#and following this up is the exact opposite end of his spectrum

[55sturn]

✮ SOME TYPE OF WAY

pairing: biker!matt sturniolo x good girl fem!reader

synopsis: y/n takes matt up on the offer he proposes after they meet at a party, their tension thicker than their resolve.

warnings: swearing, reckless driving [ matt’s a thrill seeker / adrenaline junkie ], sexual tension, 18+, sexual content [ groping over and underneath the clothes ], making out, choking, spit swapping, open ending.

THIRD PERSON POV

y/n has always been a very organized person, every move she made was calculated and meticulous, not leaving enough room for error or her anxiety to spiral up a storm. some would lean toward calling her uptight, but she would let it roll off her back like water because she found a way for everything in her life to fall in line smoothly without many problems arising.

her best friend, jess, has always been the exact opposite of her. she was chaotic and messy, always running late, often being caught in compromising situations and relying on y/n to bail her out. the two were on the opposites of the personality spectrum, and people would screw their faces up at the sight of the two, but they paid no mind because their bond worked.

jess always joked about breaking y/n, turning into the opposite of her but y/n was stubborn, finding the utmost comfort in the way she lived. she didn't see the appeal of chaos and living without restriction.

but her class load had grown rather heavy, and she felt her impulse control weakening the more jess mentioned this massive influencer party that she had garnered invites for through multiple connections, and jess wasn’t backing down.

“fine. i think it’s time i take a break anyway, jess.”

“wait? are you for real right now?” jess exclaimed, shocked that for once in their friendship, she wasn’t going to a party alone.

WE ONLY MET EACH OTHER JUST THE OTHER DAY

as y/n followed jess through the crowd of people, she felt an overwhelming swarm of different and conflicting emotions, part of her wanted to turn around and walk back to her apartment, while the other part wanted to stick it out, figuring it couldn’t be as bad as she psyched herself out to believe, especially if jess, who was known for being blunt and outspoken if someone was overwhelming, could tolerate it.

y/n felt out of place, clad in a baby pink pleather mini skirt, and a matching pink long sleeve raglan baby tee, both courtesy of jess, and a pair of pink platform converse. she quickly trailed behind her best friend, who seemed to know her way around the house, more so mansion, they were partying at, heading toward the kitchen.

“so what are you wanting to drink?” jess hums, gesturing the otherworldly amounts of alcohol littering the large island in the kitchen.

“just pick something and make a drink for me.” y/n replies, turning back to face the crowd of people, watching as couples and people nearly fucked each other on various surfaces among the house. as her gaze kept flitting about the crowd of people, she briefly met the eyes of some guy across the room.

she felt her cheeks began to warm as he flashed her a lopsided smirk, his blue eyes boring into hers beneath the mop of shaggy brown hair. she returns his smirk, but hers is much gentler before turning back to jess, taking the red solo cup, staring at the dark liquid swirling in it. y/n cautiously takes a sip, while she trusts jess not to fuck her over and get her obnoxiously drunk, she’s still wary of the alcohol mixed with soda in her cup, she’s only been drunk a handful of times.

she swallows the dark drink, the taste of vodka mixed with the sweet, almost foamy taste of root beer filling her mouth, causing her to salivate ever so slightly as she takes another gracious sip.

“thank you for not giving me something other than vodka.” she laughs, watching as jess grabs two more solo cups, pouring two hefty shots of vodka into them, quickly handing one to y/n, who clinks her plastic cup against jess’ before quickly downing the shot, followed by a large gulp of her drink.

the two slowly make their way out of the kitchen, dancing with each other before beginning to talk and mingle with the rest of the people. y/n was shocked at how easily she fit into the world of influencers and content creators. as she made her way toward the deck, she felt eyes watching her, brushing it off she exited the stuffy house, finding solace in the cool april air clinging to her skin as she leaned against the railing of the wrap-around porch.

as proud as she was of herself for stepping away from her studies for a night, she still needed a moment of peace, or even just a moment alone.

but her tranquility was interrupted by the sliding door opening and shutting softly, she turned to head back inside but she was met with the same blue eyes she held contact with prior.

“hey.” he nods, pulling a cigarette from the pack that sat in his back pocket, grabbing a black and silver zippo lighter, flicking it quickly.

“hi.”

“so what’s a pretty little thing like you doing at a place like this?” he mumbled, running a hand through his hair, the dingy light from the fairy lights lining the roof catching his tattoos, completely enamouring y/n as she watched his arm flex and relax, the muscle tee he wore showing off his lean arms. at first glance, you wouldn’t expect him to have any muscle but as he moved his arm, y/n was thoroughly impressed.

“my friend dragged me here. what about you?” she replies, resting her tailbone against the railing as he smirks, his head cocked to the side as his eyes flick across her features.

“what’d’ya mean?”

“just that you don’t seem like the party either, very quiet.”

“and how do you know that, sweetheart?”

“well seeing as i came out here because it’s overwhelming in there, and you did the same, and we’re the only two people out here, i’m assuming you came out here for the same reason.” she laughs, taking a sip of her drink, holding his curious stare over the rim of the flimsy cup, not once dropping his intense gaze.

“what if i just wanted to get you alone?” he teases, watching as she rolls her eyes, laughing to himself.

“then you’d be a total creep. i don’t even know your name.” she laughs, shocking herself at how easily she warmed up to him.

“it’s matt.”

“you look like a matt.” she hums placing her empty cup on the railing beside before pushing herself up, sitting along the wide railing, her legs dangling slightly as matt puffs on his cigarette, flicking the ashes on the grass below.

“what about you? you got a name or am i gonna have to keep calling you sweetheart?”

“y/n.” she whispers, her face warming at the nickname falling from his lips, she normally wasn’t one for slightly condescending pet names, but it sounded so sickly and sinfully sweet coming from the stranger beside her.

“that suits you, a pretty name for such a pretty girl.” he muses, watching as she turns her head away from in a futile attempt to hide the blush creeping across her cheeks.

“your tattoos are really pretty.”

“you think so?” he hums, shifting closer to her to let her see them, watching as her eyes shift from each intricate piece, marvelling at the dark ink contrasting against his ivory skin.

“what’s your favourite one?”

“probably cerberus or the owl. what about you? you got any?” he asks, genuinely curious to know more about the girl beside him, wondering if there was more to the soft and timid appearance.

“wouldn’t you like to know?” she teased, crossing her legs, causing her skirt to ride up the tiniest bit, showing the smallest amount of ink on the side of her thigh, smirking as matt’s eyes shamelessly drifted to the exposed skin.

the two keep talking and getting to know one another, even going as far as to get each other’s numbers, the tension growing thick between the two until jess stumbles through the door, violently drunk as she babbles away about some guy she wanted to leave with.

“if she wants to go with him, i can give you a ride home on my bike.”

“we took an uber, so i’ll just order another one but i appreciate the offer.”

“well if you ever need a ride, just shoot me a text.”

BUT YOU ALREADY GOT ME FEELIN’ SOME TYPE OF WAY

over the course of a few weeks, y/n and matt continued to keep in touch, constantly texting one another. the tension never faltering as they bounced flirty and sexual innuendos off one another.

matt has begged for the two of them to hang out, either over facetime or in person, numerous times, even going as far as to ask to take her for a ride on his bike. but she declined every time, letting him know that her studies came first.

normally, if a girl wasn’t really interested in meeting up, whether to hang out or hook up, matt would give up within the first few days. but there was something about y/n that had him inexplicably drawn to her. the soft, delicate, almost innocent appeal to her had him feeling all sorts of ways.

talking to her had him feeling the same way speeding down the seventy stretch a couple blocks from his house on his kawasaki bike did. it was exhilarating, freeing, and terrifying all the same. everything she said, made him feel things he had never experienced, it was like he was speeding down a winding freeway, his arms outstretched on either side of him, letting fate decide what happened.

NOW IF I COULD FIGURE IT OUT, ID TAKE YOU BACK TO MY HOUSE SO WE COULD MEDDLE ABOUT

y/n sighed as she waited on the curb of the restaurant, hoping that the guy from her global economics discussion course that had asked her out would show up. but she knew deep down, he wasn’t going to.

it was another story where she was asked, only to be taken for a fool. she knew he only wanted to fuck, she knew guys were attracted to her pseudo-innocent appearance, thinking they could be the lucky one to corrupt her. but she knew better, and she always made sure the guys put up a fight before receiving what they wanted.

she sighed as she stood, wiping off the back of her jeans before pulling her phone out of her pocket. she opened her texts with jess before remembering jess was at a photoshoot for some clothing brand that reached out to her.

she stood there, glancing and forth between her phone and the sidewalk, torn between swallowing her pride and reaching out to matt to pick her up, or walking home, saving ego from taking a massive blow.

she was stubborn. she wanted to see matt, but she knew what his end goal was and she refused to take another hit to her pride and ego so quickly after being stood up and humiliated by some loser in one of her classes. so, she slowly made her way down the winding sidewalk, but the cold air made the walk somewhat unbearable, and before she knew it, she was pressing the call button, listening to the dial tone. after two rings, matt picked up.

“hey sweetheart.” he hummed into the speaker, that same taunting tone never faltering over the device.

“can you pick me up? i’ll send you my location.”

“aw, what happened? did jake stand you up, just like i said he would?” he laughs, causing her to groan. he was never malicious in the way he poked and prodded at her, he just wanted to prove she didn’t have to be right all the time.

“yeah whatever. can you pick me up or not?” she spits, fed up with the way her night turned out.

“lose the attitude and i can.” he spits back, patiently waiting for her to ask in that sugary sweet voice that had his thoughts drifting to a dark place. he knew he was going to pick her up regardless, but he just wanted to use anything he could as an excuse to hear her beg for him, he wanted hee to be completely at his mercy in every possible way.

“can you please pick me up matt? i’m cold and i just wanna go home.” she pleads, her lips falling into a slight pout, internally groaning at how quickly her resolve had faltered the second he implied and demanded that she beg for him.

“i was going to regardless, just wanted to hear you beg for my help, sweetheart.” he chuckles, he knew the way he was acting was sick and twisted, his desire to see this stubborn but oh so innocent woman crumple beneath his command overtaking all sense of chivalry in his body, his desire for her manifested through such deep desperation.

she quickly thanked him before sending a ping of her location. she pocketed her phone again, and wrapped her arms around her torso as a pathetic attempt to keep her shielded from her the cold air.

as she stood there, she fought hard to keep her thoughts at bay, refusing to let the desperation seep into the depths of her mind, fighting to keep herself from feeling pathetic. she didn’t want to feel that way, she knew her worth, but sometimes it felt impossible to find someone worthy of loving her. she wondered if she should just give up the one the thing guys wanted without a fight, she would be fine, right?

but before she could answer her own thoughts of despair, a low rumble came from her left, causing her head to snap in that direction. surely enough, the sound came from the muffled engine of matt’s motorcycle. and as she watched him swerve to idle in front of her, she couldn’t stop the filthy thoughts from infiltrating her mind. her eyes shamelessly fell to the sight of his hands wrapped tightly around the handlebars, the veins in his slender hands flexing as his thumb pressed down on the clutch. she felt her thighs clench tightly as her heartbeat thumped beneath her chest, the thumping slowly travelling down toward her heat as she watched him.

“hey sweetheart.” he hums, his tone thick with arrogance, watching as she shamelessly checked him out. she knew she shouldn’t be thinking of him the way she was, but the way his shoulder blades and muscle tightened and flexed as he shifted forward, leaving space for her to climb on behind him, made her want to rake her nails down the skin, her mind running amok with the possible ways he would react to her touch.

she shakes her head as she steps forward, timidly taking a step toward his bike. he watched her, taking in however scared she was, sighing he, grabs her wrist, stopping her from climbing over and straddling the seat behind him.

“you know i’ll be careful right? i’m not going to do anything that could end with you getting severely hurt.” he whispers, his eyes full of nothing but sincerity as she meets his stare, a meek smile on her face as she nods.

“good girl. now climb on, i’m gonna take my chances and take you on that ride i promised.”

her thighs clench involuntarily at the slight praise that falls from his lips, she could feel her resolve slipping further and further away the longer she was in his presence. and the fact that she would be sitting behind him, with her arms tightly wound around his waist felt much more intimate than it should’ve.

she quickly straddled the seat behind him, her hands began to shake slightly as she wrapped her arms around him, her hands flat against his abdomen as he kicked up the kickstand, leaning the bike to the other side with his foot on the ground as he revved the engine, causing her hands to ball into fists, with his black shirt tightly twisted between her fingers. as matt took off, he couldn’t help but chuckle as her grasp tightened against him, her cheek pressing against his back between his shoulder blades.

her grip began to loosen as matt took her around the city, and her head lifted from his back, as she took in the scenery around her. but matt missed the way she felt pressed so tightly against him, so in true torturous fashion, he sped up, causing her to go right back to pressing so closely against him, her hands pressing against his lower stomach so firmly, he was sure there’d be marks.

but he didn’t wanted to scare her too much, so he slowed down, coming to a full stop as the light above him flickered to red. as she pulled away, she felt her adrenaline build up and she wanted to finally tease him the way he did her, so she let her hands wander down his stomach, teasingly drifting lower, only to stop right above his belt and move back up.

as her hand trailed down toward his belt, matt’s breath hitched in his throat. he desperately wanted to feel her touch him where he needed it most, but his ego was bruised, he wanted to be the one in control, and right now, he was nothing putty in her hand. the light was still red and his heart was beating so harshly against his ribcage, that felt like it was about to burst out of his chest as her hand slipped beneath his shirt, her fingers slipping beneath the waistband of his jeans.

as the light turned green, she pushed her hand further beyond his waistband, and he had never been more thankful to be driving at night. but before he could feel any relief, her hand was back against his stomach, with her head against his back as he drove her along the coast.

but once again they reached another red light, only one other vehicle a few lanes over from them, and this time she threw caution to the wind as her hand drifted downward again, this time not stopping at his belt. and soon enough, her hand was firmly palming his cock through his jeans, and he was biting his bottom lip so hard that the metallic taste of blood began filling his mouth.

he felt his cock stiffen even more as her hand wrapped around his length through his jeans, softly squeezing and applying pressure to it. her hand lifted momentarily, only for it to slip beneath the loosened waistband of his jeans, resuming her teasing but this time, only through one layer of clothing. her thumb traced along his tip, and she smirked to her as she felt the wet spot from his precum seeping through the material. she grasped his semi-thick cock over his boxers, slowly jerking her hand back and forth as best as she could until the light turned green. and matt had never been so lucky that the light turned green when it did because if she had kept up her ministrations, he would’ve cum in his pants right then and there.

he wasted no time in speeding off as the light turned green, taking her to a somewhat secluded turn off. he quickly killed the engine, forced the kickstand down, and ripped off his helmet, moving to stand in front of her before she could ask questions.

his lips were roughly pressing against hers in almost no time as she side-saddled the bike, his left hand pawing at her hips beneath the thin hoodie she wore as he pulled her closer, while his right hand wrapped around her throat, gently squeezing the soft flesh.

the kiss was rough, a clash of teeth, and full of lust. it was desperate and sloppy, their tongues brushing and pushing against one another as spit and drool accumulated along the muscles, transferring from mouth to mouth. her nails scraped against his scalp as she tugged on the soft brown curls, while her other hand held his bicep, her nails digging into the taught flesh slightly, leaving crescent shaped marks along the tattoos. pulling away, matt pulled her bottom lip with him slightly, entrance by the way it bounced back into its natural pout.

“fuck.” he hums, his chest heaving as she watches him, her pupils blown out with lust, the black drowning out their normal colour.

“i don’t know what came over me, i’m sorry.”

“don’t you dare apologize, sweetheart. but that is making it nearly impossible to not take you back to my house and ruin you.”

“what if i want that too?”

taglist: @33sturniolo @worldlxvlys @luv4kozume @gamermattsgf @vanteguccir @sturnioloshacker @greatooglymooglyyy @sugrhigh @thugpugs4lrh @teapartyprincess4two @lustfulslxt @patscorner @guccifrog @muwapsturniolo @soursturniolo @solarsturniolo @sturnioloshacker @sturniolosmind @meanttomeet @breeloveschris @ghostofbrock @l9vesick @mylifeisevenstranger @themattgirl @freshloveee @fawnchives @cindylcuwho @freshloveforthefit @freshsturns @forevergirlposts @sturniolo-fav-matt @cupidsword @sturnifyed @querenciasturniolo @pinklittleflower @ellie-luvsfics @strniolo @junnniiieee07 @hearts4chris @hearts4chriss @evie-sturns @nicksmainbitch @inlovewithmattstur @hysteria-things @sturniolossss @iliketotalk

[TAGLIST IS FULL!] © 55STURN 2024 ! REBLOGS NOT EXPECTED BUT GREATLY APPRECIATED ! [ you do not have permission to copy or save or share my work to other platforms and devices! ]

[whatdoyoumeanitsnotawesome]

Frankie’s story this series does a couple interesting things. again we get an Hey! Vous Autre segment where his exes spill the tea, again he’s distracted from the games, he’s no longer scoring, and he’s not around when the team isn’t playing. in s2 when Fish stopped scoring, Sanger issued the ultimatum, ‘score us a goal or you’re cut’, and it wasn’t a threat. granted, Shoresy isn’t scoring either, but it’s repeatedly pointed out that he finds other ways to contribute, which Frankie isn’t doing. he’s not skating, hitting, or fighting, he’s just floating. and we know what Shoresy and Nat think about floaters, about players who don’t hate to lose.

in @undeadasdisco’s post from 28 October 2023, they argue that “the scene where jj’s exes collectively shit on his diet and weight is not supposed to be something you agree with or like. you are supposed to come out of that scene hating the way jj is being treated.” at the time, this seemed completely correct. in light of the follow-up scene in s3, though, it now appears that it’s a set-up to establish that Frankie is a chronic floater in all aspects of his life. just like in his hockey career, he’s simply not putting any effort into his love life.

all these women are interested in him, for whatever reason, and the moment he feels like he ‘has’ them, he consistently takes their affection for granted, he behaves as a slob, he doesn’t take any care of himself, and he messes them around emotionally and cheats on them. every. time. Laurence even gave him a second chance, and he immediately squandered it by trying to get her to agree to a threesome, i. e., allowing him to sleep with someone else.

this consistent demonstration that Frankie doesn’t care about anyone but himself is the exact opposite of the ideal hockey player that Nat and Shoresy hold dear, and the opposite of their organisation’s core philosophy: by the community, for the community. Shoresy is a hockey player, so despite not wanting to, he spends his time and effort to give back to the community. Frankie is nowhere to be found during the salmon arms or the webisode. Shoresy sacrifices his body, takes injury after injury, protecting his fellow players on the ice. Frankie never once makes the same sacrifice and only scores one goal the entire tournament.

last series it appeared that Shoresy and Hitch were one end of a spectrum, wanting adult relationships and stability, with Goody and Dolo on the other end, chasin’ skirt and never looking back, and Frankie in the middle, taking his first steps from being more like the younger guys to being more like the more mature guys. this series we see that’s not the dichotomy we’ve been shown at all; rather, it’s the ideal hockey player, an acolyte of the sport, as embodied by Waffle, versus the poseur, the hockey ‘lifestyle’ guy, as embodied by Frankie.

[literary-illuminati]

2024 Book Review #8 – The Only Good Indians by Stephen Graham James

This has been on my tbr for long enough that I entirely forget what originally put it there – the only thing I actually knew going in was that the author was ‘the My Heart is a Chainsaw guy’ (I have not read My Heart is a Chainsaw yet either). Given the genre, that was honestly probably ideal. As was the fact that a blizzard hit a couple days after I started it and I’ve been reading it looking out on a frozen snowscape – it’s very much a winter sort of story.

The story’s told in five parts of wildly varying lengths, each with it’s own endearingly cheesy b-horror movie title and each following a different protagonist. The first four each follow one of a friend group who, as a bunch of fuckup teenagers, trespassed on hunting grounds that were really supposed to be reserved for elders and shot a bunch of elk they had no right to – including a pregnant young cow who was for one reason or another special. Ten years later, the Elk-Headed Woman drags herself back into the world, and begins getting her vengeance for the death of her and her child on each of them (and everyone they care about) in turn.

I have a longstanding opinion that a full-length novel is just too long to sustain a real horror story – by 300 pages things have fairly reliably collapse into urban fantasy or action or farce. The breakup into different parts solves this very well – they’re all very much connected and interwoven, but each feels like its own distinct narrative unit with its own tension and rising action.

And this is very much a horror story in the classic, just barely short of shlocky sense. A trespass against vague but understood sacred laws that leads to horrific and bloody retribution against everyone involved is as close to archtypal horror as you can possibly get, after all. The last section is even focused on a Final Girl! Specifically, it’s a subgenre that I can’t really name but feels very familiar to me – and one I’ve always been a huge fan of, anyway. It’s somewhere downstream of The Count of Monte Cristo, a story where the agent of supernatural doom spends the majority of the story consciously working in the background, manipulating events and exacerbating the protagonist/victim’s flaws to lead them to a contrived but tragic end? Think the netflix Fall of the House of Usher, but like about the exact opposite end of the socioeconomic spectrum.

Class is very much something the book cares about. All four protagonists grew up poor on a reservation with little in the way of wealth or opportunity, and by the time they’d turned eighteen all four of them were the kind of young asshole who made life just a little bit worse for everyone around them dealing with the same shit. Ten years latter the three of them who’ve survived that long have gotten over themselves and matured in their own way (and to their own degree), but none of them are exactly flush with cash or living lives of bourgeois respectability (though Lewis comes close). The precarity and only tenuous connections to the society around them just make them better prey for what’s hunting them, of course – in every case, death comes after the (either metaphorical or very viscerally literal) destruction of the few close ties they have, and the only one to survive is also the only one who could really expect people to come rushing to their rescue.

Speaking of close ties the protagonists have – the book’s conception of gender is fascinatingly weird, or at least fascinating in the sense that I’m not at all sure how intentional it is. Of the four main victims, one dies alone at eighteen, and the other three who survive the next ten years are all pretty much explicitly saved (or at least improved and uplifted) by a relationship with a woman who, if not flawless, is basically strictly his moral and practical better. Even the most consistent fuckup of the group has a redeeming feature of being willing to do just about anything for his daughter (despite having lost the chance to really be a big part of her life several times over). With one exception, these women all then die, messily, entirely and explicitly to fuck with and ruin the lives of their men. It’s like someone read Women in Refrigerators and went ‘well there’s an idea...’. It’s blatant enough that I feel like it’s got to be making a deliberate point, but (unless it’s just genre emulation) what the point is does escape me slightly.

Also on the note of stuff I’m quite sure is going over my head at least a bit – basketball! It’s a pretty vital thread running through the entire book, to the point that one of the big set pieces of the final act is literally a basketball game with the monster. Which, like, I watched enough bad anime as a small child to find contrived game-playing under unclear mythic rules with things that really want to kill you instinctively endearing, but I can’t really do anything with this except just point at it.

So as the title might imply, this is a novel that’s concerned with race – all but I believe exactly one character is either is either Blackfeet or Crow, more than half the book takes place on a reservation, and a chunk of the rest is spent having to deal with racist assholes of varying severity. Now, I admit that I have at this point a probably overly cynical view of books that end up on breathless ‘socially conscious horror’ or ‘s/ff from diverse creators you NEED to read’ lists online, but I was still rather pleasantly by how matter-of-factly this was handled? I suppose the best way to put it is that culture, upbringing and racialization deeply inform everyone’s characters, but it never feels like the book is preoccupied with providing some assumed naive and impressionable audience any Important Lessons or provide Good Representation to valourize or emulate? Which is probably just a sign I need to raise and re calibrate my expectations, but.

The monster doesn’t exactly work as, like, a coherent character in terms of her skills and abilities, but as a monster the Elk-Headed Woman is great. But then I love contrived fucked up tragedies and am a longstanding partisan of Spooky Deer Horror, so I suppose I would say that.

So yeah, fun read!

[wing-ed-thing]

Three-Man Squad Relationship Headcanons with Deidara and Sasori

Tags: No Reader Pronouns, Canon-Typical Violence, Poisoning Mentions

𓆃 It’s less like being stuck in the middle of an argument and more like being stuck in the middle of a pseudo-intellectual hell where one side clearly cares a lot more than the other

𓆃 Sure, like with all members of the Akatsuki, you might have to worry about an assassination attempt, but honestly, one of your partners killing you is the least of your worries.

𓆃 What you should worry about is the never-ending pissing match between Sasori and Deidara. Not to mention that they’re both on exact opposite sides of the spectrum when it comes to interacting with you

𓆃 Deidara is the most vocal about his art and jutsu. He always wants to show you something, usually in the most annoying way possible. Whether it’s waking you up so he can put a literal bomb in your hand or just blowing micro-explosions up in your face, he can and will get your attention

𓆃 You’ll be half asleep, and Deidara will put a clay creation in your hand for you to feel the craftsmanship, and he can and will blow it up when you’re still holding it

𓆃 He actually prefers it that way

𓆃 You definitely have some sort of poisoning from the detonation

𓆃 Sasori is always tinkering with something and barely paying attention to anything you say, which would be tolerable if it wasn’t for the fact that he’s also secretly a show-off

𓆃 Sasori constantly makes snide and passive-aggressive comments, all while holding up his craftsmanship as superior. He won’t outwardly demand that you look at his work, but he will patronize you and step on your mission role to handle things himself

𓆃 It’s easier not to take sides when the bickering happens. Neither can really let it go, despite Sasori always acting like he’s above it. 

𓆃 Deidara never stops talking about art once he’s in the zone, and Sasori’s snide remarks spur him on further. Both of them are too prideful to conceed

𓆃 It’s fun playing referee for their sparring matches. Sometimes, when the conversation gets heated, the two of them fight. They fight until Deidara gets knocked out, Sasori gets bored, or they recklessly get too low on chakra

𓆃 If you’re ever in a pinch and need an assist, Deidara likes to make a big show of saving you. 

𓆃 “That’ll show you to admire my art!” “My superior artwork comes to the rescue yet again!”

𓆃 Sasori is the type to grab you by the back of your collar and drag you out of the way at close range. He thinks it’s funny to attach chakra strings to you before swooping in with his battle puppets

𓆃 In fact, he thinks it’s funny and convenient to do that even when you’re not on the battlefield. If Sasori wants your attention and you don’t hear him, he will physically turn you around from whatever you’re doing

𓆃 You’ve started to feel the tiny attachment of chakra strings in your sleep. You’ve started to brush them away like spiderwebs

𓆃 Deidara likes to walk around with his shirt off. On days he’s feeling generous, he’ll let you do his hair. It’s kinda become a bonding thing between the two of you. Sometimes he’ll yammer on about something, and you pass the time by braiding his hair. 

𓆃 You remembered being able to do Hiruko’s hair once. You don’t remember why Sasori allowed it.

𓆃 “Yeah, whatever, but if you get poisoned I’m not giving you an antidote...” 

𓆃 You’re as close as an Akatsuki three-man squad will get. There’s a certain amount of healthy distrust, but at the end of the day, Sasori and Deidara are sentimental and enjoy the company... for now...

Thank you to all who liked, reblogged, followed, and supported. Your support means so much and is greatly appreciated.

[frownyalfred]

Hello! Your fic "good in red" where Bruce finds Clark drenched in blood at the batcave, did remind me of a particular train of thought I had a while ago. It was about how Clark or any kryptonian with hyper-efficient senses, would react to sensory deprivation. Especially how he'd react to sensory deprivation tanks? I thought during his initial years when his powers were developing and fluctuating, he would love the idea considering it was very overwhelming to him at the beginning.

However I thought hypothetically if he were to try one, he'd go through a real bad panic attack and dissociate. Considering he's used to feeling, hearing and seeing too much all at once, the complete absence of sensory input would push him into a bad headspace and put his mind on a overdrive. Coupled with his issues and guilt complex, the idea of missing any call for help while being in the tank would make him feel tense and paranoid the whole time, defeating the whole purpose of being in a sensory deprivation tank. Maybe for a Kryptonian under a yellow sun, a sensory deprivation tank would serve the exact opposite effect of what it would help a normal human achieve ( you know like peace of mind, tranquil? a break from overstimulation and anxiety)

But BUT what if, he uses it as unhealthy coping mechanism? For instance, what if Clark in your fic, instead of going to Bruce, goes to the Fortress and just enters the sensory deprivation tank he probably redesigned from one of those cryostasis chamber with the help of the kryptonian AI there? What if he does this at times when a mission goes downhill and he just doesn't want to feel anything at all after being overwhelmed by the agony and despair of the aftermath? I had this image of him entering a sensory deprivation tank all bloody, inspired by your fic? Bruce who comes to find Clark after receiving only radio silence from him even when he called for him, only to follow the trails of blood to find him floating in a tank also stained red with all the blood, jumping to the worst conclusion in the opposite end of the spectrum unlike your fic. How Bruce would help Clark come back then? After all, there's a reason they don't let humans in those tanks for too long. Can you imagine how bad of a headspace Clark would be in after locking himself in for hours? Would Clark even become catatonic for some time?

Seeing how much it affects Clark, would Bruce think about looking up sensory deprivation for kryptonians in more detail from the point of using it as a contingency? Would he be disgusted to think of it seeing how badly Clark was affected and yet he can't exactly dismiss the idea considering if any kryptonian went rogue, he'd need as many aces up his sleeve as possible to be able to find a way to defeat them. And the potential of a sensory deprivation tank utilized as a cage, eliminates the probability of him having to use lethal means. And even if Clark or any rogue kryptonian escapes, they'd be instantly overwhelmed and in extreme scenarios even become catatonic from the sudden influx of sensations. It gives him time to strike once again. All this information obviously needs to be saved for references and contingencies, even if it makes Bruce nauseous. He probably has nightmares of Clark begging him not to put into the tank, not again please and wakes up from drenched in sweat.

Sorry this got too long! I was just so excited and wants to blabber about it to someone! I loved that fic of yours btw! Whump you write always ends up too good to be just read and left at it! Anyways have a good day or night! (Sorry if there's any errors 😅 it's like 2am)

agh, this is an amazing take and I agree 100%. I almost -- really -- want to write a second chapter/remix of the fic now where this happens, because I agree -- it's absolutely in character for Clark and Bruce would have a trial on his hands, bringing him back from the edge.

Plus, the visual of Clark slowly lowering himself into the deprivation tank -- sobbing and covered in blood that slowly sloughs off him in the perfectly-neutral water -- compels me.

god he would be so sad *clenches fists*

[goboymusic]

There should be a big news network called DAMN (Devil’s Advocate Media Network) that presents both sides of the #political spectrum on every topic (#rightwing and #leftwing). Viewers would still get to experience confirmation bias while getting a healthy dose of the opposite side.

“#Die” is about dying and partying with a bunch of happy ghosts.

Unbeknownst to me at the time of writing “Die,” the melody at 00:39 is dangerously similar to a popular melody from the 1960s. It’s not an exact match, so I’ve decided to leave it as it is, but it’s close enough that it might need to be changed someday. That’ll happen from time to time - melody ideas arise, and sometimes they end up being pre-existing melodies used by another artist. Thanks brain.

The lyrics for “Die” were written while I was drinking an alcoholic beverage in a fancy, hi-tech massage chair, along with the lyrics for six other songs on GoBoy 6. The event is burned into my memory. See, my parents bought a massage chair, and I couldn’t help myself. I drove there on a Saturday and spent several hours in that chair writing lyrics.

“Die” had a sober recording session and wasn’t nearly as hard on my vocal cords as “Blah (Song 106).” I could speak to colleagues without any issues the following day at work.

One of the original vocal melodies written for “Die” wasn’t working, so it was deleted from the song and later reused in “Rebecca (Song 122)” at 00:38. That’ll happen from time to time - a melody won’t work at a specific key and/or tempo, so it’ll be deleted and reused for a future song.

The intro section from 00:00 - 00:35 wasn’t part of the original songwriting, but was added during the later stages of production for variety. Initially, that section was midway through the song, not the start. Believing it was the most interesting segment, it was moved to the beginning. Eventually it would be used for a GoBoy Clip titled “happiest song in the world.”

Like all songs on GoBoy 6, the instrument tracks were developed through experimentation with software instruments. It was like playing darts, only the darts were an assortment of kitchen utensils and art supplies, and the efficiency of those items were discovered through trial and error. After about 3-5 days of experimentation, the final instrument tracks were complete (excerpt from post 101).

Songs 102 - 116 (total of 15 songs) were produced simultaneously, resulting in an eight-month gap in releases. Melodies, chord structures and lyrics were written for all 16 songs over the course of four days before recording any of them. During the recording phase, one-week intervals took place between recording sessions to let vocal cords recover (the raspy, punk style sounds cool, but it destroys your voice after a few hours). During those intervals, all free time was spent splicing and aligning the vocal tracks to the tempo, pitch correction (everyone uses pitch correction in the studio, even Beyoncé, shut up), then selecting and splicing together the best vocal takes (excerpt from post 102).

[aftertheskyy]

I love Arthur Pendragon because

y'all it’s been a minute how are you😭

I love Arthur Pendragon because he has the perfect set up to be a bad guy. You’ve got a dead mom, an absent father, high expectations from said father, tons of money and resources, a toxic household, an emotionally abusive parent, yadda yadda yadda. 

Arthur grew up with Uther for a role model; he grew up under a parent who was selfish and vengeful, who sought his version of justice through fear and violence. 

Arthur has the ultimate lineup to choose villainy. It would be so easy for him to blindly follow Uther’s path because he doesn’t really know any other path to follow. And because Uther forces his beliefs (especially regarding magic) onto Arthur (and Morgana), it seems that the natural thing for Arthur to do would be to become just as fearful and authoritative as Uther.

But Arthur doesn’t.

Arthur thinks for himself and sees the flaws in Uther’s ideas. He wants to build a better Camelot. He grows into a hero, not a villain. And yeah, he’s a bit of a douche at times, BUT HES A LOVEABLE DOUCHE. In the beginning of the series, he was that kind that arrogant jock stereotype but he still cared for Merlin and the others around him. (Poisoned Chalice, POISONED CHALICE) 

He's not heartless like Uther-- he's the exact opposite.

It was similar with Morgana, but she did become evil. Personally, I think this could be attributed to the fact that her savior figure was Morgause (who leaned towards the evil end of the spectrum) and Arthur’s savior figure was Merlin (who is anything but). (And that’s another tangent for another time)

Arthur has the potential to become just as tyrannical and dictating as Uther but never does. And goshdarnit, I love him for that.

[6sakusa]

‘why’ part 2, miya atsumu.

wc : 1.6k

warnings : post break up themes, implications of toxic relationship, cheating.

part 1

it had been a year, yes, an entire year had passed and yet miya atsumu still couldn’t get his mind off of you, in fact, it seemed to get worse as time progressed. the thought of you not being here by his side was suddenly becoming a reality and it took his mind by a sickening storm. initially, he believed that you’d come back and he’d get the chance to sort out the entire situation, perhaps beg for your forgiveness and give you the speech he had been practicing for the past months that would guarantee the two of you getting back together.

he made sure to change the locks of what used to be your shared apartment just to make sure if you had come by to get the rest of your stuff you wouldn’t be able to get inside unless he was home. he took almost all the extra precautions necessary and he had the upmost faith that you be back in his arms soon enough. and when you were, he swore to himself that he would never let you go. he had it all planned out, the two of you would settle down together and have a beautiful family, all his past digressions would be forgotten.

it had even become so bad to the point where he had begun skipping out practices, babbling to his teammates about how “y/n might come back today!”. they would all shoot him sympathetic glances at his words knowing that even though he was too blind to see it you would be the biggest fool to come crawling back and therefore, it would never happen.

it took osamu talking some harsh sense into him much to bokuto and hinata’s dismay to get him to understand the severity of the entire situation.

“you do realise you cheated on her? over and over again, why would she come back? be realistic, you two are over and you’ll probably never see her again, it’s been months.” atsumu glanced up at his brothers harsh words but chose to disregard them. “you’ll see, you’ll all see.”

but the day never came, he never heard your light knock on the door, the clicking of your heels as you walked into your shared apartment, the smile that etched your lips as you locked eyes with him, your laugh that echoed throughout the living-room when he told a joke that he knew you’d find funny. and he missed all those things with his entire heart, it was from then on he understood that you were irreplaceable.

looking back on it he couldn’t believe how he had made you feel, he wondered how long you had known, how many nights did you cry alone knowing that he was lying to you? how hard was it to pretend that everything was alright because you wanted to hold on to your relationship with him more than anything? how long did you believe that it was going to be possible to fix things? why did you give up…?

“don’t you think you're becoming a little too obsessed?” his brother asked the day he proposed hiring a private investigator to find out where you’d gone off to. even though he respected your privacy it was hard knowing nothing about your current situation or at the very least, if you were alright. all of your friends had disconnected from him and you had completely ceased speaking to his, even your parents were no longer anywhere to be found. more than anything he just wanted to know that you were alive and okay.

“she’s probably fine and is doing better off now.” his twin assured him, but those words didn’t have the comfort that was intended. better off? he thought to himself. but the two of you had promised to always love each other, he’d even given you a ring for God’s sake, how could you be better off? how could you function? why weren’t you broken the way he was? were you not searching for him too? you knew exactly where to find him if you wanted to, maybe, you just didn’t care and atsumu couldn’t bear the thought of it.

and maybe, that’s what led him to a late night walk at 11pm in the midst of the night to clear his head. he knew he didn’t deserve you but that didn’t mean he could live without you. he knew what he needed to do and he was willing to go to any lengths to do it, to be better for you, and to be loved by you once again, and in return he’d be the perfect boyfriend and this time he’d keep his promise, this time you’d keep the ring on.

the frosty air of the midnight streets prickled against his skin but it was nothing compared to the feeling of emptiness that was left inside him from the moment you were gone, it was almost as if he was immune to everything, he was completely numb and it was even beginning to worry those who were closest to him. even osamu had stated he’d never seen his twin brother this depressed in his entire life, and what was worse is that he couldn’t do anything to fix it.

atsumu was only pulled out of his thoughts by the dim light radiating from a corner store, the crimson neon sign that echoed ‘open’ was slowly dying out but he paid no attention to it as he pushed open the door, becoming engulfed in the warm atmosphere that originated from the artificial heaters. he sighed to himself rubbing his palm together in a pathetic attempt to create friction and that’s when he felt it. a thud in the side of his shoulder followed by rattling of various products hitting the floor.

“my bad, let me help you there.” he watched as the figure before him froze at the sound of his voice and he couldn't believe he didn’t notice at first. even though your hat was gracefully hiding your face he should’ve known at the familiar scent of your perfume.

“y/n?” his voice was unsteady even though he’d imagined this moment countless times. he had an entire speech prepared for you, what was he going to say again? he couldn’t recall, his mind went blank at the sight of you and by the way you still hadn’t moved, not even to look up at him told that you had almost the same reaction, except the feelings that erupted in your chests were entirely different. atsumu was blinded by love and you on the other hand, hate. you were on two opposite ends of the spectrum but that was something your ex-boyfriend refused to acknowledge.

“i’ve been looking everywhere for you, i can’t believe you’re here, did you come back for me? i’ve been wa—“

his voice was cut off by a man who turned the corner to see you collecting items off the ground. “babe, are you okay?” he rushed to your side to assist you.

babe? atsumu thought to himself, maybe he has the wrong person, yes definitely, this man must be confused. he’s probably mistaken you for someone else since you’re wearing that pesky hat, afterall it does make it hard to see your true identity. what a fool, he had half the mind to shoo him away since he was bothering you—

“yeah i’m fine.” you responded turning to face the male with a smile and there it was .. the feeling of his heart clenching when you looked up at him for a brief second as if he wasn’t even important to you. this wasn’t how he imagined this to go, and who the hell is this porcupine getting all handsy with you? and why are you responding to him? there’s no way.. it couldn’t be..

“y/n is this a friend of yours?” the man stopped shooting atsumu a handsome smile, the male’s build wasn’t much different from his own and he could tell that he was in athletics of some type. his demeanor wasn’t necessarily friendly per se, instead it he held an air of indifference around him. if he hadn’t just seen him getting all smitten with you there was no doubt it would be hard for him to imagine it.

“no hajime.” atsumu snapped out of his thoughts at the sound of your voice, it was still like a drug to him and he hated the way it was saying someone elses name and not his. you had no idea of the things he would do just to get you to say you loved him again, he wanted to hear it out of that beautiful mouth of yours accompanied by your pretty voice.

“he’s nobody.” you gave him one more glance and he noticed that there was an unrecognisable look in your eye. it was so cold and uncaring that it took him a while to process your words as the two of them barged past him.

he’s nobody? what are you saying? did you not recognise him? no .. of course you did he looked the exact same, so why would you say that? and that was the moment his whole life shattered before him. the moment he watched you walk out of the store, hand in hand with the man next to you, a smile beaming on your face, eyes full of love that used to be directed at him and he couldn’t help but stare even though it pained him more than anything he’d ever felt in his life.

the last time miya atsumu cried this hard was when he was six years old, but this day had beaten it by a landslide.

[dragonindigo245]

Official post for my orange side theory

AND NO IT IS NOT WRATH OR ANGER

WARNING: Spoilers for Working Through Intrusive Thoughts. I'm not gonna bother adding the spoiler tag to this post because all the spoilers are going to be under the read more.

Also this post is long so be warned.

Back in early August of 2020 I came up with an orange side theory I have stuck with for a long time. I always found the orange side theory of wrath/anger to be odd, seeing as anger is an emotion not a personality trait, and therefore made an effort to try and discover what I can see the orange side being. In light of the fandoms response to the latest asides saying that orange being wrath is "now canon", I figured it was time to bring it back, along with new points and explanations.

What is the orange side exactly? The answer is simple. He might not be this exactly, but orange is naivety, irrationality, or the inability to see logic clearly.

This started when I made the connection to the dark sides being complete opposites to one another. For example, Janus and Patton are opposite ends of the moral spectrum, Roman and Remus are opposite ends of the creative spectrum, and Logan himself is on the functionality/rationality spectrum. The opposite end would be something like naivety or irrationality.

After that post, I made another a couple of months ago with 3 main points, the first being the opposite ends point. The other two points are just as important.

Point 2: It ties into the 3 monkeys theory

The recent episode confirmed the 3 monkeys theory, further solidifying this point. In case you live under a rock or are new to the Sanders Sides theories, the 3 monkeys theory is based on the whole "See no evil, hear no evil, and speak no evil" thing. The dark sides all have powers relating to each of these.

Janus has the ability to mute the sides (speak no evil), Remus has the ability to muffle the sides (hear no evil), and Orange has the ability to... make... their eyes pretty? I'm sure that we will get an actual explanation on how he influenced Logan in the future lol. Regardless, orange is definitely see no evil.

Now you may be asking, Indigo, how does this tie into irrationality?

Do you know what irrationality is? The inability to SEE the world clearly or to SEE reason or logic. Irrationality blinds you to reason itself. It makes sense, seeing as emotions are illogical and orange clearly did something to push Logan to an outburst. When orange provided his influence, Logan's eyes glowed orange, indicating he lost the ability to see purely logically. While, yes, orange did this with anger as a vessel, irrationality takes many forms.

Point 3: Color symbolism

Something that is frequently overlooked when fanders make theories about the sides is that each side ties into their color scheme in some way. Roman being red ties into him functioning as Thomas' romantic side, Patton's light blue tying into his gentle nature and trustworthiness, etc.

Orange is a color that is tied to joy and youth. Being naïve to the world around you crumbling down will often make you happier. While some naivety is great and can make you happy, in large doses it is a threat to your well being.

Point 3.5: How is this connection accurate?

A great deal of the plot in this episode, especially the endcard, showcases this irrational blindness to all of the issues the sides are having with each other. Throughout the episode, Logan keeps having to sacrifice his plan to help Thomas and then once Nico calls Thomas, Thomas doesn't know how hard it hurts Logan to once again be brushed off. In the endcard, Patton and Roman tell Logan that this is more important, not realizing how rejected Logan feels.

This isn't just happening with Logan either. Patton and Virgil have had some rising tension as of late as well. This is showcased the most clearly in this video when Virgil snaps at Patton and says "Oh thank goodness. You're giving him permission." sarcastically. Patton takes this as "I didn't know you would give him permission" whereas Virgil was meaning "He doesn't need your permission to feel good about this". Furthermore, each of the light sides have argued with each other individually in different episodes except for Virgil and Patton.

With Janus recently being more accepted, Remus appearing and hurting everyone, and the tension each of the main sides have... it's all going to fall apart. Nobody but the dark sides seem to notice this tension, not even Thomas. Why? Because they are being naïve. The orange side is either keeping them blissfully unaware or the very fact they are unaware is giving the orange side power.

What is the new point you mentioned?

This video with the orange side really got my gears turning. I began making connections that otherwise I didn't have the ability to make, or never happened to think of. The fact my theory has managed to hold up in a heavy orange side lore video only solidifies my confidence in this.

Point 4: The dark sides revolve around the truth

This theory is a little more of a stretch but if I'm right, then this is all the evidence I really need to confirm that orange is irrationality.

Janus is essentially the ring leader of the dark sides. He keeps them hidden until Thomas wants to be aware of them, with the potential exception of Virgil who we don't know when he was revealed to Thomas. However, each dark side has something in common besides witty remarks. They all center around the truth.

Janus and Remus are easier to figure out, seeing as Janus is literally the embodiment of lies and Remus has multiple times where it is obvious he provides the unfortunate truth. Remus being the bringer of truth is showcased multiple times, which I will only bullet point because this post is more-so about orange than him.

His line of "I would never hide anything from you."

Janus bit in Forbidden Fruit that goes "No longer will you deceive yourself about the ugliness within you."

Logan admitting Remus can help Thomas in his own way

Virgil on the other hand is harder. Unlike the other two, Virgil represents a completely different angle of this "truth theme". Virgil represents the fear of both the truth and the unknown. Why would Janus even need to even repress the dark sides in the first place if Thomas wasn't afraid of the truth that they were apart of him? Why would Thomas had admitted he didn't want there to be more dark sides after he asks if there were more of them if it were not fear he had more unwanted parts of him and fear of not knowing what they were?

Virgil knows Thomas' fears. This would have made admitting he was a dark side such a hard feat. If he felt Thomas was chill with the dark sides, Virgil could have instantly told Thomas he was in fact one of them. In a way, this makes Virgil the perfect bridge between the light and dark sides. The dark sides provide Thomas with the truth he needs or wants, and the light sides figure out how to handle it.

Point 4.5: What does this have to do with orange?

Orange would keep Thomas from the truth. While, yes, this is the exact same thing Janus does, Orange would do it another way. Janus makes Thomas unaware of the truth he KNOWS. Unconsciously, Thomas still knows what Janus hides. This makes it entirely different from how naivety works. Naivety would keep him from ever learning the information in the first place.

Furthermore, we saw that orange is potentially connected to Janus in some way. The very last thing we see in Working Through Intrusive Thoughts is the flash from Janus' eyes, to oranges eyes. This could be a slight hint at Janus and Oranges functions not being so far apart.

Or the writers just thought it would look neat. That too.

Is Logan the orange side?

I can say with almost 100% certainty the answer is no. We saw before each sides introduction, they manifested themselves in the other sides.

Janus silenced Roman in Accepting Anxiety Part 2, Remus manifested in Roman by giving him random unwanted outbursts (like the naked Aunt Patty line that Roman said he didn't know where it came from in the Christmas episode), and therefore it follows orange is manifesting in his own way.

Furthermore, Logan is not the type of character to turn evil. He has outbursts and is being beaten down but he would never snap for good. If anything, we have seen from Putting Others First that he would only appear as needed if he felt ignored.

Logan is not one to let his emotions make irrational decisions for long, and he almost always goes to make up for his mistakes the moment they happen. He always has Thomas' best interests at heart and has witnessed Virgil realizing force is not the way to go about it.

It makes no sense for his character and there is no reason for it to happen narratively.

Please note that this post is simply a theory and I do not wish to start arguments about if I am right or not. If you are going to provide counterclaims, please do so respectfully and do not clog my notes with your own essay. Thank you!

[twst-the-night-away]

How is Violetta with 🍎👑🏹?

🍎: Violetta and Epel don't interact much at first, but she's absolutely charmed by how pretty he is. She doesn't understand why he complains about it - he looks like he comes right out of her dreamy little princess comics! But she supposes he has a right to want what he wants. If he ever finds out she draws him, he'll ask if she could make him more buff next time.

👑: Violetta's a huge fan of Vil's. She has almost everything with his face on it and she's seen all of his acting roles. She's not going to be very open about it - most of that is hidden under her bed - but whenever she sees him out and about during the day she gets really distracted. He's one of her main subjects when she starts the school year. Others will come in as she gets to know them. If Vil ever finds out she's been drawing him, of course he'll be flattered. After all, Violetta's work is excellent. He'll offer to sit for a proper portrait, but Violetta does her best work when the subject is unaware. Vil lets her know where he'll be tomorrow during the golden hour, when the lighting is best, and he hopes she'll take the hint.

🏹: Violetta and Rook have more in common than she'd like to admit. Both of them follow people they're interested in around, and Violetta keeps trophies of her own in her sketchbook. However, they're on the exact opposite ends of the introvert-extrovert spectrum, and Rook's nosiness puts her off a bit at first. She may warm up to him if he gives her just a teeny bit of space.

[crossdressingdeath]

Funny enough, it was only after I unfollowed all the mostly MDZS centred accounts i followed on twitter and got into another fandom that I ended following people that turned out to be casual MDZS fans that I found people who aren’t big on JC, or at least like him but know he’s a bad person WWX should not have any or at least not a full in reconciliation with, and have really good opinions based on actual novel evidence the rare time they talk about it. Even if they like CQL, they make it clear they know it’s different from the novel and don’t treat it like it’s the same thing or just as good.

I don’t know why but it just makes me laugh that a lot of casual fans seem to grasp the story and characters better than ones deep into the fandom

I think the most batshit takes come from 1. people who have never experienced a piece of media firsthand and so are working entirely off of fanon and 2. people who are so deep in the fandom that they have completely lost track of how the actual canon works. People who wind up in an echo chamber of people who share their exact opinions and who never get challenged on those opinions will end up some... interesting places. Doesn't matter which side of an argument they're on, it'll get very strange. Like... to use a recent example, I've seen people arguing that the only reason to dislike Jack Crawford (who, reminder, is introduced going up to a guy he barely knows, touching his face, and asking him where he falls on the spectrum, and that's just his first scene, I could make so many posts about all the shit Jack pulls) is because the person disliking him is racist and people arguing that the guy whose main motivation is saving lives is pure evil with no redeeming features. Like... this is where we get into this thing where they're arguing entirely opposite things, but they're both equally wrong. Meanwhile casual fans know enough to avoid batshit takes made from ignorance but don't get deep enough into echo chambers to start creating that sort of batshit take.

[astronomyforastrologers]

The Phantom Galaxy Stirs the Pot ~ 2 Sep 2022

The Phantom Galaxy Stirs the Pot ~ 2 Sep 2022, Philip Sedgwick

The 74th entry in the Catalogue of Nebulae and Star Clusters (M-74), also known as the Phantom Galaxy, became less of an apparition recently as images appeared online of its spectacular spirals courtesy of the European Space Agency. This catalog noted above consisted of 110 objects compiled by Charles Messier in 1774 and as later amended, became known as the Messier Catalog.

The Phantom Galaxy is a “grand design spiral” galaxy - a galaxy with well-defined arms that spin out from the galactic core. Following are two mandala-like images recently compiled with data from both the Hubble and James Webb Space Telescopes.

Photo from Webb Telescope

M-74, in mid IFR, photo from Webb Telescope

Why is it called the Phantom Galaxy? Simply, its surface brightness is low and it is better “viewed” in non visible light spectrums. Most likely the core of the galaxy consists of an intermediate mass black hole; intermediate in this case meaning approximately 10K solar masses in size. This unconfirmed black hole goes by the designation CXOU J013651.1+154547.

For astrological purposes, where in the universe is this phantom thing? More or less approximating for precession, the Phantom Galaxy, though “seen” within the constellation Pisces by sidereal orientation, weighs in geocentrically at 28 Aries 28. Most will note that for all intents and purposes it now squares Pluto in Capricorn slightly more than two degrees from exactitude. Curiously, the lord of the underworld was infamous for his helmet of invisibility and its use. Certainly this spectacular galaxy’s image rendering reaches out to cause a collective gasp for all who view it... a powerful, transformation inspiring gasp.

Pluto precisely squares M-74 on 25 January 2023. In August 2023 he retrogrades through another square and in late November 2023, forms the final direct square to the Phantom.

Eris in Aries currently stands about four degrees from precise alignment to the galaxy. Starting in 2038 and running through 2042, she conjoins M-74 several times.

But why did this image suddenly make all the news feeds now and end up in online posts? How useful is all this galactic crap, anyway?

More notable in the present, Haumea stands across the sky from the Phantom Galaxy, seven arc minutes short of an exact opposition. She will next exactly oppose M-74 on 8 September - just days away! In the middle of July 2023, Haumea, after a brief stint in Scorpio, stations within a half degree of being opposite M-74 again.

Back in the day when serialized story content came over radio, the tagline, “The Phantom knows” frequently titillated the ears of listeners. We know that phantoms love to linger in the rafters of opera houses. But those are of fictional imaging. What reality can be derived now from this galactic awareness now?

In Hawaiian lore, Haumea was a prolific creation goddess. She birthed Pele and other deity revered in the islands. She could summon lava as she wished. She held a makalei stick, which, when she put it in the water, attracted fish to feed the people. Haumea possessed fantastical abilities to create whatever was needed.

In space, the dwarf planet Haumea holds two known moons in her orbit and she has several large bodies of ice that follow within her orbit. This symbolizes the guttural assessment of what individuals belong in your inner circle and which are better suited as members of an entourage.

For practical purposes, Haumea encourages unabated creative pursuit of all known inspiration, without the consideration of what others (the competition) may be doing. Further, creative pursuit(s), when in progress can only be reviewed by those in the inner circle known to be honest, no matter what. If fact, better not to seek a critique from those who love you. Better to hire a pro to give comprehensive notes on what you seek to birth in this world.

Or not. With Haumea in opposition to this wonderfully evocative galaxy in Aries, perhaps entering the head down, “do not disturb” self-reliant mode is the way to go. Get in there and do what your spirit years for you to do, even if, especially if, you don’t know where the money is going to come from to put your inspiration in play. If mental funk is in your way, go online and check out the wide array of pics of M-74. Select your favorite. Go to one of those “print your image” places and get a hard copy (images of space are not subject to copyright). Hang the image somewhere where you can use it as a mandala in your meditations or frequently glance at it while you work. That should stir the creativity centers within and start them spinning the right way.

Given Haumea stations near the M-74 opposition July 2023, should you have not seen movement on your soul-driven “gotta do it” objective, go for a review of your plan and your cost analysis to make it real.

Use the Pluto transits to deliver the end game. In January 2023 with Pluto square M-74, it’s a great time to work out the numbers for your grand scheme. Work out an opulent budget as well as an “if we had to trim a corner we could do it for this” budget. Following the Haumea review in July 2023, as Pluto squares M-74 in August 2023 why not put your hand out and ask those in the fiscal position to aide and abet your efforts to do just that? Since Pluto is retrograde, based upon your revised budget, that is. Then as November 2023 rolls around, your pre-production, pre-launch tasks could be in the rear view mirror and you’re now underway.

These are collective transits and contingent upon those consciously seeking to find out what it is the phantom actually knows. It will be crowded out there with new ideas and concepts. Those who have cultivated the greatest visibility through inclusion of all spectrums of awareness go the farthest.

What about when Eris gets to the conjunction with M-74 between 2038 and 2042? Nothing like looking ahead! I predict a major reenvisioning of that thing known as the Internet. Actually this will be based upon a gathering of souls simultaneously realizing that searching for soulful sustenance on this platform may not provide the level of inclusion anticipated. Being an influencer with billions of followers may leave a person empty, feeling void and used. Collectively the goal of Eris to M-74 is for people to realize what is real and what is merely phantasmic and to include themselves into the ultimate of perfect fit realities. And, oh by the way, to fulfill all soulful creative desires.

More soon.

Okay, so if you need a push for getting the creative juices going and lining up energy with action, it’s now time for a consultation. In the sessions I conduct I will include Eris and galactic effects of specific import to free up all levels of creativity. Maybe a block of consultations would make sense to order up. Or perhaps a Galactic Report or asking a question or two would do the trick. Whatever you need, click on the links that follow!

On the film front, both JACK OF ALL LANTERNS and METEORIC have been recently selected to multiple festivals. The festival selections will become more frequent as the fest season matures. There will be more film news soon! Feel free to check out the links to stay current and check screening times. More festival photos will be appearing before you know it.

[winterhawk-olympic-bang]

Emotive Writing

Guest Poster: @thepartyresponsible​

Emotive writing is about making people Feel Things. People use this all the time to sell you stuff, but we’re out here giving emotions away for free. Here are a few tips and tricks I’ve found to make people feel the most emotions.

Word choice:

This is the most straightforward part of emotive writing. Your word choices add an extra layer of complexity to your message. You aren’t just telling readers what happened; you’re signaling to them how they should feel. Most writers do this unconsciously, but being deliberate can make it especially effective.

Here’s a non-emotive, just-the-facts sentence: The soldier lifted his weapon and turned toward the enemy.

Here’s the same sentence reworked to make you care a bit more: The exhausted soldier raised his broken shield and faced the invading army.

The actions here are fundamentally the same, but exhausted and broken invoke sympathy while invading skews negative.

The words you choose are sign posts for the reader. They indicate how to interpret the story and help your readers orient themselves and form expectations. Subtly building expectation is important because, while surprise can be effective, shock is generally numbing and confusion tends to be irritating, so word choice helps you frame things and guide your reader along.

One of the keys here is to attempt some subtlety. If every sentence about your protagonist reads like an ad campaign (effervescent, brilliant, impervious) and every sentence about your antagonist reads like a political diatribe (cruel, spineless, malicious), you’re probably overusing your sign posts. People want to know who to root for, but too much emotive language can make them feel manipulated.

Think of word choice like adding spices to food. If you put oats in boiling water, you’re making oatmeal, and the spices you use won’t change that. But if you throw in some honey and cinnamon, I know we’re headed somewhere wholesome. If you sprinkle in little discordant notes of garlic powder and cayenne, what we’re cooking is a tragedy. And if you upend an entire bottle of cinnamon, a quarter cup of nutmeg, and toss in seventeen whole cloves, I am not staying for breakfast.

Narrative distance:

Narrative or psychic distance is the space between the reader and the character, usually navigated by the intermediary figure of the narrator. Your narrator can be an omniscient figure that knows the thoughts, feelings, and intentions of every character in the world. Or your narrator could be sitting on the shoulder of your main character, close enough to hear their thoughts and know their story but not so close that they speak with the character’s voice. Or your narrator could be your character.

If you want to ramp up emotion, you usually want a narrator who is very close to one character (or, alternatively, to separate characters in turn). But you don’t have to stay at one distance for the whole story, and, just like word choice, shifts in narrative distance can be helpful indicators to your reader about the story and the characters.

A sudden, dramatic shift in narrative distance is quite jarring, like a sudden zoom-in during a movie. It can be effective, but it’ll lose its punch if it’s overused. Generally, if you want to shift narrative distance, you should build to it slowly. Here’s an example of shifting from a distant third person to a closer third person:

They wake the Soldier because the archer is missing. He has a habit of slipping his lead, disappearing post-mission. The chase grew tedious years ago, but the Soldier runs it just the same. He’ll do as he’s told. But it bothers him, when he lets it. The why.

Why does he do this? the Soldier wonders, when he shouldn’t, when it isn’t his place. Where is he going? he thinks, when he can’t stop himself. Who is he running to? But he tries to think nothing at all.

Another trick of narrative distance is to suddenly pull back to show a character who’s been compromised, shocked, or deeply hurt by something. Imagine spending a long time in a close Bucky perspective, hearing his thoughts, and then being abruptly walloped across the face with: The machine went quiet, and the Soldier opened his eyes. Zooming out can emphasize what’s been lost. Because you aren’t just taking the soul of Bucky Barnes right out of him, you’re also taking that closeness away from the reader. You’re silencing the voice they’ve been listening to.

Whether you zoom in or out during highly emotional moments depends on what you’re trying to accomplish and also on who’s involved.  Some characters have loud, messy emotions that will get louder when they’re hurt. Some characters will freeze over and push a narrator further away. You can use narrative distance to show a character slowly opening up or suddenly slamming a door. But you need the reader to have a solid understanding of the character in order to follow what the shift means, which leads to the next component.

Know your characters:

So, here’s the thing. You gotta Velveteen Rabbit this. Every character is Tinker Bell. If you stop believing, they die.

If you want people to care about these characters, you have to treat them like living, breathing, fully feeling people. They have favorite colors. They have phobias. They have Friday night plans and blisters from new shoes and sesame seeds stuck in their teeth. They have superstitions and secrets. You don’t need to know all of these facts, but you should try to give the impression that someone could know them. The more real your characters are, the more we’re going to care about them.

Since this is fanfiction, you start with a receptive audience. Your readers are fond of these characters. Figure out why. Figure out which parts of the character you can relate to and dig in until you feel like you can understand the parts of them you can’t relate to.

Try to collect things that make you feel close to that character. I always have music playing when I’m writing, so I make playlists for characters and playlists for stories. If I feel like I’m losing a character, I’ll go back to their playlist. But you could also use Pinterest boards, reread favorite fics or comics, rewatch movies or fanvids, or spend an unreasonable amount of time researching bows and tactical knives. Whatever works!

Also, remember, your characters don’t know what story they’re in. They don’t know it’s going to end well (or terribly). Maintain that tension, because that’s where the emotions are. When you watch a good horror movie, you’re not really scared of the monster. You’re scared for the characters, because they don’t know if they’re going to survive.

Emotions come from the characters. That’s why it’s still sad that Tony Stark dies, no matter how many times you watch it happen. Tony Stark was brave and flawed and usually right and often sarcastic, and it hurts to watch him die because that’s a full, unique human we’re losing. We know him well enough to know he’s choosing to sacrifice himself and why he made that choice and who will mourn him.

Know your characters, and let them be messy and weird and wrong and hopeful and cantankerous and unique. Fear is relatable, flaws are relatable, and awkward, ungainly, stubborn progress is relatable. Just remember what it is that makes their progress their progress because, if you can swap Dominic Toretto in for Ted Lasso and have the exact same story, you’ve probably lost your characters.

Plan your emotional trajectory:

Okay, time to get a bit technical. This is for people who like to plan. For those terrifying, godlike writers who just sit down and write, this might not be helpful. For my fellow planners:

There’s a theory (which you can get a general overview about here or, if you’re very into data, right here) that there are six core emotional trajectories in narratives:

1)      Rags to riches (rise)

2)      Riches to rags (fall)

3)      Man in a hole (fall then rise)

4)      Icarus (rise then fall)

5)      Cinderella (rise then fall then rise)

6)      Oedipus (fall then rise then fall)

Since rise and fall can mean different things, I find it helpful to combine these building blocks with emotional axes, which you can find some examples of here.

So, basically, for my winterhawk baseball au Got a Heart in Me, I Swear, I planned to follow the “man in a hole” trajectory (fall then rise) along the anxiety-confidence emotional axis with some bleedover from the humiliation-pride axis. Which basically means Clint started comfortable enough, nosedived deep into anxiety and humiliation, and then slowly built his way to confidence over the rest of the fic.

If the listed axes don’t appeal to you, you can very easily create your own. Just think of an emotion, identify what links it to its inverse, and then list the related emotions between the two opposites. Disgust and adoration are opposites, but they’re linked by attention, right? You can’t ignore something you find disgusting or adorable. So, here’s an example emotional axis you could follow: Disgust – Resentment – Obsession – Fascination – Reverence – Adoration. Enemies to lovers, anyone?

Emotional axes help provide a natural framework for your character’s emotional trajectory. They can be subtle; you don’t have to start on one end of the spectrum and go all the way to the other. A story that moves just a step or two on an emotional axis can be incredibly compelling. That small progress from discomfort to hope can hit really hard if the progress feels fought-for and earned and real.

Tips for writing emotions:

·         Get physical: If you want to show an emotion instead of telling it, describe its impacts on the body. Most characters won’t think I’m embarrassed. They’ll feel a drop in their stomach like someone cut the elevator cables and a hot stinging in their face like they’ve been slapped by some disappointed version of themselves. The more visceral your descriptions, the more the reader will feel them. If you want your reader to feast on feelings, you have to set the table.

·         Dramatic zoom: When something very intense happens, shift the narrative distance. In or out is fine, but a sudden, dramatic event should result in a sudden, dramatic change in focus. Characters might hyperfocus on their physical bodies (the mechanics of breathing, the ringing in their ears, the mad animal urge toward flight) or they might be kicked so far out of their own heads that they feel like they’re dreaming or watching the scene play out from overhead. This distance is useful for two reasons: it feels real, and it allows readers to absorb the situation in pieces, without being overwhelmed by it.

·         Unreliable narrator: Some emotions can be so charged that people don’t want to own them, like grief, shame, jealousy, rage, lust, and guilt. Characters might unconsciously misrepresent these to themselves as something else. A grieving mother might insist she’s tired. A rehabilitated assassin who’s fallen in love with an absolute dork might tell himself he’s just tracking a target. Everyone knows what it’s like to lie to themselves, so this makes characters relatable. And, also, everyone likes being in on a secret, so, sometimes, this is just fun.

·         Face the monsters: We’re often conditioned not to dwell on unpleasant things, which is part of why it can be powerful to examine them in stories. From small things like inglorious emotional states (envy, cowardice, resentment) to character flaws (recklessness, withdrawal, arrogance) to personal tragedies (loss, betrayal, abandonment), the negative parts of human emotional life pack quite a punch. Acknowledge them. Not only are they relatable experiences, but redemption and recovery arcs are some of the most compelling stories we have.

[sometipsygnostalgic]

Steven Universe - How the show fails to handle emotion, irrationality, and trauma

I have a better understanding of why SU is the way it is now. Why it is very dramatic, and why the characters often act in ways that are entirely out of proportion

When making a critical post about the handling of Flame Princess in Adventure Time, /u/samhadj01 attributed part of the problem to be that Rebecca Sugar was responsible for Flame Princess’s conceptualizing, and wrote her and Finn the same way that she writes SU characters - in a heightened emotional state, where they are feeling the EXTREMES of their emotions at all times, yelling at the top of their voice when angry, crying their eyes out when sad, and hurting each other. The reddit user said this made it difficult for the writers to figure out where to take Flame Princess next.

I challenged this reddit post’s claim that Rebecca writing FP’s first episodes meant that the crew didn’t know what to do with her. There is a lot of oversight in the AT crew, and Rebecca was just one cog in the wheel, even if she was full of ideas that ended up getting used. If she came up with a bad idea it would be the responsibility of her colleagues to put it back on track, and I don’t even think FP’s initial portrayal is the problem - the issue is she was completely marginalized after the fact, and bizarrely rewritten to lose her early immaturity without there being enough progression into that new stage. Following this she was basically written out of the show, with the exception of when she’d be useful to show off another character’s development (Finn, PB, even Cinnamon Bun).  

WITH THAT BEING SAID, I thought Samhadj made a good point about SU.  

Rebecca Sugar always loved writing music into her stories because it was the purest form of expression. You can hear how much love she puts into her music. She wanted to create a show where she could really sell emotions, where she could fill it up with songs that the characters would sing to express themselves and their troubled feelings. She wanted all the characters to be expressive, emotional, angry. She wanted Steven to be a character that helps everyone else learn to deal with their emotions, much like how her brother Steven helped her, as she’s said before. 

The issue is that, in order to facilitate this, she would need to write characters who would BE in these conflicts, feel heightened emotions at all times. 

So Rebecca conceptualized the gem species. 

Even though they take the form of adults, the gems are incredibly stunted. They remain the same for thousands of years. They are not equipped to process emotional trauma, having lived in a society where you have to cover up all your flaws and feelings at the risk of being shattered.  The show follows several Crystal Gems who rebelled against this system, but still haven’t figured out what it means to be free from this systematic oppression. They’re trying to live peacefully, but they’re prisoners still, in their hearts. 

Steven is the catalyst for change that points out the things that upset them, and forces them to deal with their emotions. He acts as emotional support and encourages the crystal gems to grow.  Steven also has much growing up to do himself. He has to confront the truth about what it means to BE a crystal gem, to have inherited the gem of the person who started the revolution, and Steven over time learns how messed up everything is. He is overcome with the desire to fix it, while still learning about himself.  

Why is this sort of storytelling a problem?

For the characters to have heightened emotions all the time, it means they have to keep getting in conflicts that reveal these emotions. It is these conflicts that make the show feel overdramatic and edgy - how characters will lash out and hurt each other, all the time, because they had a bad day, or something reminded them of something that hurt them. 

More urgently, who they are lashing out against. While the Crystal Gems hurting each other in season 1 makes sense, it is when they start taking things out on Steven himself that things become straight up toxic. 

Steven has to bear the brunt of EVERYONE’s problems, AND his own. He chases after Pearl in “Rose’s Scabbard” and nearly falls to his death while she ignores him, he fights with Amethyst when she is insecure about Jasper, he has to deal with Ruby and Sapphire’s fighting. He has to deal with all the townies and their stupid conflicts as well, Lars and Sadie’s fighting, so on. And ON TOP OF ALL THIS, people are trying to kill him all the time!!!!! But he is getting absolutely no meaningful support, and this is obvious, because the show itself acknowledges this later on. 

You start to ask the question, is this even worth doing? The characters around Steven display incredible immaturity, and after a certain point, they stop feeling like heroes.  They feel like leeches who are taking advantage of a young boy. 

Things get RIDICULOUS in the final season. Even after the episodes where Amethyst acknowledged the shitty status quo of everyone leaning on him, Steven then has to deal with the emotional problems of the Diamonds themselves, who it turns out lashed out the entire GALAXY because they didn’t know how to talk about their feelings?! For millions of years?!?! To be turned around by one teenage boy, even after a revolution where many of their gems expressed why they were wrong???!!!  

I think it was these final episodes of Steven Universe that completely shattered any remaining suspension of disbelief about the diamonds.

I’m no alien to ancient, immortal characters in charge of millions demonstrating incredible immaturity. Look at Princess Bubblegum and Marceline. Marceline would lean closer to the Amethyst side of the spectrum where she lashes out against everyone, while PB would be on the Pearl or Diamonds side where she’d pretend to act all rational and coolheaded and then do something insanely bad like crash a wedding or manipulate children. Pretty yikes, even up to the finale.  However, the difference is that AT is a more lighthearted wacky show where immaturity can slide for jokes, and most of the issues these characters have are inward facing. They identify and work on their problems themselves, with some support but not much interference from outside. They also do NOT act crazy all the damn time, and have plenty of moments before, during, and after their development where they are fully supportive friends. I enjoyed learning more about these characters and their pasts, because the immaturity never broke my suspension of disbelief.

The DIAMONDS, on the other hand, never get any sort of character development. I was excited to learn more about their creation, and how they came to be these insanely powerful beings that controlled a fascist society where emotion is not allowed. Why is it this way? Why do they want to keep it like this?

We never find out. We just see Steven embarrassing White Diamond after she attempts to murder him, and then she immediately goes full 180 redemption. It makes no damn sense! 

Steven Universe Future attempts to address the issues with everyone Steven knows being emotionally dependent on him, but Future forgoes genuine themes about healing in favour of its edgy focus on how Steven has become “damaged”. 

I was shocked watching SU Future’s first few episodes. I was astounded that the show would deconstruct itself so thoroughly, and have Steven address the exact things that were on MY mind. He realised that he’d been used.

How ballsy is that for the show to have the protagonist literally tear it to pieces in the final few episodes? 

However, any hopes for Steven directly addressing these issues, communicating with his friends and HEALING were dashed about half way through, when he only kept escalating.  Steven got so outraged that he shattered Jasper, and attempted to kill White Diamond while also injuring himself. He started to see himself as a monster. He becomes a murderer. He turns into a kaiju at the end since that’s how his perception of himself is different.

I was really disappointed that the show had wasted its entire runtime to build this up. 

The emotion that Rebecca Sugar was trying to capture was Steven’s pain, anger, the disconnect he had with his friends.

Future did not spend ANY time in demonstrating that Steven’s friends were acknowledging his pain. In fact, quite the opposite - they kept dismissing all of his feelings about Ruby and Aquamarine, and Greg was revealed as The Literal Worst when he thought his perfectly normal conservative upbringing was way worse than Steven literally getting tortured by aliens every other day and having no friends or education.  When Steven has his breakdown, they all cROWD him and start yelling at him. They have absolutely no regard for Steven’s boundaries at all. It’s almost like Steven’s friends are P-zombies at this stage. 

I did not like how Steven was portrayed as a dangerous, out-of-control killer. It’s not just that he SAW himself as this - it’s literally what he was.  You can do bad things because of your trauma, but it won’t turn you into a monster. If you act like a monster, that is your responsibility. 

And then the series ends with the hug, but we do not see Steven’s actual healing process or reconnecting with his friends. We only get a brief goodbye episode. 

After watching Obsidian, I cannot help but compare these scenarios. Obsidian was about Marceline healing from her emotional trauma. It was still very much a part of her, but she was learning to recognise when it was damaging her life, and communicate with others about it. It’s about learning to accept your cracks.

If SU Future had been about dealing with trauma properly and healing, it could have been the best series on Cartoon Network, and fully redeemed the weaknesses of the original show. 

However, Rebecca and the SU crew decided to focus too much on Steven’s pain, and Future ended up exacerbating the issues of the show. 

[hiriajuu-suffering]

Anime Hot Take: Goblin Slayer is more offensive than Redo of Healer

I totally understand why the anime community is collectively freaking about Redo of Healer not getting cancelled by normies like Shield Hero, Ishuzoku Reviewers, and Uzaki-chan. A lot of anime content creators are saying because anime [social] cancellation is based on clout chasing and it’s because Redo of Healer is a bad anime, and I disagree completely because Uzaki-chan is also a bad anime. As excessively raunchy Redo of Healer is, its offensiveness has more narrative backing than Goblin Slayer does for its world-building.

Elephant in the room: depictions of rape are poor artistic choices when the physical act is shown instead of heavily implied for the narrative. Both Goblin Slayer and Redo of Healer depict rape onscreen to get more attention for being edgy and raunchy, needlessly. People finding Shield Hero more offensive for involving a false rape allegation are missing the forest for the trees and there is no rape in Ishuzoku Reviewers. Goblin Slayer uses its rape scenes to objectify people we’re supposed to see from the perspective of, very clearly. Meaning, Goblin Slayer is asking for a self-objectification in order for you to be invested in the main casts’ goals. The effect of this is Goblin Slayer is really only showing these gratuitous rape scene(s) for shock value. Goblin Slayer is a Fantasy, not specifically an Isekai Revenge Fantasy like Redo of Healer is. Redo of Healer uses its rape scenes to subjectify people we’re supposed to see from the perspective of, making it fundamentally different and more aligned with Game of Thrones depictions of rape than Redo of Healer. In episode 1 of Redo of Healer, the main character is subjectified, not objectified. In episode 1 of Goblin Slayer, the rape scene objectifies the woman. The only other conclusion hyperfeminism could have to this incongruity is media that portrays sexual violence is more acceptable when male sexual violence is on the forefront, which is fucked. In episode 2 of Redo of Healer, the first antagonist is a female and the rape scene itself is sick and cruel, but not gratuitous in the way Goblin Slayer handles its rape scenes. Again, the character is subjectified and not objectified, which makes a lot of difference if media makes the morally abhorrent but logical choice to depict rape for views because it works. Redo of Healer already starts on better footing than Goblin Slayer because a central theme in Goblin Slayer is the objectification of life and experience while Redo of Healer works in that same theme with the subjectification of people’s lives and experiences.

Redo of Healer is ultimately a power fantasy like most other Isekai are, Goblin Slayer is intended to make you feel powerless. There is some subtlety in the way the author puts forward the narrative of “power makes people bad” in Redo of Healer, while the narrative choices in Goblin Slayer directly portray the message of “no matter how much power you have, you cannot affect the world”. Both are a criticism of power fantasy, but Redo of Healer is actually within its genre doing so, not looking from the outside-in and acting above the genre itself when it has taken over the anime industry. The plot structure in Goblin Slayer reads as if it’s better than the Isekai trend, making itself pretentious and thereby worse than the trend because it’s just mocking something popular because it’s popular. Redo of Healer actually looks into why this popularity exists and if it’s legitimately warranted or just feeding the vanity of its readers. In the first two episodes, the narrative has all this suffering going on written in a way so the reader actively disconnects from the normally self-insert protagonist in an Isekai. Goblin Slayer literally does the opposite with Priestess. The self-insert scenes in Redo of Healer are actually the opposite because they structure themselves in that way but do the opposite, you don’t want to be in any of those situations. When you weigh moral wrongs and aren’t afraid of playing the oppression Olympics for the sake of philosophical conjecture, Keyaru is enacting retribution in a manner reciprocally efficient or less compared to what he endured. You can see that via his intended final act of retribution of Flare being to make her his consensual sex object rather than everyone’s nonconsensual sex object as he originally was. The finger-breaking was his exchange for the deception, involuntary servitude, and general lack of empathy; regrettably, the sexual assault with bodily harmful object was for the forced drug addiction via symbolism analysis. He ends up healing all this anyway and not being overwhelmed by it, meaning everything he did was a small fraction of what had been done to him. It’s still revenge, but it’s nothing nearly as crazy as what was done to him and actually didn’t drag out as much as people say compared to goblin rape scenes in Goblin Slayer (some of them which didn’t need to exist narratively and were only there because author is insulting your intelligence, assuming you forgot it’s a thing because it assumes you’re an Isekai reader). Fair warning about Blade and Bullet though is they represent very real tropes on the social spectrum, Blade representing hyperfeminist ideologies to the point of outright misandry and Bullet representing men who degrade themselves just for being men, so a lot more people will have something to be butthurt about when that narrative realization comes to pass. Part of the way Redo of Healer compartmentalizes its characters into said tropes speaks to a larger picture of what the show intends to do, criticize the Isekai genre and its tropes instead of just mocking them like Goblin Slayer does.

The narrative structure of Redo of Healer reads like a hate letter to Isekai power fantasy writing, the narrative structure of Goblin Slayer reads like a roast to Isekai power fantasy writing. Hate letters are generally more honest and genuine than roasts, which sacrifice truth for the sake of being comedic. Goblin Slayer itself wasn’t even that funny though, it had moments but its humor was so self-contained, it only existed if you already were self-involved enough in the tropes, in which you were the one being roasted. Effectively, Goblin Slayer seeks to roast you with no audience, making the roast itself kind of pointless and belittling. Redo of Healer though criticizes Isekai writing on two fronts: the morality of the world (which Shield Hero already did pretty masterfully) and the reasonable scope of a self-insert protagonist. Living in a morally dark Isekai world that’s full of hell and suffering is something Rising of the Shield Hero did so well, it would be difficult to see it done better, but Redo of Healer follows the exact narrative thread Shield Hero does only in a far more sinister way. The difference is Redo of Healer takes the grinding element from Cautious Hero and totally removes the opportunity for it to be had and the end result is said self-insert Isekai protagonist being abused in the party instead of valued, it actually makes sense on a power scaling level if you place it in a world where the characterization of all humanity is made out to be shitty from the start (slave trading demi-humans, raping other people for mana, rulers with no actual empathy or morality, etc.). Redo of Healer’s setting emulates humanity from Chapter Black in Yu Yu Hakusho. In simpler terms, if any of these dudes popularizing Isekai self-inserts into Keyaru, they’re not overpowered for no reason like in other Isekais, they’re overpowered because they were already humbled to the extent where nothing could ever feel like redemption. Most of these people self-inserting probably aren’t as great as they think they are, but especially on the moral scale. Keyaru represents a broken version of that self-insert: a human that is fallible, can feel real negative emotions and act abhorrently on them, and isn’t overly resilient for plot convenience’s sake. Keyaru’s immensely busted skill comes at a heavy toll, meaning it was balanced but he broke it (like Maple did in Bofuri) because he was driven to madness. If you break the “overpowered for no reason” trope in both harem and Isekai, you ARE a criticism of both. Are there good anime that use this trope well? Slime is an example. But Kadokawa specifically has been tending to favor titles that are criticisms of Isekai rather than straight-up Isekais themselves, making this something they were willing to push to the forefront even though it borrows a little too much from hentai plots. If anything, Redo of Healer shows how frustrated the industry, from writer to publisher, has been with the Japanese otaku community when poorly written, power fantasy, self-insert shows like Sword Art Online become the face of otaku culture and starts a predatory profit-seeking trend of everything has to be Isekai for it to make money. Redo of Healer reaches for a larger criticism of why anime storytelling has gotten less substantive in the past decade and plunges its hands into the depths of the filth and degeneracy that’s being promoted. It’s a meta-criticism to make what you’re putting out there so horrific it becomes nearly impossible to connect with.

Do I like Redo of Healer? No, absolutely not. Do I think it sends a loud and clear message to viewers who know how to analyze a piece of fiction with good depth and nuance? Yes. Goblin Slayer does not do that, Goblin Slayer itself is just an amusement park ride you’re supposed to enjoy, but they jolt you with shock value to get you invested, making its plot threads and themes gimmicky at best. Redo of Healer actually does what Goblin Slayer was going for in shock value and makes you so numb to it you actually realize how devolved Isekai storytelling is, adding its attention grabbing mechanism as short hentai clips like Ishuzoku Reviewers did. As for why Shield Hero was mentioned so much, it’s because the characterization of Blade specifically goes after those who were trying to get Shield Hero cancelled for its narrative thread. Blade is the worst representation of that, worship and veneration of femininity in a patriarchal context which ultimately results in the worship of power and existing power structures which promote said power to the point where queerness (in love of femininity) somehow excuses deplorability since postmodern queerness never actively promotes masculinity as something that can function as socially just. Flare, Blade, and Bullet all show more toxic masculinity individually in the first 3 chapters/episodes than Keyaru, and that was a deliberate writing choice. The reason why Redo of Healer isn’t actively being socially cancelled is because its biggest statement is “people are shit” and that’s an okay statement for normies.

Normies are coming after Nagatoro because it normalizes and almost makes light of real bullying. I think us weeaboos need to understand that bullying is a higher impact problem than rape being depicted in media if we’re fighting on the hill of “violent video games don’t encourage violence”. I find Nagatoro more difficult to understand the narrative intent of than Redo of Healer, the fact the weeaboo community is disconnected from that means we’re only looking at things on the surface level and are too within ourselves to know what real world problems actually have ripple effects on human behavior. The reason why we accept Nagatoro is because we know the two main characters eventually become involved and Hachioji could handle it to the point he consented to it. In pretty much all scenarios you have a mean girl bullying someone, regardless of gender, that’s not what happens: the person is left scarred, changed, and with significant platonic trust issues into adulthood. Rape is an issue that’s handled with so little care because of patriarchy and power struggles, people are generally far more numb to it than seeing actual mental and verbal abuse just being glossed over because “he’s a guy, he’s less of one if he can’t handle it”. Anime generally is going the way of Scum’s Wish where there’s more morally abhorrent characterizations of humanity than morally neutral ones, and all of these anime that stir controversy is a reflection of said fact. Having said that, Redo of Healer is willing to go way farther down into the abyss instead of just looking at it from the edge of the hole like Goblin Slayer does, then seeing scenes for shock value when you use telescope to look. For the reason Goblin Slayer thinks it’s above an Isekai while commodifying abhorrence to draw attention, I actually find Redo of Healer to be less offensive.

[makeste]

obstacles do not block the path

they are the path.

or something. it’s a zen proverb. anyway, so this is yet another post about Bakugou potentially losing his quirk. I’m gonna try to articulate it a little better this time. rather than just explaining why I think it’s likely to happen, I tried to explain why I think this specific and as-yet-still-hypothetical character decision is a very deliberate and purposeful one. in other words, this isn’t my argument for why it will happen; this is a post about why it should happen.

to start, there are two Horikoshi interviews which I want to quote here, and the reason I’m quoting them is because they do a good job of summing up the dual nature of the hero model that BnHA is built on. I’ll start with the longer quote, which is Horikoshi’s answer to the question, “so Sensei, what heroes do you like?”

[It would] probably have to be Goku and Spider-Man. To me, when mentioning heroes, these two are the ones that I think of. In Goku’s case, it’s the reassurance that everything is going to be fine which he brings when arriving. Such as, on Namek, Goku was getting healed, and his friends were all beaten badly. When Goku finally recovered and walked out of the healing machine, that reassurance right there is what I’m talking about. Something like “Ah, everything is going to be fine”. When I first read it and saw it was really Goku who had arrived, I continued reading thinking the thought “gonna win”. (laughs) That reassurance is something that all of the other characters don’t have. I thought about it afterwards, and even though there are a variety of heroes, the hero model that is built up in my mind is built around the concept that the hero is somebody that brings reassurance. That’s why I think a hero to me is somebody that helps and brings reassurance to others.

In Spider-Man’s case, the first experience I had with this character was the movie, in which there were a lot of scenes with him rescuing people, which I felt that was really cool. The moment he “saves somebody” is really awesome. Well, in Goku’s case, it’s because he likes fighting that he fights, so that’s a bit different. (laughs) You can say that Spider-Man and Goku are two different aspects of being a hero.

I’m sure you all can figure out just who Goku and Spider-Man each represent in respect to our beloved series.

as for the second Horikoshi quote, this one is much shorter. just a single line, actually, in regards to the development of Bakugou’s character:

I also thought to have [Bakugou] and Deku improve on two separate vectors as they entered U.A.

that’s it. just a single sentence lol. except that this one sentence can basically be used to sum up the entirety of Bakugou’s character development throughout the series, and it also serves as a roadmap as to what I think might happen next.

let’s start with the very first line in the series.

this sets the stage for everything that happens next. it establishes who these characters are right from the get-go. we see the hierarchy of quirk society, and we see two children born on polar opposites of the spectrum. Izuku, who was born quirkless, who exists at the bottom of the food chain. and Katsuki, born with a powerful quirk and the natural talent to back it up, who sits comfortably at the very top of the pyramid. two children who, from a very young age, are set up to walk completely different paths in life.

and yet the curious thing is, their goals are the same.

they both want to be like All Might. interestingly, though, they look up to him for different reasons. each boy admires All Might for what they see of themselves in him. Izuku sees a hero who protects others and works to save them no matter what. and Katsuki sees a champion who never gives up and who always emerges victorious.

and what the story eventually goes on to explain is that these are two halves of the same hero. Spider-Man, who rescues people and brings them hope. and Goku, who always wins no matter what, and by doing so brings reassurance to others. these two aspects together make up the perfect, consummate hero which both Izuku and Katsuki aspire to be. and the story is about how they get there.

but it’s that how that’s really where things begin to get interesting. because as previously mentioned, Katsuki and Izuku each start out their respective journeys in very different places. their origins, their “starting lines” as the series sometimes puts it, are polar opposites of one another, and yet they both are heading for the same goal. they want the same thing, but to get there, they each have to journey from a different place.

and what that means is that right from the start, it was impossible for Izuku and Katsuki’s journeys to be the same. more than that, they’re not just different journeys, they’re the opposite journeys. if you start from two opposing ends of a path facing towards the same goal, the only way for you to reach that goal is by traveling in the exact opposite direction as the other person. as an illustration of this, please accept this visual aid which I drew with love:

eh. eh.

so let’s continue to retrace each of their paths as the story progresses. we’ll start with Izuku first. his story begins when he receives One for All, a quirk that allows him to compete with other would-be heroes on equal ground for the first time. by this point he has already learned inner strength and compassion and selflessness. he already cares deeply about others. and so his trajectory now veers towards him learning what it means to be a champion. learning the things that Katsuki already knows.

and Izuku makes a lot of mistakes when he first starts out. he is too selfless. he rushes in to save others without sparing any thought for himself, resulting in repeated instances of him getting in over his head and getting injured and taking himself out of the fight. he almost gets himself expelled for this on the very first day of hero school, and Aizawa’s very first order of business is to chew him out over how irresponsible he is.

we see Izuku struggle to learn how to inspire others and be a leader, traits which happen to come to Katsuki naturally. Katsuki instinctively smiles when he’s up against a wall. he inspires others without even trying -- inspires them even in spite of his abrasive personality. but these are things which don’t come naturally to Izuku. Izuku is more inclined to follow than lead, because he doesn’t feel compelled to put himself in the spotlight, and because he is cooperative and will defer to others who are more aggressive about putting themselves in the leader role. Izuku doesn’t do the whole hero grin thing naturally, either; this is something he has to be coached on and consciously think about, and his early efforts are a bit hit-or-miss.

Izuku is more focused on saving people, and sometimes misses the fact that in order to do so, sometimes the best course of action is to just straight up beat the shit out of the bad guy(s). he learns this over the course of the series, and we see him doing the never-give-up thing against Muscular, and Overhaul, and Gentle. and Izuku’s selfless nature almost causes him to give up OFA to Mirio because he sees him as being more worthy; Mirio has to talk him out of it in order to stop him. in short, Izuku’s arc is all about him gradually learning confidence and becoming a badass.

now contrast this against Katsuki’s arc, which has the opposite trajectory. Katsuki starts out as someone who is already strong and confident. he is hard-working and driven and dedicated to his own self-improvement. he’s a prodigy when it comes to battle, and his determination to succeed inspires others to challenge and push themselves in order to keep up with him. 

he is a natural leader, and a terrible follower. and he completely overlooks the “saving people” aspect of being a hero in favor of the “kicking ass” part.

so now here’s the interesting thing. Izuku’s growth comes from achieving new things and gaining new abilities and skills. his growth comes from experiencing victory and success. but Katsuki’s growth takes the exact opposite path. as someone who has experienced success his entire life, Katsuki’s first steps toward progress only come once he starts experiencing failure for the very first time. it might seem counterintuitive, but his breakthroughs only come after he experiences setbacks. because just like Izuku needed to experience victory in order to grow, Katsuki needed to experience loss. just as Izuku needed to grow stronger, Katsuki needed to learn what it was like to experience weakness. without that understanding, his growth would have stagnated.

so from a certain perspective, the story’s treatment of Katsuki vs Izuku might not seem fair. Izuku constantly receives help while Katsuki only faces hindrances. Izuku’s strength only ever seems to increase, while Katsuki is repeatedly confronted by his own limitations. he’s attacked by villains. he’s kidnapped. he blames himself for his hero’s downfall. etc. etc. etc.

but the reason why Horikoshi keeps putting him through all these situations is because in order to have someone grow as a character, you need to have them slowly overcome their flaws. and it just so happens that Izuku and Katsuki’s flaws are the exact opposites of each other’s. and so when you think about it, it only makes sense that in order for them to develop, they’re going to need to take opposite routes. “what they lack” is completely different. and thus “what they need to gain” will also be completely different. this is something which has been very plainly laid out from the earliest chapters of the series...

...and which has been hammered into our heads over and over again ever since.

anyway! enough of my long-winded rambling. you get the point! Katsuki and Izuku have the same goal but are approaching it from opposite sides. just as they are mirrors of each other, so are their arcs mirrors of each other’s arcs. they balance each other out.

but now I’m going to add on a bit more to that, though, so just hear me out. yes, it’s very good and wonderful that they can do this. their strengths complement each other’s flaws; their weaknesses offset. the two of them can and will one day be unstoppable together, and all of that is cool and great and epic.

but it’s also limiting to think of the two of them solely in these kinds of terms; as half-formed individuals who can only be complete and whole when they’re by each other’s side. they are each still their own person as well! and in order for them to achieve this same kind of balance within themselves, they can’t just simply meet in the middle and be done with it. both of them need to continue to walk down their respective paths and experience each other’s side, not just their own. here, let me just break it down:

Deku: starts out quirkless -> learns humility and compassion and how to put others before himself -> gets a quirk -> learns how to be strong and win and inspire courage in others -> becomes a hero that both wins and saves.

Kacchan: starts out with a good quirk -> learns how to be strong and win and inspire courage in others -> ??? -> learns humility and compassion and how to put others before himself -> becomes a hero that both saves and wins.

ah. and now we finally get to our actual fucking point lol.

do you see?? they are perfect mirrors of each other, except for one critical juncture. Izuku grew up on Rescue Road, but the entrance to Beating Villains Boulevard was always barricaded off. until one day he finally got a quirk, and so was permitted entry. meanwhile, Katsuki has lived on BV Blvd his entire life, and until very recently he never even knew there was a Rescue Rd. and now that he finally does know, he’s been working very hard to get there, and has made many detours all over Plot Parkway, and has finally reached the point where he’s at least able to see the road that leads where he needs to go. but he still hasn’t gotten there yet. for him it’s still barricaded off in the same way that his road was once barricaded off to Izuku.

and there are other ways for him to gain access to this road. ways which involve far less pain and suffering, tbh! but the problem is, he’s never been the type of boy who has the patience for any of those other roads. he can’t be bothered to take the scenic route there. he’s in a rush. and so he keeps on trying to force his way past the barricade using brute strength and whatever other means he can think of, perhaps even trying to use the toll pass he got back on his own street (stay with me, metaphor; we’re in this till the bitter end now), thinking that if it worked over there, it should work for him here too. but it doesn’t. and the longer he keeps pressing up against this barricade, the more frustrated he becomes.

and meanwhile Izuku has already made himself at home over on Katsuki’s own street. and so that sure is annoying! except it turns out that by watching Izuku very closely, Katsuki can sort of get an idea of how they do things over on Izuku’s old street, just like Izuku once observed Katsuki and admired him as the closest he could get to being on BV Blvd himself. so at least that’s something. and the more Katsuki does observe and imitate him, the more he’s actually able to do a passing impression of a true Rescue Rd native. and maybe eventually he even starts thinking to himself, I don’t really need to go down this stupid road anyway, even though deep down he knows that the only route through to All Might Avenue is through that road. and also though, the other thing is that seeing as he’s only ever lived on his own street, he still thinks, even now, that his street is objectively the better of the two and the more important.

but that’s not how it works. the plain fact of the matter is that in order to get to All Might Ave you need to pass through both roads. if it was just Hero Highway that they were trying to reach? well then sure! that one’s easy. exit’s right over there. but they don’t want plain old Hero Highway. they want All Might Ave. they want to be the best heroes. they want to complete their respective character journeys. and to do that, Kacchan needs to find what he lacks. and to do that, he needs to gain access to this road.

so what I’m trying to say here is that because of who Katsuki is, and because of what his goal is, the surest and most logical way to complete his character arc is by bringing it around full circle as a mirror to Izuku’s. in order to fulfill his goal of becoming the best hero, Katsuki has to lose his quirk. it’s symmetry. it’s yin and yang. it’s equilibrium. in order to move forward he must first go back. in order to win, he has to lose. for him, this is the missing piece.

and just to clarify, because I feel like this needs to be said: this is not about “redemption through suffering”, though. it’s not “oh he deserves it for how he treated Izuku all those years ago.” and it’s not “let’s make the audience feel sorry for poor little Kacchan so that they feel more sympathetic towards him”, either. that’s not it at all! because the thing is, this isn’t about punishment; this is about fulfillment. this isn’t angst for the sake of angst. this is about placing a very deliberately and meticulously crafted obstacle in front of him for the purpose of forcing him to learn how to overcome it.

because he will overcome it. this is Bakugou fucking Katsuki. he is not fragile. he is not delicate or frail. and so for anyone who’s worried this might be a crushing mental blow? I think you just might be underestimating him.

that’s not to say it won’t be grueling for him, mind. losing his quirk would mean coming face to face with the very real possibility of losing his dream too. because society doesn’t believe that people without quirks can be heroes. Katsuki himself never believed that someone without a quirk could be a hero.

but you know who did believe that? because he had to believe it, growing up, because no one else believed in him?

yeah. that’s right.

you see, for Izuku, his own intrinsic worth isn’t inherently tied to his quirk, because growing up he never had a quirk. now contrast that with Katsuki, whose own sense of self-worth is completely wrapped up in his quirk, his strength, his natural talent. Katsuki, who grew up being told how amazing his quirk was, and believing that the hierarchy of the world around him meant that having a good quirk placed him above other who didn’t. and who consequently also grew up with a correspondingly huge fear of failure, because his sense of security and fulfillment is contingent on his being strong. and if that were ever to change, to him that would mean a total loss of everything he is, everything he’s ever known, and everything he is striving to be.

“lol I thought you just said this wouldn’t be the crushing blow for him”, and yeah, lol, fair enough. but this is also exactly why it’s so important for him to finally face this fear head on. because even though it frightens him, even though it would devastate him, I don’t think it would defeat him. rather, I think that once he came to terms with what had happened and accepted it, he would do what he always does. he would rise back up.

because in spite of what he has always feared, he isn’t weak. and so even though losing his quirk would be harrowing, I think that, if done right, it could also be liberating and even empowering. because it’s him facing his fears. it’s an obstacle to overcome for the sake of him realizing that he can overcome it. because him being quirkless is not, in fact, the end of the world.

because his strength isn’t in his quirk -- it’s in his spirit. exactly like the boy he once secretly feared. exactly the same as Izuku.

so yeah. that’s basically it. tl;dr Deku and Kacchan are on opposite vectors and Katsuki’s is becoming particularly hazardous to navigate at the moment, but what at first glance seems to be a potential death blow could in fact be the thing that finally propels him forward towards where he wants to go and who he truly wants to be. and I am here for it. I want my boy to find himself some enlightenment. and then to rise back up again like the badass he is.