. 

“Never.”

You hum, nose tickled in his hair and forming a dastardly plan. 

“You could kiss them better.”

Spencer laughs and presses his lips briefly to your neck. 

“I might just do that.”

[mccromy]

The Shen Jiu & Shen Yuan dynamic I need to see more of is Shen Jiu coming to see Shen Yuan as a father figure, perhaps even a mother figure. And not in the way you think.

We are always talking about Shen Yuan's wife beam, but we don't talk about his mommy beam. I think Shen Jiu could resist the wife beam if subjected to it, but I don't believe he has any defense against the mommy beam. Now, I'm not talking about Shen Yuan transmigrating earlier than canon, meeting a child Shen Jiu and adopting him.

I'm talking about Shen Yuan transmigrating after Shen Jiu has already taken over Qing Jin peak. I'm talking about 21 year old Shen Yuan transmigrating into the body of a nameless rogue cultivator, meeting fully grown man already in his thirties Peak Lord Shen Qingqiu, and hitting him with his mommy/daddy-issuesinator and causing him a life threatening Qi deviation.

Shen Qingqiu can't help but trust him, and eventually looks up to him, sees him as a wise elder he seeks out for advice. He fucking hates it but he can't help himself. This homeless man he met in the forest is the closest thing he's ever had to a father. Also. He sort of wants Shen Yuan to breastfeed him in a, and he means this, non sexual way and he can't cope with that. He would just feel so safe!!

Shen Yuan, 21 years old, rogue cultivator, first time transmigrator and the father who stepped up, thinks he befriended the scum villain, and maybe? He can be a good influence on him? Be a good friend and guide him towards a fully limbed future. He's practically raising him but nobody tell him that.

Shen Jiu lost his childhood to slavery and his teenage years to violent madmen. and now he's behaving in ways he doesn't understand. He once lost sight of Shen Yuan in the town's market, ran towards a man who looked exactly like Shen Yuan from behind, and almost had a panic attack when the man turned out to be a stranger. It's all good because Shen Yuan found him before he started swinging Xiu Ya ("Have you seen my friend? He's this tall, clearly traumatized, but we haven't had the talk")

People think they're lovers at some point because Shen Jiu is quite possessive of Shen Yuan's attention, but everybody realizes that there's something way more innocent, and also weirder, and worse, going on between them when Shen Yuan drags Shen Qingqiu by the hand to apologize to the sect leader for being so rude when poor A-Yue is trying his best, and stands there with arms crossed, eyebrows raised, until Shen Qingqiu mumbles an apology, glances at Shen Yuan, and runs away.

"I'm sorry about that, Sect Leader Yue, he's had a bad day. I'm sure he didn't mean it."

Yue Qingyuan, someone who did actually sort of raise Shen Qingqiu, who's stood in Shen Yuan's shoes before, extracting reluctant apologies from a sullen Shen Jiu, to authority figures so he wouldn't get in trouble, is overcome by an intense, never before experienced wave of jealousy, so sudden it makes him spit vinegar flavored blood.

Then, a panicked Shen Yuan accidentally hits him with the mommy beam by accidentally adopting him (trying to befriend this guy who clearly needs a friend he can confide in!). And now he's placed himself in the young step-mom role who's desperately trying to bond with her new husband's teenage children but they're wired to not like her! (He used those exact words when explaining to Shang Qinghua where that new tension he has with the Sect Leader came from)

Liu Qingge is afraid of him. Maybe. He runs away when their eyes meet but he keeps leaving dead things at his feet so like, he's probably threatening him? He feels intimidated by him? Or something?

(Liu Qingge thinks Shen Qingqiu's older brother is so cool and really wants to hang out with him, but if Shen Yuan calls him Didi one more time Liu Qingge's barely held back "Yes, Gege?" Is going to jump out of his mouth and he WILL Qi deviate and EXPLODE)

When Binghe enters the equation shit gets a lot weirder.

First, he believes Shen Yuan to be Shen Qingqiu's neglected spouse (Shizun keeps leaving his poor wife alone when he goes out on night hunts and to visit brothels! Shen Yuan has needs!! He should be with someone who cherished him!! Someone who would treat him as he deserves to be treated, someone who'd wait hand and foot on him!!!) needless to say, Luo Binghe's teenage fantasies take on an even more illicit turn than in canon (it goes from "STERN TEACHER POUNDED BY STUDENT AT BAIZHAN TRAINING GROUNDS" to "NEGLECTED WIFE CHEATS WITH STUDENT ON HUSBAND'S BED!! IMPREGNATED WHILE HUSBAND IS AWAY")

Luo Binghe, of course, does his best to seduce him, but ends up being coddled and cuddled.

"it's like I'm his handmaiden, his shadow, the only witness to my lady's heartbreak at her husband's cold regard and indiscretions. Shizun won't spare him a moment if not to discuss cultivation or business! He won't allow Shen Yuan more than a head pat! and move away from any other touch! How ungrateful! They don't even share a bed! I brush his hair, I dress him every morning, I pour him tea and he lets me rest my weary head on his lap. The intimacy we share is not sexual, but Ning-Shijie, I wish it was! I saw the outline of his dick yesterday and I need it!"

"A-Luo please stop talking."

Then, he realizes he misunderstood. Shen Yuan is a cultivator so of course he looks so young! Shen Yuan is clearly Shen Qingqiu's father. He's constantly worried for his un-filial son and remains by his side!! That explains everything!!!(LONELY DILF RIDES YOUNG MAN ON QING JING'S LIBRARY!! HE WISHES YOUNG MAN WAS HIS SON!!!!)

He goes from trying to steal Shen Qingqiu's wife to steal his father. He could be Shen Yuan's friend, lover, and son. His student. His confidant. His silly rabbit.

Shen Qingqiu KNOWS this. But nobody will fucking believe him!! The jiejies at the pavilion giggle and tell him he must be exaggerating, and when he went to Yue Qingyuan so he could intervene and fix it, Yue Qi just looked at him dead eyed and said to "Let him." !!! Let him what?? Deflower our father Qi-Ge??? Shame on you!! That beast is trying to break this family apart!!

But wait!!! look!!! a crack opened in the fabric of space and reality, leading directly to hell. Wouldn't it be a shame if someone were to, accidentally, drop kick this homewrecker inside it?

Luo Binghe is gone when Shen Qingqiu realizes oh wait, that was a demon mark on his forehead wasn't it. Oh good, now he has an excuse. Baba will understand.

(Baba doesn't understand. Baba acts as if he's lost his soul and won't look him in the eye. He's also growing mushrooms bodies in the garden, and added a drop of Shen Qingqiu's blood in the seeds before planting? Which is odd. but at least if he's gardening then he's not staring at that swordmound for hours on end)

I don't even know where I'm going with this

[tanaor]

Want to worldbuild like a pro??

(📖 Master tips and everything I know📖)

Hello writers! You don't know how to worldbuild? Don't know where to start explaining the world you have created? Don't worry, you are in the right place! I have been there myself, and after many research (and even more trial and error) I have put together a list of the best worldbuilding tips I have encountered, and also created some of my own. (I know the first one is kind of overheard, but trust me).

Don't start right away with worldbuilding. A long paragraph about how your world works and its history might overwhelm new readers. A lot of other writers suggest waiting and learning about the world at the same time the protagonist does, or if that doesn't work for your story, dropping bits of information while the story moves forward. However, if you want to give a sense of how your world works from the start...

Exposition through action. This is my favorite method, and it helps a lot if you don't want to pause your story to info dump about the world you have created. Instead, this method relies on explaining the world and its dynamics while you continue with the narrative, briefly. For example: "As always, you couldn't see any trees in the meadow. The king had ordered years ago to cut each one of them because of a prophecy that foretold that the last dragon egg would lay in an oak."

Use expressions that reference normality or routines. In the last point, we used "as always", but there are tons of expressions you could use in your writing. This helps the reader understand what is the norm in this new world and what things are common, to later detect something that is not within that norm (or sometimes just to understand the world and its traditions better).

Use flashbacks when necessary. If you need to explain a very specific or detailed topic, I suggest using a flashback scene, that will help the reader understand with the narration and dialogue, instead of just explaining it to them. It makes for a more dynamic learning experience. But, at the end...

Do whatever will intrigue you. Some readers even like info dumps, and there is not one correct way to show your world. If it would make you curious, go and do it, wether people say it's correct or not. There are a lot of successful books that randomly stop to explain something about the world, and there is nothing wrong with that if you like it.

Hope you find this list useful, and as always happy writing :)

Also, if you are interested in tips or more examples of a specific topic, you can always leave a question in my ask. I'd be glad to answer it!!

Other tips for writers: previous | next

[understandableparadox]

a comprehensive list of everything wrong with hazbin hotel.

quick note before i lose myself in madness, my standards for helluvaboss are non existent because its a free show on youtube. also i kinda like helluvaboss and i will indulge in any bias i damn well please.

oh and spoilers. i guess.

the greater narrative of the entire season is "White lady civilize inner city hoodlum". ex: The blind side. rich girl, affluent family yadda yadda.

the story is set up to be like amphibia, owl house, svtfoe, steven universe, that being starting as something episodic then transforming into story driven narrative. why? because we know the benefits and drawbacks, episodic starts allows us to wander the world, it allows us to understand the dynamics, we are not forced to reckon with anything because there is no deadline. characters are allowed to bloom and shine and the audience can actually get attached.

the source material is Vary Clearly formed from remnants of something out of a middle school edgelord narrative. the usage of transformation, the big spooky grins, the "and then i smile as my eyes glow and-"-isms which in most cases i don't mind because in some instances but in a vary Particular case its astoundingly annoying and that annoyance is like a mold, shit spreads quick.

the color Red. as a lover of homestuck cherubs and karkat and aradia, as someone who fucking loves the color red, it is so painful to say but holy shit tone it the fuck down, i know its hell but their are so many other colors that you can use, its everywhere, the streets, the air, the windows, the screens, the characters, i know the pride ring is represented with red but change up the palates every so often for backgrounds

the rush, this ties into the second point made but i think the story itself is rushed. we know everything way to early. i know way to much and it makes it hard to care about anything because im still trying to digest the last chunk of info. "oh ok, so they clear out hell once a year. oh hell has a heaven embassy? ok. oh that adam the angel, i though he wou- oh its every 6 months now. wait the exterminators die a lot? then why is everyone sca- people in hell already have weapons that can kill angels? w- oh we are in heaven now, ok ma- no one in heaven except for the elites know the exterminations occur? how do-" and its that, just this incessant rush to explain everything to you. notably that's just the god damn spark notes, we need to know everything about the characters now, every single bit of their story, their insecurities, what charlie needs to fix, how she can fix them, the major bad guys, everything. you are never allowed to dwell on a character because we need to rush towards something else. it almost feels like this should have been like... season three, it would have been a fantastic season three if you dropped the introductions honestly.

the concept of redemption. for a story of redemption to work you need to look at three things. What is there crime, Do they want to change, What is preventing them from changeing? there is only one single character that has a notable path of redemption, angel dust, but if you look through their story it feels off. What Exactly is he guilty of? he has sex, does drugs and drinks. his apparent nymphomania is tied to his sad backstory as someone forced into the sex industry so how is that their fault? then if you think about it you start to spiral and notice "hey why are most of these people in hell?" like sure some of them may deserve punishment but then you see the fucking dichotomy and its like "I was a inventor in england and died of the fucking plague, i may have made evil little contraption hoohoohoo" vs "I was a cannibal, a full on cannibal, i fucking killed people and ate them and then someone shot me". ONE OF THESE THINGS ARE A LITTLE MORE FUCKING EXTREME. i'm going to go fucking nuts, the thing they went to heaven with when presenting a case to angels on the idea that redemption and becoming a better person is actually real was angel dust not drinking at a party and not having sex with consenting adults and i want to go fucking insane. WHAT IS THE CRIME, WHO IS THROWING THE BOOK, WHAT DOES THE BOOK INTEL, ARE WE ON GOOD PLACE RULES?! half the cast dont Need redemption they need fucking help, and the other half of the cast do need redemption but they do not seek it making the point moot. sir pentious acts like he has the brain of a hyper intelligent toddler tossing about toys, its almost like he did his one bad thing of spying and then got caught, sank his little diddy about forgiveness and second chances and become a null point through out the rest of the series, sure their was Some weight to him sacrificing himself, he was a decently funny character and he had good moments but him popping up in heaven felt like a fore gone conclusion, he didn't deserve to be in hell so why do i care that he is suddenly in heaven? because its working on the concept the good place already made. no one actually deserves eternal punishment they just need help processing what makes them a dick, but instead of looking at all the parts of the afterlife that make it bad, inefficient and then creating and trying ideas to see if it work instead over a few seasons, we crash dick first into all the major plot points in regards to that and say "tada, we fixed it.".

having a sub-plot about sexual assault and its victims then having multiple sexual assault related gag ruins your point.

don't make a bunch of stereotypically jewish characters into cannibals, that was a big thing, really shouldn't have to say it.

if you are going to make a character black, make them black, you can say alastor was black but sweet seren-fucking-dippity that's not a black man.

pot meet kettle but yeah the cursing could be a little less liberal. maybe just blue hair or the pronouns, not both.

there is a very distinctive art deco/jazz aesthetic which normally i love but i feel as though it is not used to its full extent and in some cases really hurts the character design in and of itself.

this is a vary obvious bit but the story is a million times more interested in gay men then it is of lesbians, which culminates in this insane thing where the writers clearly have more talent or perhaps it would be more abt to say practice writing male gay pining then they are with lesbian pining. which i personally think is hilarious because i did not know you could min max fujoshi-ism that hard.

this next section is more to do with each character on a fundamental level, for the sake of brevity whatever there is left, i'm just doing ones with speaking roles.

13. Charlie:

(see what i mean about that red thing?)

as originally stated charlie fits rather comfortably into every white saviour narrative, though that seems to be part of her joke. though i'm not entirely sure how much of a joke it can be when its rewarded and expected to advance the plot.

her character design says nothing, it has the motif of old puppets or dolls, she wears something vaguely similar to service suits, her demonic form is just some extra horns.not to say every character needs to have their life on a clothes rack but some more snake and goat imagery would be nice

its not the chol design of charlie with snake hair, not an actual problem but its a problem to me, damn you @cholvoq for ruining my ability to look at any of the characters without wishing i was seeing your designs instead.

character wise aside from the white savoir bit, i'm having a bit of trouble understanding what the arc of the character is. she is shown to be naive, someone who doesn't understand how the world works but everytime she says something its something astoundingly clear like "people can actually get better". and its treated like someone demanded faygo in every water fountain. is the joke that the world around her to cynical or is so to naive? please pick one or the other.

now if you know me, you know i fucking hate overpowered characters with a blinding passion, one that would set alit the god damn abyss but in this one special instance, i feel like its warranted, she's the direct descendant of fucking God, she can swing her weight around a little, i mean god damn. she in so many instances looks like shes cowering so often, why would the daughter of lucifer get backed down by some rando pimp? why wasn't she the one to fight adam? sure you can say she is young but how young? her parents were there since pre-abrahamic times, most of the characters showed up in hell in the 1900s, some of them showed up in the 1600s, how old is charlie??? how long does it take for her to learn how to be strong? The story does not suffer if charlie is strong and knows she is strong. it can easily be a case of "i don't believe in violence to a weird degree". fit it into her apparent naivety about the world to believe that violence is never the answer even when dealing with a being that is unilaterally horrible and abusive and monstrous.

she ga- no im kidding, i do think her romance was waysided a bit, it would have been fine to have more scenes of them togather and in love you know?

14. Vaggie

why did you name the lesbian vaggie...? Don't do that maybe?

I like how her design is almost moth like but again i feel as though you could have amped that up.

she feels as though someone tried to combine undyne and pearl from steven universe, same story beats and design elements. it makes it hard to really distinguish her as a character.

i honestly dont have much to say about her. she is fine.

christ kill me, lets just get the big one out of the way

15. Alastor.

God Damn

where to start.

"alastor is mixed race" mixed with fucking what? concrete? there is not a single black feature on that creature, now im not saying you have to make him a png of louie armstrong but it wouldn't hurt to add a curl to the hair maybe? make it a tiny bit more wavy? Something? a crumb i beg of thee?

his symbolism is all over the god damn place, native american monsters (you know the one), voodoo, radio, puppets, stitches, circuses??? and Tentacles i guess. two of those are from closed religions so if you dumped those you would actually get a more concise character focused on the concept of vox populi as a means of societal control and influence as we see in his first song. but again that gets drowned out repeatedly by all the other random toy box bits shoved into him.

tumblr sexy man bait

he serves no purpose in the story. he does spooky stuff, pretends to do things and then goes back to sitting around looking spooky. i understand that his motif is supposed to be aloof mastermind but maybe have him do more mastermindy things? if you remove most of alastors scenes, bar the songs, it doesn't change all to much. husk and nifity can still be at the hotel, they could be looking for outs in their contracts the same as angel dust. hell it even helps with the one scene where he dose some spooky shit, asking charlie for a favor in exchange for his help in the fight with the angels instead of asking him about angel weapons which should have remained a strictly vaggie scene.

his presence in a way delegitimize the story, as I noted in in the section regarding redemption, the three parts are "what is the crime, do they want to change, what is stopping them?" and alastor kinda just spits in the face of that. he is a serial killer cannibal that has no qualms about how evil he is and apparently must continue being evil due to being under the control under someone legitimately called the Root Of All Evil. show him take a slight interest in the idea that maybe shit for him could be better, make him Want Change at the bare fucking minimum or dont have him at the hotel.

his stupid little fucking horns, big shot the troll liker wants characters to have big fucking horns, make them noticeable or dont have them.

he looks more like a dog boy, which could have been an interesting thing with the collar motif but fuck me i guess.

personal pet peeve but i fucking hate characters that have a million plus powers, stick to a set number, be creative.

im getting more petty as i go on so last point: he could have been in less episodes, he didn't need to be in dad beat dad, that should have been just a lucifer and charlie episode. inverse the red and black and i think he would be fucking great color wise, his body type is the same as ten different characters, he isnt radio enough, aside from the voice and and staff if you told me he was the fucking Cat Demon i would have been just as convinced.

16. Angel Dust

what the fuck, gay spider? its hard to actully articulate all the thoughts i have on angel dust, not in the sense that he is a deeply thought provoking character but in the fact that there is not much meat on the bones.

all around i think angel dust is kinda middling. he has a decent enough romance with husk, he has a decent enough story line that revolves around battling addiction and removing yourself from an abuser (which the story tries to brand as "Redemption???")

I dont like that most of his jokes would qualify as sexual harassment, i don't mind him being sexual as a character but continuing on when clearly someone doesn't like the jokes hurts the character.

not a critique but he is pink, which honestly ill fucking take at point, as long as its not more fucking red.

i think his design is an improvement over some of the old vivzie designs but it feels like it could have done with going a few more rounds of design changes.

same thing with alastor, charlie and vaggie, there is not enough of the animal that they are supposed to be. You could have told me angel dust was a fucking bee or something and i would have had to believe you. nothing about angel dust initially says spider, hell he dosent even have enough limps to be a fucking spider.

17. Carmilla carmine

are... are you supposed to be a rabbit...?

Big Yoai Hands

ballet fighting style, could have been cool, wish she fought more like sanji or chun li.

A single mom that works to hard, who loves her kids and never stops-

her song was decent, not great, decent. it feels as though the actress has experience singing but not in the way they tried to make her sing during her two songs. they have a obvious mexican influence, honestly just let her sing in spanish in the english dub. go listen to the spanish dub, "out for love" sounds great in spanish.

i wish i had more thoughts on them, fucking rip.

18. cherri bomb

that's not a punk aesthetic that's 2010s alt

decent character, they showed up once or twice i guess, no real thoughts.

19. egg boiz

absolutely perfect, i have not notes on them, these are perfect creatures.

20. Emily

im so fucking happy to see a singular blue character

does the naive dreamer bit better then charlie

We really shouldnt have seen her until the end of season two or middle of three.

good contrast with the other angels on screen.

Wait she is supposed to be black??? Where???

21. Husk

keith david you absolute delight, Why on gods green earth did they only give you one singing part?

one of the few charecters where its clear husk is a cat, i do like the kinda... marquee design, he is a magic cat, thats neat. i still think you can toss the wings and eyebrows and still have just as good of a charecter.

has a deeply intresting story of someone who died as a nobody, became the fat cat of hell and then was forced back to the bottom by their own vices, not used at fucking all.

huge potential, little pay off.

22. lillith

I know nothing about her except she ditched her kid and husband to vacation in heaven and i think thats kinda funny.

alot of werid things floating around her, again she shouldnt have been shown in the show at all until next season.

23. lucifer morningstar

no notes, funniest charecter, did a song based on friend like me.

few notes: i do like the idea that the immortal symbol of pride is a constant emotional wreckage constantly seeking approval through grand showmanship and manic energy that threatens to take over anything they touch.

would have liked more snake stuff on him, maybe some more goat things like horns.

that is such a stupid fucking staff lmao.

24. Adam.

alex brightman you absolute fucking delight, you should have had more songs.

I wish his design was more focused on the idea of him being a glam rock wash up

I fucking hate his mask

We shouldn't have met him until the end of the season.

25. Niffty

again she is supposed to be a bug or cockroach but nothing about her points to that.

token straight

keeps rocketing back and fourth between sexulization and infantilization

you had kimiko glenn but didnt give her a single fucking song?

26. Sir Pentious

the secret season one redeemed.

the pilot version of him felt more like someone that could do a season one redemption arc, a megalomaniac constantly attempting territory grabs, there is something you can work with, actual character flaws to work through.

essentially a child after the first episode.

actually a snake which i appreciate.

no where near steampunky enough.

27. the villians of the show dont make much sense, each one feels like they should be season long deals on their own instead of a bunch of team rocket esque idiots that show up on occasion, do a bad thing and then leave.

28. Valentino

gOD THERE IS SO MUCH RED

only a moth some of the time.

sucks as a villain, maybe they need more screen time to show why they suck in a more substantial way aside from being told that he sucks.

it is interesting that angel dust is only under his magical control when in the studio, it shows that angel dust has to make a conscious choice to return, which in turn can be made to show how abusers can draw back their victims. I do not think it was done well in this circumstance as it shows him to be cartoonishly evil, constantly flying back and fourth between sweet and utter psycho, there is no actual reason for angel dust to ever actually go back to the studio, he just does so every so often.

29. Vox

legit who cares? the only thing about him that is in any way substantial is all the dope ass fan art we get.

propaganda machine angle that is not explored at all, just hinted at. no actual barring on the story whatsoever.

why didn't he try to do the same shit as alastor by the way? he knows its bad if alastor gets in good with charlie so shouldn't it be a ass kissing race?

same body shape as literally every other male character.

tumblr sexy man version of pyrocynicals fursona.

30. Valvette

the actual poster child of the shows huge problem of "Show me, don't tell me".

apparently the glue that holds the villains together. never shown.

apparently the one that makes the love potions that valentino is famous for. had to learn about that in the fuckin wiki trivias

we know so much about her from things outside of the show.

was there to call carmilla a coward, that's her plot contribution. she shows up every now and again but its never anything substantial and serves to more around take up run time for people We Don't Need To Know Yet.

im not trying to be mean, animation is animation, we need smaller studios to have success in the industry so that other indie studios can have that success, felling a tree makes it easier for others to follow. showing that its possible to number brain rot exacs helps all animators.

but this show has so much bullshit attached to it, it has so much fucking potential that it fries my brain with unyielding frustration.

this took a bit to write, im tired, thanks for reading.

[tanadrin]

could you elaborate, why do you believe that people online continue to talk about the flint water crisis as if it were still active? Is it just ignorance of the solution or are there ongoing health issues?

i mean i think people do that bc "everything is fucked and nothing ever gets better" is a genre of post that tickles the limbic system, and in the attention economy of the internet, anything that tickles the limbic system tends to do well, bc it produces engagement. outrage, and outrage-adjacent things, and cliches like "why is no one talking about [major news article everyone is talking about]" and "don't get excited about apparently-good-thing X, here's why it's actually just as bad as [completely different thing it is in no way just as bad as]" and all that other stuff.

and because negativity and outrage--even negativity with no underlying substance--makes a bigger splash than positive stuff with real underlying substance, continuing to repeat "flint doesn't have clean water" (a crisis that did genuinely drag on for a very long time!) has more salience than the news that flint's water problem was fixed (something that took a long time when it finally was properly tackled and didn't generate a single large headline).

there's kind of a similar dynamic in climate news actually, where genuine improvements in areas like energy storage and clean energy rollout and new nuclear permitting don't make a dent in people's narrative that everything is fucked and we're making no progress because IPCC forecasts about what would happen if we hit 4 degrees of warming are genuinely very bad and scary (and, thankfully, no longer on the table!), whereas the boring policy details of stuff in the Inflation Reduction Act, or China's continuing expansion of EV manufacturing are, well... boring. although climate news is different in other ways--like, the planet will continue to warm until carbon emissions are net negative, so even as we make progress on that issue the crisis continues. it's not all good news. but there is good news there, which just gets much less traction online bc of the dynamics of how news works on the internet.

needless to say, though, i think if you want to have an accurate understanding of the world you need to internally mentally check your own tendency to succumb to engagement bait like this. worst case scenario you fall into a doom loop, which i think is pretty unhealthy just in general. but if you notice somebody post something compelling, and you click on their username, and it turns out that all they post is about how the world is fucked, and nothing good ever happens, and we're all gonna die, i think you should be suspicious of them and their motives. not because doomposting is inherently manipulative or deceptive--a lot of people genuinely are doomers! but that doesn't mean they're not responding to the limbic incentives of social media, either. after all, if you too express nothing but pessimism and outrage, then the people addicted to pessimism and outrage will applaud you for being Very Serious and give you lots of engagement and attention, and you will react accordingly.

and also, you know. some people do just lie on the internet for attention. that is absolutely a thing that happens. i am not inclined to bend over backwards to try to reconstruct a generous framing of those lies where maybe people somehow are under the mistaken impression that there is some ongoing sub-problem affecting flint that they have mistaken for being isomorphic to the original crisis. some of them are just liars!

[thevulturesquadron]

Ok, I gotta get something off my chest. PLEASE don't take this as a 'well actually' post, because it's not. I am just expressing how that particular scene in Episode 8 made me feel.

I've seen A LOT of people thirsting over the shots of Magneto in the last episode (for understandable reasons, all you need is eyes and good tastes). And hey, outside of the context, but also as a result of the intention behind the shot - a fetishized display - I'd be 'I see what you did and I appreciate what I see'. If anything, this is an indication that there had to have been queer people involved in the production of the show, because there is a fine line to walk here and queer creators know how to do that better than anyone else.

BUT I need to speak about the levels of discomfort those shots made me go through. Magneto is depicted as EXPOSED, disempowered, and humiliated in all those moments, and it's terrifying. It's like a punch to the gut each time we revisit his condition, but it's also meant to inflict guilt upon the viewer for well... enjoying the sight. He is shackled and collared, his prisoner number is on display, and he is crucified in front of screens! In front of watchers! In front of nations and in front of people that are turned on by a power dynamic that would see those that they fear or hate in chains.

I cannot express what power those moments hold. Once he is freed, his anger, his pain, his thirst for blood feel personal, feel well... justified. You see him sending the world to hell and you can't do anything but say 'good riddance'.

[casscainmainly]

My Top 10 Batgirl (2000) Moments

This is my list of top 10 Batgirl (2000) moments!! There were so many to choose from, but these are my personal favs :)). Counting down from 10 to my absolute favourite.

10. Volving

An absolute classic. Perfectly encapsulates what Cass does throughout the entire run, and more writers should play with Cass' use of language like this!

9. Beat Up Every Mob In Gotham

Perfect encapsulation of the early Barbara-Cass dynamic, and one of the funniest moments in the series. Just love the expressions and the way this shows so much of Cass' character.

8. Choosing to Write

The entirety of issue #2 builds up to this heart-wrenching moment. After delivering a dead man's final message to his wife, Cass sees the wife's reaction to the written message and decides to learn to write. A foundational moment for her character, and a nice motherly Babs scene too.

7. Alpha Redemption

Capping off issues 35 + 36, Batgirl unmasks herself to convince Alpha (an amnesiac villain) that he doesn't have to be defined by his past. Brilliantly displays her core belief that people can change, and the fact that her belief pays off makes this moment extremely moving.

6. For God's Sake

Possibly a controversial pick, but I really like this moment because it underscores some of the fundamental conflict between Babs and Cass. They love each other, but they don't always understand each other, particularly in regards to each other's disabilities. A painful moment that should have been explored more.

5. Fight For Your Life

My favourite Stephanie and Cass moment in this run. You can feel Cass' grief throughout this hallucination, but there's also so much hope and love (for Stephanie and for herself). It's an amazing conclusion to Cass' initial suicidal tendencies: instead of desiring death, she now actively fights to live.

4. Darknight Detectives

This interaction sums up a lot of Bruce and Cass' best moments. Cass' unwavering moral beliefs, Bruce's pride, their instinctive understanding of each other; they just get each other in a way few others do. I picked this one instead of the 'instinct/good answer' moment because it also marks Cass' development in her detective ability. From Moment 8 above to here, the confidence in her mental capacities has grown so much. She really volved!

3. Perfect For A Year

I mean of course this had to be here. These lines literally take up 90% of my brain space, it's an incredibly tense moment that illustrates Cass' desire to be perfect, her need to be useful and good. This issue is also just awesome.

2. You're... Not

Another absolute classic. Illustrates Cass' compassion and her belief that people aren't defined by their lineage, which is particularly personal to her, given her own dad. This struggle between good/bad, parent/child defines many of Cass' best stories.

1. Who Do You Think You Are? + Father's Day

What else would number 1 be?? Issue 33 is my favourite in the entire run, and the entire thing is stacked with moments that could fill up this list. I just love 'who do you think you are' because it's all of Cass' rage spilling out, and yet she still loves David Cain in her own complicated way (and he reciprocates, too). Then we have the ending, which is the BEST Bruce and Cass moment ever. The sparse, meaningful dialogue, the expressions, the reveal of the TITLE: comic book writing at its finest.

Honorary mention to the Shiva/Cass fight, which just narrowly missed out.

[vivelegalite]

dear dead boy detective (especially paynland) enjoyers: have you yet heard of the biggest gift bestowed upon the fandom so far, aka jayden's charles playlist? the one he mentioned in interviews? well, he dropped it on twitter at 19th of may. and man, do i have stuff to say about it.

there's a lot of 80's bangers, for sure, great to get into the mood and character, but some of the choices...

i'm gonna focus on a few of my favourites, songs that made me go insane when i saw them. honorable mentions: - category 1 (so devoted the lines blur): ain't no mountain high enough by marvin gaye and tammi terrell, there is a light that never goes out by the smiths, inkpot gods by the amazing devil - category 2 (family life): family line and summer child by conan gray, seventeen going under by sam fender, matilda by harry styles, father by the front bottoms - category 3 (being queer in the 80s): smalltown boy by bronski beat, boys don't cry by the cure - category 4 (there's no heterosexual explanation for this one): good luck, babe! by chappel roan, yellow by coldplay, fight or flight by conan gray (is this about monty? the cat king? i need answers!), the prophecy by taylor swift, arms tonite by mother mother, sweet by cigarettes after sex, head over heels by tears for fears

this list is by no means complete or comprehensive!

and now, the songs that made me go the craziest: (they're predominantly in charles' pov as it's his playlist)

found heaven by conan gray

the only reason this song made it into the list and not the honorable mentions instead of smalltown boy is that it makes almost the same point, just so much more explicitly. i don't think i have to say much about it, it's a story of a young person griping with their queerness, being forced to leave home, a common theme of the playlist. "you're in love, you found heaven" when he chose edwin over his own afterlife, heavily implied to be heaven, and built his heaven with him on the mortal plane? ouch! (and we see this same notion repeated in another bop from the playlist, heaven is a place on earth by belinda carlisle).

2. like real people do by hozier

"i miss kissing" charles rowland, 202X romantic meaning aside, the verses show a sort of a common understanding the boys have around the manner of their deaths and their lives before it. we already know from the show they don't really talk about it, with edwin not knowing about the severity of the abuse charles suffered. it feels like one of them saying "let the past be past, we're together now, yeah?". but also, jayden: can there ever be a platonic explanation for this? ghosts can't touch, can't feel, so they wish they could just kiss like "real" (alive?) people do?

3. flaws by bastille

not the most romantic song, but i absolutely love how well it fits their dynamic. despite his edwardian brand of repression, edwin truly is the one that's more open about his feelings (recognising of course that in this case, the bar is so low it's in hell. haha, get it). edwin has worn his flaws upon his sleeve, and charles has held them buried - eg. bottling up all of his anger and resentment towards his family and his own death. the song presents a very sweet outlook, in which their flaws are brought up to the surface (for example, charles' outburst against the night nurse in episode 4), but they learn to accept them as they are, an extension of themselves.

4. a pearl by mitski

you know it's gonna get intense if there's a mitski song in the mix.

the song is about a person who finds love in their partner, someone who treats them way better than they've ever been treated - and yet they cannot bring themselves to reciprocate the affection ("it's not that i don't want you, sorry i can't take your touch") despite reciprocating the feelings themselves because of the trauma. charles is known to bottle things up ("you're growing tired of me and all the things i don't talk about"). the person in the song recognises the love the other person holds for them ("you love me so hard and i still can't sleep"), which reminds me of charles' response to edwin's confession. not a "no", but a "maybe, as time passes".

5. fair by the amazing devil

this one made me genuinely gasp when i first delved into the lyrics. it's simply so sweet, such a genuine and domestic portrayal of love. at first i thought it was way too open about being a love song (normal text instead of the subtext i'd be used to) for jayden to choose it with edwin in mind, but... there's no one else it can really be about. it's far too domestic, too "established" to refer to crystal. refers to a relationship that's laster for a longer while.

the narrator in the first verse is a person deeply in love with the other person, someone who loves to make his lover laugh and simply drinks in their presence. the "he" in the song i believe is charles, while the "she" refers to edwin. edwin promises to fight off anyone - or any feelings pulling charles down (we can see this in the first episode: "you ever think... what if death did catch us? she'd force us to go to the afterlife and split up" "i will make sure this never happens."). charles feels left behind by the world (seeing as he clings to crystal at first, refering to her as "someone their age who's still alive") and believes edwin to be so much stronger than he's ever been. i'm not going to break down the song verse by verse, but if you read it yourself while subbing out "he" for charles and "she" for edwin you'll see just how sweet (and... strangely very in character?) the song is.

6. work song by hozier

if the previous song made me gasp when i saw the lyrics, this one made me go "NO WAY" out loud when i saw the title. the first one verse is just pure toothrotting sweetness, but the chorus is what i want to draw attention to:

when my time comes around lay me gently in the cold, dark earth no grave can hold my body down i'll crawl home to her

HELLO? charles, who keeps escaping death and afterlife to be able to stay with edwin? charles, as he literally takes his last breath with edwin right there, choosing to be by his side rather than move on? charles, who keeps choosing him despite night nurse's promises and threats? charles, who literally crawled through hell for him?

verse 2, to me, can be interpreted as referring to when charles died. edwin found him at his worst, and he "woke" up with his presence comforting him. he was shivering due to hypothermia and his injuries. edwin didn't ask him about what happened or pushed him, he simply listened. the lines "i didn't care much how long i lived, but I swear, i thought i dreamed her" are pretty self explanatory.

in verse 3 we still see the same attitude of "damn the afterlife, at least we have each other" as charles portrays througout the series. they're free, and heaven and hell are simply words to him.

7. orpheus by vincent lima

i literally have no words for this one. it fits too well. if you want commentary for this one, just... i don't know, rewatch the staircase scene.

8. francesca by hozier

(cracks knuckles) this is the big one. the album francesca is from, unreal unearth, is based on dante alighieri's divine comedy, a fourteenth century poem about a man venturing into hell, purgatory and eventually heaven. the eponymous francesca is one francesca di rimini, a woman who was politically married off to a man older than her, called giovanni malatesta. francesca didn't love him, and eventually fell deep in love with giovanni's younger brother, paolo. the two carried on with the affair for years, before being murdered by giovanni upon his finding out. francesca and paolo are mentioned in canto v of the first book, inferno, as two souls damned in the second circle of hell, lust. their punishment is to be permanently locked in a hurricane, swept away by the winds the moment they manage to get close enough to touch one another.

as opposed to their portrayal in the poem, the song is from the perspective of paolo, explaining that no matter the punishment, he wouldn't change anything about his life because he got to know, and love, francesca.

the first verse brings to mind the scenes in hell, especially on the staircase ("do you think I'd give up? that this might've shook the love from me? or that I was on the brink? how could you think, darlin', i'd scare so easily?" as an echo of charles' "sorry. no version of this where i didn't come get you"). "my life was a storm since i was born, how could i fear any hurricane?" could relate to charles' tumultuous family life, an assurance that nothing he has to deal with while by edwin's side will faze him given the things he's lived through. no, despite everything he's suffered through, charles wouldn't do anything differently - because his (admittedly shitty) life led him to edwin ("i'd tell them, put me back in"). we already know charles would choose him over heaven, willingly sacrificing his own afterlife to stay with a boy he's known for hours, someone kind enough to keep him company as he drew his final breath. all of it - his father's abuse, his schoolmates' bigotry, the pain of his own death, as well as everything he's gone through since - he'd do it all again, for edwin.

"for all that was said of where we'd end up at the end of it" could be taken as an allusion to the fate the boys would meet at "at the end of it", when they're finally caught by death and separated, or as more of a general "if you sin, you will go to hell when you die" (up to you to decide what the sin itself would be - an interpretation that would work with other songs on the playlist is that one such sin would be same sex attraction). then their hearts ceased, they never knew "peace", nor did they want to find it in death. their deaths were too soon, them being ripped away from life, but even though it would break his heart: charles would ask to do it all again.

the outro, i think, beautifully pulls it all together: heaven is not fit to house a love like theirs.

to wrap it all up:

jayden, what were you cooking in there? what do you know??

[hearts-are-connected]

Dang it, I love this ship and I love the enemies to lovers trope. I get that a lot of people see them as a surrogate father and daughter relationship, but it feels like a been there/done that kinda thing.

As much as I love that trope, I'm also a little tired of it. There's only so much Last of Us style found family I take after seeing it for so many years.

The thing I love about VaultGhoul or Ghoulcy is the idea of Lucy breaking down of Cooper's walls while he helps build hers up.

Is he incredibly cruel to her and those around him in the first season? Yes, extremely

Does he need to chill out and find some of his humanity that's been buried under 200+ years of wasteland survival and bitterness? Yes

Who can bring that needed direction to his life while learning the ways of the new world she finds herself in? Lucy MacLean

I know that the canon ship of the show at this moment is Lucy and Maximus, and as much as I love him, I find the pairing obvious and kind of boring from a story telling perspective. I loved it on my first viewing, but upon re-watching the series, I wasn't as behind it as before. I see their relationship, kiss and all, as a kind of first fling for the both of them.

While it doesn't diminish the care they show one another, there's not a lot behind them as a couple. Now I know that some people might turn around to say how she and Cooper spent less time together than her and Max, but I guess the thing I look forward to is seeing what their relationship brings with the second season.

I feel like Max and Lucy will have a great friendship and I'm interested to see where the Brotherhood fits into their dynamic as well.

With Cooper though, I find his story so tragic, as it's supposed to be. He's your standard hardened survivor who only looks out for himself that's now stuck with the happy-go-lucky main character, however, she's not that character anymore by the end. She's still going to be the Lucy we love, but she's changed by the end. While not losing her compassion and some optimism, I think Cooper is going to bring out a harsher side to her as we saw when she bit off his finger.

I want to see her building up her walls and learning when to let them down. How to truly survive while still bringing her own energy to the wasteland and people around her. I want to see Cooper regaining some lost humanity while learning to truly care for another person again. To see the two of them as eventual equals in one another's eyes as they continue on their journey as reluctant allies.

I also want to say that I'm personally kind of tired of the 'age gap' argument. We have stories of teenagers falling in love with hundred year old vampires. So can we just drop the age gap thing?

As long as they're both consenting adults who understand what they're getting themselves into, who cares about an age gap.

Does it truly matter in the scheme of things when we're talking about a world with cryo-stasis and super mutants?

I personally don't think so.

I don't know if anyone will even bother reading this entire thing, and I know I went on a little long, but I wanted to write down my thoughts on the whole shipping situation with the Fallout TV show fandom at this moment.

I'm a VaultGhoul shipper and I can't wait to see where the second season takes our main trio of characters.

[loveemagicpeace]

9th house of marriage/ travel/ believe💍⛵️🎨

9th house is very beautiful house and have a lot of things that are so amazing. It represent luck, travel, faith, long journeys, adventure, philosophy, teaching, higher education, quest for meaning. It means exploring the unknown and having fun doing it. Wisdom & greater understanding of ourselves and the world around us. Here we seek answers to life’s bigger questions. Get to know the world around you. Learning and growth. And it is also the house of marriage (how do you see marriage , what kind do you want to have, what beliefs do you have about it).

This in signs through houses and I actually believe that 9th house is so much more connected to marriage and wedding live than it is 7th house. 7th house represents the person you love the relationship you want or need & what it is good for you and the marriage you want. And yes it is connected to wedding and which wedding do you want to have or where do you want to have but it’s more like thinking it’s not doing it. And yes 7th house is your first marriage you have and the 9th house is your second marriage (if you have the second marriage)but most likely 9th house is more connected to the spiritual bonding the spiritual marriage do you have with someone. And how marriage grows.

✨Aries in 9th house - you go on with your life inspired by a higher meaning. You feel independent in your own world and love to explore all parts of the world. Above all, this energy is more related to you. You like things that are bold and spontaneous. That's why your wedding can be spontaneous and not expected. It can also mean that you will have a bold wedding. And you want to always have good energy and action in your marriage. It can also be a quick wedding. Your spiritual curiosity keeps your faith at high levels and helps you move forward through the challenges of life.

🦊Taurus in 9th house- you love to travel and you are strongly connected with mother nature. Many of them decide to live far away from where they were born. You explore the world slowly and with pleasure. You like to enjoy life and like to experience the energy of other countries and cultures. Your wedding can be old school. It can have many flowers and it can also be in the garden. Maybe a wedding in a castle or something similar. But it's usually always simple. Your marriage is usually nice and pleasant. You can enjoy a lot with a person and share a lot with them.

🌵Gemini in 9th house-you can learn new things very quickly and you can quickly adapt to a foreign environment. But you also like to change things, which means you like to travel but you don't like to stay in one place for a long time. Even your beliefs can change. You like to discover new things. They like to talk and write on philosophical and religious topics. Marriage may not be a priority for you. But you are the person who will want to have a written promise and read it aloud at the wedding. Your wedding can be very interesting. But it can also mean that you get married more than once.

🏝️Cancer in 9th house- usually, people with this placement feel other places more than their own. Maybe you can feel that your home is somewhere else. And you can spend a long time looking for a place where you will truly feel at home. You have an emotional approach to things you believe in and are important to you. They can travel with their minds a lot, especially when not wanting to be far away from the places they’re used to. Your wedding will be where you will feel the most safe, beautiful and emotionally refined. And in a place where you will feel the energy. It can usually involve more family and people close to you. Your marriage will be emotional, comfortable and safe (maybe it can be with someone you've known for a long time).

🫧Leo in 9th house- you are very passionate when it comes to traveling and you like to experience new things. You like to party. This brings a dynamic and spirited energy to higher learning, spirituality, and exploration. They’re only going places in which they can learn new things and experience something from a spiritual point of view. Inspiration comes easily for them because they’re enthusiastic and ready to live their life in the most beautiful manner. The wedding will be big and there will be many people at it. Usually, the wedding is dramatic and contains a lot of people that you may not know very well. But you are usually with the person from your childhood.

🌙Virgo in 9th house- you tend to criticize a lot or always have something that could be better than it is. You are smart and focused, meaning that you can find solutions to problems easier than others. You are pragmatic when it comes to matters of philosophy and religion. You have your own principle about what you believe in and you stick to it. A wedding can often be practical and contain many details. At the same time, you can be a person who can analyze everything before getting married. Marriage is usually aimed at wanting it to be perfect and practical. Animals may also be present at the wedding.

💘Libra in 9th house-you can travel a lot with your partner and explore a lot with him. Relationships help you grow and become your own person. You believe in the beauty of the world and everywhere you go you find something that is really beautiful to you. You can dream a lot about places and want to experience as much as possible. You can fall in love with places and corners of the world. You see life as something worth living for. And you want to experience love through travel and exploration. You can do all activities with a partner or someone you have an emotional bond with. You can meet the love of your life while traveling. Or you have someone who is from another country. Even your wedding can be in a foreign country. Your marriage can be very beautiful and pleasant. You can travel a lot with this person and have fun and learn a lot from your partner as well. Can also be a dream wedding.

🩵Scorpio in 9th house- you deeply believe in things that are important to you. You have an intense view of the world and events. You like to travel to places that are mystical, mysterious and by the water. You like trips that bring you some inner healing. You experience a lot of transformation when you travel, and that's how you grow the most. Your wedding can be somewhere out in the open or even secret (so no one will even know you got married). Many things that will happen between you and your partner will remain hidden from others. Everything just between you two. You value privacy.

⭐️Sagittarius in 9th house- you live life to the fullest and with optimism. You live like every day is your last. You have a lot of passion for travel and this is where you find yourself the most. You can deal a lot with spirituality and things related to it. You can teach others a lot. And you can tell a lot about your travels. But you can have a strict opinion about what you think and about your view of the world. You accept all people and cope well with unknown things. You can gain a lot from your partner. U two can also travel a lot. Your wedding will most likely be in another country. Your marriage will be active, interesting, optimistic, fun and full of travel.

🎸Capricorn in 9th house-this has a significant impact on a person's views, academic pursuits, journey, and devotion. Capricorn signifies ambition, discipline, and realism. You may travel a lot on business or your job is active. You like to help others and look out for society. Usually these people do not have specific beliefs or have a hard time believing in anything. It may be more difficult to find trust and faith in something, but when they find it, they feel a sense of responsibility towards this. The marriage with the partner is more likely to be busy or perhaps even more distant. Or both have a more public role. Even your marriage can be publicly exposed.

🪴Aquarius in 9th house-you will probably resist anything that will be publicly exposed. You will never believe in the church or have any special contact with it (unless you have some aspects of the planet that are different). You will not be everything that others believe. You will have your faith. You will be too lazy to learn new things. You will travel to places that others will not, or to places that are a little different. You may want to travel to the same place many times. You can have a lot of friends from other countries and also a lot of people you can meet while traveling. Your wedding can be unusual and different from the others. Your marriage can be unpredictable and different. Maybe you can have many unexpected things with your partner. It can always be in flux.

🐚Pisces in 9th house-you have faith, which can also be infinite. You never stop believing because you have a lot of illusion inside you. And there is definitely a mission you should follow in this lifetime. These natives can’t be kept to only one place. Pisces are known for creating magic around them, but also for poisoning their environment when it comes to the aspects of life they haven’t explored. You always have to follow your passion & things that are good for you soul. You are very nice to everyone. And you believe that the world is full of magic, dreams and goodness. You deeply believe in soul connection of people,soulmates and everything that requires somehow higher meaning to this life. Places by the ocean are good for your soul and you actually love to be near Ocean. Your wedding can be dreamy, by the water or somewhere like a magical world. A marriage with a partner is spiritual and more deeply connected. But you have to make sure that the person doesn't cover things up or lie to you.

✨Ig-bekylibra✨

-Rebekah☁️🌊💍

[beannoss]

Something I think about a lot and wonder if maybe gets overlooked in Twilight’s story and as vitally indicative of his character is actually in the very first chapter:

Anya isn’t needed for Strix. Twilight decides to adopt her anyway.

[Spoiler warning: Mostly this post deals with early chapters already in the anime but there is reference to chapter 62, which has not yet been animated and will be in season 3]

Twilight decides it — “I’m going to rework the mission so it doesn’t involve a child because that’s too dangerous” and he’s 100% right! Donovan Desmond is canonically a far right warmonger with fascistic authoritarian aims. His government made liberal use of the SSS — a group to mirror the Stasi — who continue to operate in morally dubious ways (much more likely they’re actively morally reprehensible, though we’ve mostly only had rumours of that so far). From what we can tell, Desmond is at best an absent father and likely actually worse than that: if that's how he treats his own children, imagine how he might treat others. And the timeline seems to indicate that the experimentation performed on Anya was done under Desmond's government — even if Twilight isn't aware of experimentation on children, he is aware of both human and animal experimentation under Desmond's government. Taking all that and also the complexity of Strix's aims, undoubtedly there were other things that could be done, more straightforward if not necessarily easier.

So. Why? Why entertain the change at all? And then, having entertained it, why go back when the reasoning is indisputable?

On the Doylist level, I think Endo wanted to ensure that Anya had some agency within the set up — Endo also does this with Yor. It would be much harder to be on Twilight’s side fully, or to trust him on an ethical level/take him as any sort of moral authority, if he were just straightforwardly using these two people. To have them be active and consenting participants (arguably to actually be affirming the arrangement: Twilight sets it up, but Anya and Yor actually make it happen) even if the audience only knows the depth of their knowledge/motivations/etc currently, shifts the power dynamic in important ways.

But it also the set up tells us important things about Twilight. He is largely impatient, cold, detached in chapter one. His overarching feelings towards Anya are, I think, real annoyance, real confusion, and real impatience. He just doesn’t understand this damn kid and it turns out she’s a person which is frankly unacceptable — he’d needed and anticipated an automaton, ideally of himself in miniature form. (Though I think one could ponder whether Twilight was, in many ways, an automaton himself at this point, but that's maybe for another meta 🙃)

He’s not entirely unmoved of course — we're given to understand he’s affected when Franky tells him how many times Anya’s been adopted and returned, and isn't amused by Franky's joke about names. Franky's comment — "Just don't get attached" — reinforces this. The prospect of “the future” perturbs Twilight when he’s reading the parenting books. His initial reaction to Anya’s kidnap is horror. All these are true too.

Then there’s also this, from earlier in the chapter:

It’s exposition, yeah, and it’s also exposing. "Hopes" and "joys" are very specific words to describe those events. It could simply have been "A marriage? An ordinary life?" but describing them as such — hope for marriage; joy in ordinary life — expose something of what Twilight feels about those two experiences and, on the flipside, they expose what he deems he's lacking. No hopes of intimacy; no joy in (an ordinary) life. There's an argument as well, of course, that he's being ironic but I don't think that actually invalidates the above analysis. Drawing attention to 'hope' and 'joy' at all are revealing, regardless of Twilight's tone in thinking of them. I think it's also interesting this panel, taken in conjunction with a pair of panels in chapter 62, Twilight's backstory. The above is almost a pulled out version of this below panel of Twilight's recollection of his childhood, and of course the returning image of not just a rubbish bin but a rubbish bin on fire when it comes to disposing of his identity:

Back to Strix. Both his final interaction with Karen and the whole everything of the framing of Strix is making Twilight think (and feel, ahem) things that he hasn't for some time. Twilight decides, I’m reworking this. It can’t proceed this way. Not because Anya is a pain in his ass, not because she’s not as (apparently) intellectually advanced as he’d originally thought, not even because he thinks he can find another child who would better be exactly what mission parameters called for. No:

And what changes his mind is Anya asking to come home.

One of the important parts of this to me is this:

He seeks consent.

This moment is a keystone, I think, to understanding Twilight. It’s also more telling than he maybe realises. Twilight is decisive — we all laugh because he spirals at the drop of a hat when his daughter or wife look even mildly upset but outside those (also very telling) scenarios, he makes decisions and he pursues them. Often he makes decisions quickly. He’s a dab hand at it; it’s a large part of why he’s as good a spy as he is.

He’d decided to change Strix.

Anya asks him, in essence, not to.

So, he doesn't.

But it's wild that he entertains keeping her request at all — why? Why even entertain it? It’s dangerous; it’s impractical; there are too many moving parts outside his direct control; Anya isn’t the sort of child he’d wanted for the mission if he’d spent any time thinking about what a child might actually be like; Strix is in many ways an extremely long shot anyway, Desmond could just stop attending for reasons unknown and unrelated; etc.

So, yeah, why? Maybe because of this —

In conjunction, I often think of this moment in the cruise arc:

Twilight first naming the feeling as lonesome, and secondly tacitly conceding that he perceives Yor as a companion and that that relationship is important to him, something to be missed. What makes this for me though is that Anya calls this out "Papa's you're so sappy" and Twilight's reaction is that of someone caught-out. He doesn’t say “nuh-uh!” but he may as well have. Essentially, something landed a bit close to home, hm? Maybe some of that hope for marriage? A soupçon of joy of an ordinary life?

Twilight’s loneliness underpins many of his decisions with his family — probably without him being fully conscious of it. I think he is at least somewhat conscious of it, but also if he looks too closely... Well, best not to. I could fill this post, I think, with images that demonstrate his loneliness throughout the series; that sorrowful/pensive close-up of his eye(s) is one of the abiding motifs for Twilight throughout. I'd probably start with this one from Twilight's backstory arc:

Anya's request plays directly off his loneliness. Still though, he doesn’t immediately capitulate — he emphasises Anya’s choice. Is she sure? The last day has been scary for a child (and for him, but he's ignoring that part) and Twilight, in his increasing recognition that Anya is a person, is probably aware in the back of his mind that he hasn’t exactly been warm or welcoming or at all patient with her. Things that people respond to — he's otherwise excellent at manipulating people, so of course he understands this. So. Given she'd just had this scary experience, given he hasn't exactly been great with her: Is she sure? She wants to come home — with him?

I think the moment may get a little lost because Anya says something riffing off his own earlier thoughts and self-revelation (featuring that shadowed, lonely eye motif again!)

Were this a post about Anya, I’d talk about how it’s an important character moment for her as well by way both of demonstrating her agency/choice and also that she isn’t nearly as dumb as Twilight thinks (and the audience, maybe, also thinks).

But in my view, she didn’t actually need to say anything about it making her cry. I think she could simply have said yes in that moment and Twilight would have agreed.

Twilight’s an unreliable narrator; he’s disconnected from his heart and that shrouds his own motivations from himself — something he actually also concedes in this chapter!

And it shrouds from us just how much he actually understands himself. He’s also a master of deflection. Easy to assume or say that bringing Anya home is just to align with Strix. Nothing more to see here; nothing else going on. But also that ripping off of the mask in the panel above — and the literal 'riiip' sound effects — also indicate to us that this is an unveiling to himself.

In my view, Twilight agreeing to Anya's request, deciding to go back to original mission parameters, actually shifts his motivations, subtly. Now he’s committed not only to the original mission goals, but also to Anya. He needs Anya to succeed at Strix, not only for Strix's sake, but also because otherwise the mission will end and she’ll have to go back to the orphanage, and he’s just agreed with her not to do that (not right away, in any case). I don’t think at this point he’s thinking it’s forever — his thoughts throughout the manga indicate he still expects the Forgers to be temporary. I don't think the shift in motivation is necessarily even conscious, but given the set up, I think something inside Twilight recognises that agreeing to bring Anya home is a compact, jointly engaged. Mostly all this has become subsumed into Strix: he makes decisions. He pursues them. He deflects, even from himself. Of course it's just for the mission; this saved him the trouble of reworking it, of figuring out something else. Nothing more to see; no need to think any more on it. And to be fair to him, Strix is very high stakes, resting pretty solely on his shoulders, so of course that is, objectively, motivation enough. Why even consider beyond that?

But I personally think that to the extent he's aware of it at all, there is something else going on, that he wants to have Anya for as long as it takes him to work something else out for her. If that's the case, then of course, we have Occam’s razor: the simplest solution may be the best one.

Maybe Twilight should just keep Anya himself, eh?

[Image description: gif from Spy x Family season 1, episode 1. Twilight and Anya have just found out Anya passed her entrance exam and are overjoyed. Celebratory, Twilight picks Anya up and swoops her into the air as they smile at one another. End image description]

[nkjemisin]

Hello NK Jemisin! I'm a huge fan of yours, and I wanted to thank you for writing all of the books you've written, and doing all that you do. You're really awesome and you are doing important work! :) I had a long question, if you have time to answer! What's your commentary on creating fantasy cultures, using real ones as inspiration? You've done this before in your stories, and I wanted to know if you had any guidance on doing it well. I'm writing my first novel right now (fantasy!) and am dealing with a surprising amount of guilt regarding using real cultures as a basis for my fake ones. On one hand, I want to create a really unique fantasy world, not the bog-standard European stuff. It's not only more interesting to me, but I also admittedly want to use my story to help introduce people to concepts that might be helpful in the real world, help readers understand what these real people go through and perhaps inspire change. On the OTHER hand, I don't know if it's 'my place' to do so (I'm Black btw, but I'm not just writing about Black-coded fantasy characters). And I'm worried about representing people in a harmful way, even if it's by accident. I'm even hung up about names! Should I use names from real languages related to the cultures I'm inspired by, or should I just make them up to emphasize that, while yes these people are clearly inspired by real cultures, they are ultimately *their own* thing. I'm really conflicted on this and am hoping you can offer some feedback and/or commentary. Sorry for the long ask. Either way, have a great day and I look forward to whatever work you do next!

If I can rephrase what you're saying here, it sounds like you're concerned about cultural appropriation -- specifically, which cultures you get to "borrow from" and "remix," how much remixing you can do before you've done damage, how to depict people from cultural backgrounds other than your own, etc.

If that's what you're asking, then there are whole schools of thought on how to "appropriate appropriately." A lot of thinking on this has evolved in the past few years, for good and for ill; Own Voices, for example. (The short version: the Own Voices hashtag movement started as a grassroots attempt to get marginalized voices telling the stories of their own cultures, because there's been a nasty trend of only white/Western/Anglophone/etc. authors publishing books about those cultures. The problem? Some publishers and readers started acting as if marginalized writers weren't allowed to do anything but stories in their own cultures -- a restriction, instead of an inclusion/correction. Worse, publishers, etc started using it as a marketing shorthand, in ways that were just... not good. They made it weird, basically.) But I'm still fond of the approach that's in Writing the Other, by Nisi Shawl and Cynthia Ward. It's centered on ethnicity/race, but a lot of its approach can be extrapolated to culture. There's too much good stuff in this book to summarize it easily, but you should read it instead of a summary anyway -- it's short.

I don't see the point of guilt, when it comes to something like this. Guilt is what you feel when you've done something wrong, and admiring another culture enough to want to tell a story featuring it isn't wrong. However, there are things you need to do -- research, conversations, considerations of power dynamics -- to reduce the harm you might end up doing by telling that story as an outsider. And note that no matter what you do, though, you might still end up doing harm. (Even people writing about their own culture can end up doing that.) If you fuck up, apologize, figure out what went wrong, and try to do better next time. That's really all you can do.

And then write whatever the hell you want. There's a persistent pressure on Black writers to only cover certain subjects, certain settings; nah. We get to have range, too. You've just got to put in the work to do it well.

Good luck.

[cassandraclare]

*sighs a bit* Okay. Guys. I have been asked this question a lot, and answered it a lot. I don't know how to give a better answer — Dru & Ty&Kit share significance as main characters — so I guess I'll talk a little about comparison and structures.

First, all series have different structures. I don't think it's super useful or predictive to try to map an upcoming, unknown book series onto an existing series. In TLH the main character was Cordelia, everyone else was secondary to her, and people's roles and the significance of them altered from book to book. It was a big ensemble cast and they mostly stayed put in London especially in book 1.

TWP focuses on a smaller group of people. It also has a very different structure. In book one, Dru is not with Kit and Ty. They are in different places, both of which have their own stories that are significant to the plot. There is no way to see Place One without following Dru. There is no way to see Place Two without following Kit and Ty.

I know that TWP is a long way off. I know there are people who are very angry with me that there's such a gap, but there isn't anything currently I can do about that, or about the fact that I don't yet have the schedule for my upcoming books. That rests in the hands of several different publishers who must coordinate the release times and production schedules for four different series. I am not withholding any information about when these books come out. I simply don't know it yet.

I understand that TWP being a long way off makes for anxiety, and that those who are worried Kit and Ty will somehow be secondary are looking for tiny clues in microscopic details — micro-reading the of placement of the word "and" in my newsletter and such — that are meaningless, but I get that it all comes from anxiety. (FTR, those worried Dru will be secondary are equally anxious.)

I think there is only so much I can say. Because there's a big gap between TLH and TWP everything I do say or every image or hint about it is freighted with a weight of assumption it can't really support. Anxiety is always going to trump reassurance. And truly, at the end of the day, if you only care about Kit and Ty and find the idea of a Dru story tiresome, you will feel like they got shafted because when you absolutely hate a plotline, you will always feel like it's taking up way too much space. That's just how our minds work.

I've been doing this long enough that I know no book can survive a hostile reading. I know that Book Three of a trilogy is the one people hate until they don't. (When Clockwork Princess came out people hated it so much I considered quitting writing!) I know that it's wonderful to love a character but can also be a problem for people when I put out books that aren't about that particular character or dynamic. I know that for a lot of people, Sword Catcher and Ragpicker King are just tiresome things that have no business on my schedule because they're not Shadowhunter books. And I get it. But I also have to block it out, because I've been writing a long time, and I've gotten to a point where I know that I have to write the thing I want to be writing, because if I don't, if I sit down and try to force myself to write something I'm not feeling like writing at that time, I'll be making myself physically and mentally sick. And that's no good for anyone, really.

I suppose the positive thing is that, while this would not have been true five years ago, I am at the place where I want very much to be writing Wicked Powers. I missed these characters and am glad to be back with them. I consider this a story in which there are three main characters. And that is all I can say right now because it's all that I know.

(And this was much more of a general response to a lot of things than a specific response to this question, but I did feel like it was stuff that I needed to say. Creators are at the end of the day, just people. Sometimes we are powerless to reassure. Sometimes we are tired. Sometimes we are wrong. Sometimes we try things and they don't work. Sometimes we can't explain to you what our story is going to make you feel, because only reading it is going to tell you that. This may be one of those times.)