#and so i have to overcome that in order for things to be ok and it... sucks dude

[shenzuns]

man.

my 2022 hard pill to swallow is that sometimes being bitter is not the best result for those i care about and even though i’m angry about things, being the mature one, being the kind one though that’s Really Fucking Hard will be the best thing.

and it hurts, and it sucks, and i want to be the asshole guard dog i’ve always ever been but no one’s ever stayed in the face of my rage so i have to be kind always. and i want to be kind, don’t get me wrong, but it’s so difficult and it hurts. i would love to stew in my rage and my bitterness and my cries of ‘it’s not fair’ but i’m not given the option to be childish anymore and it SUCKS ass and dicks and this is the cruelest thing abt growing up. being kind isn’t as easy as it used to be.

[agirlwithglam]

🎀 The It Girl Lifestyle Guide 🎀

hi girlies! this guide is a part of the big series: The Ultimate It-Girlism Guide. in this mini guide i'll be including all things health, morning/nighttime routines, and more!

How to create your ideal morning / night / any other routine:

Here’s a mini step by step guide to curating a routine that works specifically for YOU, tailored to your own needs and wants. This can be for any routine u wanna create: morning, night, after school, after work, before school/ work, etc etc.

Apps / things needed:

ChatGPT (or an AI like that- it’s not completely necessary but it’s useful)

Notes app / docs app. (Or a pen and paper- this will be to write down the routine!)

Calendar app (optional tbh)

Ok so first off: decide what you want in your routine. Make a list in no particular order of what you need/ want in the routine.

Some examples:

Once you’ve created this list, you’re pretty much half way done. In this next part you can use chat GPT to make it easier, or use your own mind.

The next thing to do is: ask chatGPT to make a routine with the steps u wanted.

Make sure to mention what time your routine starts and ends. And if there’s anything you want to change, you can just ask the AI or make those changes yourself!

The last step is to write it down!

You can either write it down on the notes app, docs, on a journal/ piece of paper, anything that’s easily accessible to you. I heavily recommend writing it down somewhere, but if you dont want to you can…

Put it into your calander. This can help you be a bit more organised, but it’s not completely needed. As long as it’s written down somewhere- so you dont need to always remember it- you’re good.

Health and wellness

In this section, i will be talking about fitness, mental health and physical health. I will mention some useful tips to finally start, how to overcome procrastination, and how to take care of that area of your body.

1. FITNESS.

Numero uno: fitness! I’m not going to go yapping on about how fitness is so important- im assuming you all know that by now. But let me just remind you that staying fit is not only exercising or going to the gym everyday. It can be: running, going for a walk, playing a sport, yoga, pilates, dancing, cycling, and THE LIST GOES ON. DO anything that moves your body and gets you fit!

Here are some tips to help you get started:

Start small. Set small goals first. Set SMART goals

Choose the activities you enjoy. Like i mentioned earlier, there’s tons of ways to stay fit- cycling, running, swimming, yoga, dance, sports, etc. etc. (if you like, joining a class or working out with friends can help you stay motivated!)

Stay consistent. I know i know, this is said everywhere. But there is no progress without consistency. Even if you can’t do a whole workout one day, try and do 10 jumping jacks, or 5 pushups. Do whatever you can. Remember: 1% is better than 0.

Create a vision board. You can create one yourself, or find tons of them off Pinterest. Vision boards will make the process so much more fun and will certainly motivate you.

Set a reward system. Tell yourself: if you do this high intensity workout now, you can go to the spa later or watch tv.

Find a why. This goes for like everything tbh. If your why is big enough, you are capable of doing anything (even finding that lost book that you owe the library!) basically, are you doing this to get ripped? With tons of abs, or to get strong and impress people? Or are you doing this to boost your self esteem and improve your health?

2. FOOD & NUTRITION.

Balanced diet: eat the rainbow! Meaning- eat meals with a variety of different colours. Fruits, vegetables, proteins, carbohydrates, etc. it’s completely alright to eat a chocolate, but remember: EVERYTHING IN MODERATION.

Hydration: aim for at least 8 glasses of water a day. Trust me, drinking the magical potion that is water will help you SO much! It can help you clear your skin, have pink uncrusty lips, keep you fit and soooo much more.

Mindful eating: in the book IKIGAI it is said that you should only eat until you’re 80% full. Not 100%. Why? Because the time it takes for you to digest the food will have already made you extremely full. You may even have a stomachache. Studies also show that cutting back on calories can lead to better heart health, longevity, and weight loss.

Here are some tips to manage cravings:

Find healthier alternatives. If you are craving something sweet like chocolate, have something like a sweet fruit. If you crave something salty, try nuts. If you can’t think of any, search up some healthier alternatives to it!

Create more friction for junk, and less friction for healthy. This concept was said in the book Atomic Habits by James Clear. What does it mean? Make sure that it takes a lot of energy to get the unhealthy junk food. Maybe keep them high up in a cupboard so whenever you want it you have to go get a ladder, climb up, and then get it. And keep the healthy food in easy reach. Like some fruits open on a table, etc. (also remember to keep some actually yummy healthy food like Greek yogurt or protein bars.)

Distract yourself. Go do a workout or engage your mind in a hobby that you enjoy. Basically take your mind off food.

Yummy water. Make some lemonade for yourself. Or perhaps add slices of lemon, cucumber, mint or strawberries to it for some flavours. I’d do some research on this cus i know that some combos can rly help for things like clearing your skin, boosting energy, etc.

3. MENTAL HEALTH

Taking care of your mental health is just as important as taking care of your physical health. It affects how we think, feel and act and also determines how we handle stress, relate to others, relationships, etc.

Of course there will be ups and downs for our mental health. It’s not something that you can just fix once and it’ll be good forever. No, it’s a rollercoaster. But having a “good” mental health is really important for a successful lifestyle.

Here are some tips to help you improve your mental health:

Meditation / deep breathing. I can’t emphasise how important this is. Even 1-2 minutes a day is good. Start small. You dont even need to be sitting crossed legged for this. Whether you’re in class, on a vehicle or in a stressful situation; just breathe. Take a deep breath, and out. Do it right now.

Journalling. Write. It. Out. Writing your problems and worries out is SOO therapeutic, especially when you want to calm down. There are SO MANY benefits to journalling. But remember that once you’ve ranted on the paper, tear it, rip it, and watch it burn. (Don’t keep a journal for this unless you KNOW 150% that no ones ever gonna read it. Trust me, it’s terrifying knowing that someone’s read that.) other things you can do is create a gratitude journal, so whenever you’re feeling low you can just go to it or write in it.

Self careee!! Create time for self care in your week. Because if you do that, it’s gonna be that one thing which you’ll be looking forward to each week, which will make life SO much more fun and bearable. For me, my forms of self care are watching thewizardliz or tam Kaur, reading, watching a movie at night, etc.

POSITIVE. SELF. TALK. Need i say more? What you say to yourself, is what you believe. And what you believe reflects in your external life.

Sing your heart out to Olivia Rodrigo. I swear this is actually so calming and therapeutic. Basically: express your feelings. If you’re angry at someone, feeling grief or really hurt by someone, screaming to Olivia Rodrigo songs in my bedroom is my go-to (i just make sure not to do it when others can here hehe). You can punch your pillow, scream, cry, etc.

Remember honey: this too will pass. Repeat that over in your head. This will pass. This will pass. This will pass. I know you may be going through the toughest time ever, but this too will pass. Nothing is forever. You’ve gotten through so much worse. You’ve got this.

!! Girls, please remember that these are just some tips. I am NOT a professional. If you really feel horrible every single day, go to therapy or counselling. Also contact mental health hotlines or emergency numbers if needed.

Mkay thats it! I hope this was of some value to you, and stay tuned for the next guide in the it girl series!

[angel-eyes05]

to leave the warmest bed i've ever known

pairing: spiderwoman!reader x miguel o’hara 

summary: after miguel’s fight with miles, you confront him in his office

warnings: this whole thing is basically one big argument there’s SO much angst, implied suicide attempt, HUGE ATSV SPOILERS DO NOT READ THIS IF YOU HAVEN'T SEEN THIS MOVIE, im projecting a little in some parts of this ngl (i cried writing a certain section of this, you'll know it when you read it lmao), mentions and descriptions of blood, gore, and death

word count:  4.1k

notes: i watched the movie yesterday…and miguel is on my mind. but i remember reading this namor x reader fanfic after i watched wakanda forever of a similar idea to this and i loved it so this is HEAVILY inspired by that fic, but just make it miguel. i would link it but ngl that was so long ago and i dont remember the author. if i end up finding it again ill put it here. also, just pretend miguel has been doing this whole spider society thing for a couple of years at least, it just needs to work like that for this ik its probably not canon but just roll with it lmao. and yes the title is a taylor swift lyric im so glad you noticed (im so sorry she's in my brain rn with the eras tour)

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The anger boiled up inside your chest as you stormed your way across the lobby. Hundreds of different Spider-Man variants were scattered across the area, some more injured than the others. It sickened you sometimes. How he had so many people under his grasp and just decided to throw some of them at the walls sometimes, not caring how hard they hit the floor because they were all just ammo to him. How despite his denials of it, that’s probably what your role was to him as well. Nothing more than a bullet in his massive machine gun.

You normally tried not to think about it, how his determination towards his goal sometimes meant lack of care for others. But this time he had just gone too far. You always had a soft spot for Miles, watching closely on him whenever Miguel would let you go though scanners of all the different variants. You admired his struggle, but eventual success to taking up the previous Peter’s mantle, and always hated how Miguel talked about him. You knew there was no way Miles could’ve asked for any of this. For the pressures and struggles of being a Spider-Man, for everything causing such a strained relationship with his parents, for the death of his uncle, and for what will be the eventual death of his father. You definitely didn’t.

Ok lets do this one last time. Eh, whatever, there’s probably gonna be 50 other introductions after this one so it doesn’t really matter.

Being Earth-837’s Spider-Man has never been easy. Especially since you were bit when you were only 13 (another reason you sympathized with Miles and Gwen). Your life had followed the order of canon events to a perfect T, your older brother killed in a fight with a robber only two months after you were bit. You tried to overcome the burden of your powers by trying to live as normal of a teenage life as possible, but it was mostly in vain, having to give up multiple friendships and relationships in fear of those you love getting hurt. This was only elevated when your boyfriend Peter was murdered in the crossfire of an encounter with Doc Ock. You didn’t understand. You couldn’t. What you had done to deserve all of this. All you did was just be in the wrong place at the wrong time. You wonder sometimes what would happen if someone was in the same place you were when you got bit. If someone else went to the closed down area of that museum and ran into that spider. That stupid spider that ruined your life. Those thoughts slowly started to disappear for a bit. For a few years things were easy. Things seemed like they were finally going in your favor.

You were 25 when it happened. The last canon event. Ever since you were a little girl you hated your mother’s job. Losing nights of sleep over if she would come home or not. She always did though. She was good at her job. Too good though. Good enough to get promoted to police captain, which for who you were, was basically sealing her fate. She saved so many people that day. You were too busy fighting Venom to notice how much collateral damage you were causing in the process. Your mother’s job was to evacuate all the citizens away from the fight. She died shielding a child from incoming debris. A noble way to go. But god was it gruesome. You found her after the fight was over, two metal poles impaling her. One through her stomach and one straight through her face, pools of blood growing bigger below her as she was left there, all the paramedics busy trying to save the heavily injured. You froze when you finally recognized her, unable to at first due to how mutilated her face was from the pole. Suddenly, you were transported back to being a six year old, falling asleep outside the door to your mother’s bedroom so you would know exactly when she would come home. Purposefully falling asleep in her arms so that she couldn’t go anywhere.

When you used the key she had given you to get into her apartment that night, and you slept in her room, desperate to intake anything left of her before she was fully gone. You doused yourself in her perfume so it still felt like she was standing right behind you. You had always loved her smell. The smell of vanilla, curl product, and fancy perfume. They were attached to memories you had of her. Trying on her heels when you were a kid to try and be fancy like her. Smelling her hair in the morning before school to comfort you before she left for work. Despite all of this bringing you comfort, all it really did was cause further denial in your heart. That one day you were gonna hear the keys clacking in the keyhole to your apartment one more time. That’s all you really wanted. You would give everything up in a heartbeat just to hear her police scanner go off one last time. But it wasn’t going to. And it was your fault. Deep down you knew it was. You should’ve done a better job controlling the debris. You had always been a messy fighter, but you didn’t know it was going to mean anything until it was too late. 

How you got up to the top of that building is still a blur to you to this day. But next thing you know, you were looking at the New York City skyline from the very top of the Empire State Building. And at the very edge too. You heard some sounds behind you, but you just decided it was the wind howling from how high up you were. You were just so tired. Everything and everyone you loved was cursed all because of you. And with your mother as the most recent victim, you decided you finally had enough. You took a deep breath, eyes overflowed with water, as you set your foot forward.

Your plummet was interrupted by a sudden contact you felt to your forearm. Shock filled your body as you turned around to look at what had stopped your attempt. The blue hand was massive, nearly wrapping back around onto itself as it held onto you for dear life. You finally looked up at face that the hand belonged to. The mask that covered the massive figure was a strange one. Blue with strange red silhouettes for the eyes. It kind of reminded you of…your own costume? That couldn’t be though there was no way. This must be the afterlife or something. You already jumped and that's why you didn’t remember your way up to the top. This was some kind of creature trying to stop you from jumping down to hell below. His breaths were heavy and loud, almost like he was desperate to stop you. This convinced you that this was real, which caused you to try to escape from his grip. He was stronger than you, and was putting up a huge fight. You were slick though. Once you were out of his hand, you closed your eyes and quickly made your jump. Everything flashed before your eyes. Your brother, Peter, your mom. You were hoping to see them soon. This was very quickly interrupted again when you suddenly stopped falling. Something had attached itself to your stomach. You opened your eyes. A web? This web was much different than yours though. It was glowing a bright, neon orange.

The man was holding onto the end of it tightly with both hands. His mask then disappeared to show his face. His was long, matching how big the rest of his body was, defined cheek bones sticking out. Brown wavy hair slicked back with a few loose strands flying out in the wind. The look of desperation on his face stook out most of all. Why did he care so much? He didn’t know you, and you definitely didn’t know him. “Let me pull you up. Please,” he said to you between shaky pants. You stared at him for a bit before nodding. He slowly pulled you up with the string of his web, each move more careful than the last. As soon as your feet were planted safely back on the roof of the building, he wrapped you up in his massive arms. You appreciated the gesture, but you didn’t return it, still very confused about why he was so concerned. He was so big around your body though, you couldn’t help but feel a little comforted, feeling his still shaky breaths against the hairs of your neck. Soon after, he clicked on some buttons on his neon orange watch and led you into a portal.

The rest is history. You’re grateful he found you that day. It allowed you to meet so many people, Peter B., Jess, Gwen, Hobie, Ben, Pavitr, Margo. They all related to you and you felt like you could share things with them that you couldn’t do with anyone else. You had grown especially close to Peter and Jess, both of them having been in the game for a long time, just like you. They both knew how you felt, having lost so much and growing so tired after so many years. Peter even named you as Mayday’s godmother when she was born, a gesture that caused you to nearly kill him with your hug. Miguel though was different. He wasn’t nearly as social as the rest of your friends, but you found yourself having much more intimate moments with him (in more ways then one). You eventually found out why Miguel was so concerned for you the day you met. He had taken interest in your abilities early into looking for variants for his little “project”, but refrained from roping you into something so dangerous while you were still in your teens.

Once you were old enough though, he started paying more and more attention, hoping to catch you in a fight and recruit you then. But he was always pulled away with more important duties to attend to. That was until he witnessed your canon event. He had seen it happen so many times before through his scanners. It was going to happen. It had to in order for your universe to not collapse in on itself. But for some reason, yours hurt more than the rest to him. Especially how you coped with it. Seeing you wrap yourself up in her blankets and clothes broke his heart. He knew where this would lead to. That’s why he was there that day. To save you. He had to, or he wouldn’t be able to forgive himself. You got your own watch immediately, along with your own room in the Spider Society headquarters. He stayed close with you for the first month of you being a member of the team. When he wasn’t out on missions, he was with you. You didn’t really know what to label you two as, but whatever was going on, you liked it. And he did too.

That is until Miles came into the picture. Once Miles was bit, all hell broke loose for Miguel. He was always in some alternate dimension catching some Spider-Man villain who got out and rangled them back over here, falling back over to you more beat up and bruised than the last time. You couldn’t imagine how much stress he was under, the fate of the entire multiverse up to him. You had some ways of helping him relieve his stress, but you wish you could convince him that he wasn’t alone in this. But nothing ever got through to him. He had become distant, aloof even. You tried bringing it up to Jess every so often, but she would just brush it off.

“That’s how he’s always been.” Not to you he hasn’t. This week has been hell though. With Spot making it over to Miles, Miguel had been going into rages all week. You had put up with it for now, but that was all about to stop. Watching how harsh he was being on Miles, throwing so many Spider-Men at an innocent boy, risking all of their lives in the process. Disregarding everything Gwen and Peter were feeling and then throwing Gwen back into her broken world with nothing. He had gone too far. No one else was going to stand up to him about it, so you knew it had to be you. Maybe he would listen, maybe he wouldn’t. It didn’t really matter. He just needed to hear it.

“It’s not worth it you know.” The voice snapped you out of your thoughts, stopping you in your tracks. “You know how stubborn he gets over these things,” said Jess, trying to convince you to save your breath. “I don’t care. I have to at least try,” you responded, monotonically. “I just don’t understand how you can follow him so blindly and not see what he’s doing is wrong.” “Because he isn’t wrong. I don’t know about you, but I’m not just gonna stand by and let some kid’s stupid decisions destroy another Earth,” Jess argued. “He’s just trying to save his dad, I can’t understand how that makes him such a bad person,” you said, finally turning around to face her, shocked when she was closer to you than expected.

“You know exactly why. Don’t be so naive, y/n,” she shot back. “You can’t stop me,” you said staring straight into her. She shrugged. “Then I can’t help you.” She began to walk away. You did to, until you heard her say. “You don’t know how much he cares for you.” You turned around to face her again, but her back was still to you, her head tilted ever so slightly to look at you. “If you really do care for the kid, watch what you say to Miguel right now. Cause you might just give him the final push he needs to do what needs to be done.” You didn’t give her a response, and just simply kept walking. You felt Jess’ eyes on your back as you entered the elevator to get up to Miguel’s office.

The elevator ride up felt longer than it should’ve, as you tried to gather all of your thoughts and emotions together so even if he didn’t listen, your words would still stick with him in some way. You didn’t necessarily want to hurt him (though your fists were telling you otherwise), but you did want him to be aware of what he’s done. Once the doors finally opened, all of that work flew out the window as rage took over your body again, seeing Miguel up there looking at the scanners. The fact that he looked just as normal as he always does made you furious. It’s like nothing happened.

“You know, I could hear you coming in from the lobby,” he said, almost stopping you in your tracks. You hated when he did that. Claiming that he knew what your every move was going to be. Like you were under his control or something. “Yeah, well then you must’ve heard me talking to Jess, which means you know exactly what this is about,” you shot back, stopping to where you could see him perched up there. “Why don’t you just save me the conversation about morality and just come up here and kick my ass already. It’ll save both of us time,” he said, not even taking his eyes off the scanners to look down at you. This only added to your fury. “That’s not what I’m here for Miguel, so don’t you dare try to twist my words here. What you did to that kid was fucked up and you know it.” “Oh yeah, then why didn’t you try to do anything to stop me?” he questioned.

“Because I’m not stupid Miguel. I’m not gonna try to take down hundreds of Spider-Men at once.” “Oh, cause you’re so much better than that?” This wasn’t like him at all. That gentle, kind, and caring Miguel you once knew was gone, taken over by some sort of personal vendetta he had against Miles. “Listen, I don’t know what’s going on with you, but this all needs to stop before it gets taken too far. You’re getting into a fight you can’t win. That kid’s strong and so are his allies. And if you go any further into this, I won’t be here to help you.” He stayed still and only turned his head to look at you. “And what makes you think that you’re so important to my plan that it’ll fall apart if you leave? Have you really become that pretentious?”

Your body froze. Have I really? No no no, that’s exactly what he wants. If you begin to doubt yourself now, you’ll stay and nothing will change. You knew you were right. He was trying to crumble you down, but you wouldn’t let that happen. “And you really think that one kid is going to ruin something that you’ve been working for for years? How insecure you’ve become.” “You have no idea what you’re talking about,” he said, turning back away from you. You did the same, wiping off your face in anger. “I hate it when you do tha-,” you said as you turned back around, but were cut off to find Miguel standing there right in front of you. He was close. Too close to your liking, although in any other circumstance you would’ve found this attractive.

He tilted his head up, but his eyes were down staring daggers into yours. You hated how much he tried to make himself seem more superior to you. “You have no idea what you’re talking about,” he repeated, this time slower as if you were a child. “He’s just a kid Miguel,” you said in a low, quiet voice. “An anomaly. And a dangerous one at that.” “God Miguel, all he wants to do is protect his dad, do you know how insane you sound right now?” you said letting out a slight laugh when you finished. You backed away from him a little. “He doesn’t know how much damage he’ll do with this. Saving his father will only prolong the inevitable. His world will be gone within hours if he does this. All I’m trying to do is make him understand,” he tried to explain. “By trying to kill him.” “You always have to exaggerate the situation,” he said palming his face. “But that’s essentially what you’re trying to do isn’t it? Why not snuff out the problem entirely by taking him out!”

He signed and began to walk away while you were talking, bringing up your anger even more. “Yeah, use all the power you’ve accumulated over the years and just take out the small problem! Except this isn’t just a fly on the wall Miguel. This is a child! An innocent boy who didn’t ask for any of this to happen to him, just like how we didn’t. I get it, I’m sorry that this job is stressful, I really am. But that gives you zero right to act the way you are!” You were screaming at him at this point. You didn’t want to. You didn’t want your emotions to get the best of you. But he was being too stubborn. This was the only way you thought you could get to him. You might not have wanted to, but you needed to hurt him now. It was the only way.

“You can’t be so power blind that you refused to accept the fact that there could be a way around Captain Davis’ death. You said we saved Earth’s before, I’m sure we could do it again.” Your anger only kept rising when he kept walking away and didn’t respond. “This is a personal thing isn’t it?” you asked calmly. You knew it was working now when he stopped walking. “Yeah, it it. You won’t let Miles get his happy ending. Because why should he be pardoned of his burden while the rest of us have suffered so much. While you’ve suffered so much.” The answer to your question was confirmed when Miguel stayed silent. “Just because you didn’t get the life you wanted Miguel, doesn’t mean you have the right to stop other people from getting theirs.”

You knew you overstepped the line when Miguel turned around and started walking towards you, fury burning in his crimson eyes. “Yeah, so what! What if that is what this is all about! You should know better than anyone how much this job takes away from you!” he screamed at you, backing you up into a wall. “Why should he get to be let off so easily, while people like you and me have to suffer so much? Don’t try to turn me into the villain here when I know you’re thinking the exact same thing, y/n.” He wasn’t entirely wrong. You had wondered it at some points. “I won’t let you turn this onto me Miguel, this is about you,” you fired back. “Oh no, you’re not getting off that easily. I know you’re thinking it. And you’re right. Why should Miles get let off so easily when you’ve lost so much.” He held your hands in his, trying to connect to you. “And you have mi vida. You’ve had so much taken from you and it’s unfair. Why should he only have lost one person when you’ve had three taken from you. Your brother, Peter, your moth-.”

He was cut off by your hand striking against his face in a harsh blow. “If you’re smart, and I know you are, you’ll keep those three out of them. I won’t let you drag their names through the dirt for something as stupid as this.” You both stood there for a while, both of your eyes looking towards the ground, hoping it would open up to swallow you both as an escape from this god awful conversation. You never wanted it to come to this. In all honesty, you cared for Miguel. You might’ve even loved him, if you were even capable of doing such a thing. You hoped he felt the same way about you, but in a job like this, he always had at least one wall up around you. It just wasn’t worth it anymore. You were too tired to keep trying for something that was most likely going to fall apart in the end. 

“You’re still going after him aren’t you?” you asked, finally breaking the silence. Miguel looked back up at you. “You can’t ask me not to. You know better than anyone why this is so important to me.” He moved his hand up to cup your cheek and kissed your forehead gently. You let it sit there for a minute out of habit before pushing it off your face. “And you must know why I can’t stay anymore then.” His shoulders dropped. “Whatever this thing between us is. It’s over. I can’t stay beside someone who can’t see what he’s doing is wrong.” Miguel’s dropped hand turned into a fist of anger. “Fine,” he spat in your face. “I don’t need someone like you in my way. You’re just a liability to this anyways.” He began to walk away from you back to his scanners. “Just don’t come crying back over to me when your little plan doesn’t work out, cause I won’t help you.” He used his webs to pull himself back up to the platform to keep looking for Miles. You stood there for a second, gathering yourself.

Five years. Out the door just like that. It bewildered you how easily a bond like you two had could be broken all because of one teenager. You began to make your way for the door before you said. “When this is all over…don’t try to find me.” He didn’t respond. Once the elevator doors opened, you rushed inside, desperate to get away from him. So many thoughts rushed through your head as the doors closed and you sunk down back to the lobby to leave. You didn’t have much of a plan. This could end up being a horrible idea. Your gut told you it was the right thing to do though. And that was enough for you. You walked out of the headquarters lobby with a new heart and a new mind, ready to take action for your new plan.

First though, you had to find Gwen.

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a/n: god that took longer than it should've. dw dw i'll do a part 2 if enough people ask for one. im not 100% sure how im gonna do a part 2 cause yk....idk how beyond the spiderverse is gonna go so tbh, we're just gonna make it go the way i want lmao. thanks for reading, ik this was kind of a long one lmao

NEXT CHAPTER

[cheeseceli]

With a shy s/o

Pairing: Ot8 Skz × Gn!reader (individually)

Genre: headcanons, fluff

Request: I wanted to ask if you could do them having a shy s/o? Kinda quiet sometimes and getting flustered

Warnings: mention of food in Chan's, not proofread.

A/n: in need of a seungmin irl now | fundraiser

Bang Chan

In between doing everything so you don't get shy and doing everything to fluster you. Yes he'll order food so you feel ok, but then he'll turn to you and start to tease you about something just to see how you get shy. Just the perfect mix of protection towards you and finding you cute in this state.

Lee Know

He's either flustering you as much as he can for no reason at all or he is accidentally making you shy and then he's this mix of being proud/shy himself because of the effect he has on you. No matter the situation, he will always have a soft smile on his lips on the end, happy with the outcome.

Changbin

You'll constantly get shy around him because this man cannot stop bragging about you😭 of course he will stop it if he sees you're uncomfortable, but if not, he'll praise even the ground you walk on. And when you hide your face, he chuckles and compliments how lovely you look.

Hyunjin

Most of the time he's not even trying to make you shy, it just happens. You are just living your life normally and then suddenly he decides to say the sweetest love confession ever like it's nothing. And then you're getting shy. And this man has the audacity to smile and say you're "cute".

Han

He is always making pick up lines for you and honestly, some of them are actually good but most of them are just not it💀 if you get shy from what he says, no matter if it's because it worked on you or because of the second hand embarrassment, he will get all cocky about this. I'm sorry lmao.

Felix

We all know this man loves physical touch. If you get shy because of it then, man, you better get used to it 😭 he finds it very endearing as well. I can see him hugging you from behind randomly, you getting slightly embarrassed and then he laughs light-heartedly and sway with you from side to side.

Seungmin

Kinda supports you on doing things to overcome your timidness, like encouraging you to talk more when you're among his friends that you don't know very well and asking the bill yourself. His help is actually so comforting because, aside being extremely useful, he never ever patronises you.

I.N

Somewhere between trying to tease you because your reaction is cute and getting shy himself because you were, in fact, very cute. Honestly it's a very cool dynamic lmao. It all happens in his head and you just go from hiding your face to being confused because why is he hiding his own face now? You didn't even do anything??

Masterlist | you'll probably like: With a hyper s/o

Thank you for reading <3

Taglist (open!): @yuyubeans @dandelions-143 @sleepyleeji

Credits for images 1 2 and 3

Dividers by @isisjupiter

[littlemissmiller]

His Good Girl 🎀

Pairing: dark!coriolanus snow x fem!reader

Summary: you’re famous in the capitol, everyone wants you or to be you, but only coriolanus get to have you. the night you and him take your relationship public, his jealousy and possessive nature overcomes him. he decides to make it clear who you belong to.

Warning: 18+ smut, praise kink, dom!snow, sub!reader, fingering, p in v, oral (f receiving), cum play, hickeys, possessiveness, jealously, porn with a plot

Word count: 5.1k

A/N: hello again :D! wow back to back posts look at me go. so i was struggling to figure out what i was going write next and didn’t expect to post again so soon until like next week, but i stumbled across this in my notes app last night after i published my billy the kid fic and here we are. so enjoy! im not sure what to write about next still. may drop a pedro fic next who knows ¯\_(ツ)_/¯ so anyways here is another dark!coryo for ya ❣︎

Artwork

୨୧ ୨୧ ୨୧ ୨୧ ୨୧ ୨୧ ୨୧ ୨୧ ୨୧ ୨୧ ୨୧ ୨୧ ୨୧ ୨୧ ୨୧ ୨୧

Snow found you sitting by the window in his bedroom, gazing out upon the pedestrians as they walk by.

You hadn’t heard him come in and aren’t alerted to his presence until the door closes behind him. You startle and whip your head around. He stands still behind you, his head cocked to the side slightly as he examines you, with a devilish grin on his face. His eyes trail up and down your body. You weren’t expecting him to be home yet, so he had found you in your silk, pink robe embroidered with small white roses. You were clearly fresh out of the shower and about to change into something suitable for the evening and dinner later that night.

“You’re home!” You exclaim

“Is that ok?” Coriolanus asked knowing that the question was completely rhetorical. As if he could only come to his own home whenever you felt it was suitable.

“I just wasn’t expecting you home so early. At least not for two more hours. I was hoping to be all ready for you.” You explain

All ready for him. Coriolanus liked how submissive that sounded. He likes when you were obedient and perfect for him. Especially the last few months as you and him took your relationship further. By now, he has expected you to be at his apartment by the time Coriolanus had gotten home from the University. Given your schedule, he knew he wasn’t keeping you from anything or taking you away from anything either. So where else would you have to go except come to his apartment. And you did.

“I can see. What are you wearing tonight?��� Coriolanus asks

Excitedly, you bounce up and rush over to the wardrobe where your dress is hanging up. In your hurry, your robe reveals a part of your bare thighs which Coriolanus takes note of and enjoys the subtle view of your body. You open one of the doors and reveal a pink dress hanging on the back of the door. It’s silk like your robe and Coriolanus already knows that the moment you have it on, he’ll want to tear it off you.

“It’s the one you said you liked the other day at the shop so I sent in an order and had it sent here today.”

Coriolanus thought to himself as he takes a few strides towards you. Good. You are sending things to his apartment. As it should be.

“Just as beautiful as the girl wearing it.” He smiles and walks over behind you.

He grabs your shoulders and his lips give your neck a firm kiss, directly on your pulse. You take the dress from the inside of the door and reveal the mirror attached to the inside of the wardrobe. You hold it up to you, imagining what it will look like on you tonight. You catch Coriolanus’s gaze in the mirror. His blue eyes are piercing through your soul as usual, but there was now a cloud of lust swirling in them. His hands snake towards your waist. He slithers them under your robe and rests them just above your hips. You pretend to not care or notice his actions, but the growing heat in between your legs wants you to give in to him. You tame your labored breathing as you smooth the dress out in front of your body.

“And what will you be wearing, my love?” You ask

“I picked out an all black suit this week. I’ll make sure to adorn a white rose now that I’ve seen this.” He states taking a piece of the pink fabric in between his thumb and fore finger “and you’ll put one in your hair, just in case people forget who you belong to.”

“Well I was already planning on wearing the black diamond necklace you gave me. The one with your initials carved on the back.” You respond touching the center of your chest where the necklace would lay. “Or perhaps I should wear the black lace choker…the once with the gem?”

One of Coriolanus’s hands travels up to your neck. As beautiful as the choker was, the thought of you wearing the black necklace with his initials around your neck seems perfect for tonight. It would tell everyone at that dinner that you were undoubtedly his. Yes, it was perfect.

“The necklace will look nice on you tonight. Wear it.” He whispers in your ear, tugging at it slightly with his teeth. You gasp, finally breaking and giving in slightly. The hand, not wrapped around your throat, travels up and down your thigh.

“Whatever you want.” You whisper back trying to hold back a moan as Coriolanus places a light kiss to your jawline. His hand holds your face up to look at him as he does. It’s hypnotic to watch and he knows it.

“If you behave tonight, you’ll be sure to be rewarded.” He reminds you

You hang the dress back up and he spins you around. He dips in and gives you a proper kiss on the lips. He pulls back soon and mumbles against your lips

“Understand?”You nod your head. He tuts at you and squeezes your hips.

“Say it.”

“I understand.”

The two of you finish getting ready. Coriolanus takes his own shower while you attend to your hair and makeup. Thankfully, being around Tigris meant she was always helping to style you. She had taught you what makeup and hairstyle looks best with certain outfits or styles of dress. So for tonight a soft, baby doll look. And your hair, Tigris decides to put half of it up, tying it in place, then setting it with a white rose, just as Coriolanus asked. You take a look at yourself in the mirror. You’re stunning. Sexy and yet elegant. Your makeup was perfect too. You had a faint tint of red blush on your cheeks and nose, your lips were glossy and plump like a ripe plum. You batted your eyes, now long and defined with mascara and smile at yourself.

When Coriolanus finally sees you as you exit his vanity closet, he’s stuck in place. Temptation washing over him. Tigris spun you around, showing you off to him. She left the room, leaving the two of you alone to finish getting ready. You attach your earrings and finally adorn the necklace. You put on a pair of strappy pink heels and find your purse.

“Ready?” You ask admiring how handsome Coriolanus looks in his suit.

Coriolanus steps towards you, closely examining you as he does. His mouth curves into a half grin. As if he is pleased by the sight in front of him. The dress hugs your body beautifully and the half slit up your thigh is tempting. He grips his hands around your waist.

“I am. You look incredible my dove.” He remarks placing a kiss on your forehead

“As do you. Almost perfect.”

“Almost?” he inquires

You nod your head and walk over to the side table next to his bed. Coriolanus takes note and how the dress falls on your hips and how they sway gracefully, yet subtly from side to side. You pick a rose from the vase on the table. You open the drawer and pull out a safety pin and walk back to him. You stand in front of him and look up at him as you pin the white rose to his lapel. You show off the back of your hair. He touched the rose in your hair and smiled. You turn back to him, wrap your arms around his neck, and whisper into his ear.

“Now you are ready.”

You and Coriolanus leave the house, enter the car, and give the driver the directions. Tonight was to be a “private dinner”, however it was truly anything but. The guest list was to be consisted mostly of Panem’s up and coming young politicians from the senior class at the University. Around thirty students, each permitted to bring a guest. It wasn’t anything too special, but rumors of Coriolanus Snow seeing someone had become rather out of hand. So what made tonight special for the pair of them was the public nature in which they were officially announcing their relationship.

Up until now you and him have tried to keep things a secret to avoid attention from the news, given you are a prominent member in The Capitol. Especially your family. Your father had helped create a new weapon manufacturing business after the war and had been regularly contracted by The Capitol to create weapons in the last few years. He had become good friends and business associates with Strabo Plinth. It gave your family status and you some newfound fame. In turn it would help give Coriolanus some as well. But Coriolanus had you in his life for much more than just that. Having you as his own. His girl. It felt thrilling.

Thrilling to know that only he got to have you. It was no secret that your looks were talked about often. Simply because you were so beautiful with a beloved last name. A name almost impossible to escape given your father’s philanthropy as well as service to The Capitol. So the fact that Snow got to have you. Out of all the other wealthy and famous girls, you were the most desirable. The most popular and loved.

Coriolanus rubs your semi-exposed thigh and watches you watch the city pass by.

“Are you nervous my dove?” he asks

You look over at him and smile. You shake your head.

“Not at all.”

Despite this being a private dinner, he was sure that, by the time they left, word of their romantic relationship would get out and the press will try and snap a picture of them. A type of attention Coriolanus hadn’t received in a while and wasn’t sure how he would react this time around. Your attitude towards this evening however, put him a little more at ease.

“Are you?” You follow up

“Slightly. Not ready for all the attention that we will probably get after tonight.”

You look at him sympathetically and squeeze the hand that is rubbing your thigh.

“It will be fine” You reassure him

He looks at you with a new found sense of confidence. He squeezes her thigh as she continues to grip his hand.

The driver arrives to the mansion where the dinner is held. The house of the Dean of Political Science. Coriolanus steps out, rushes to your side and opens the door. He extends his hand and you take it. Both your arrivals change the dynamic of the party. You move through the crowd towards a group of Coriolanus’s classmates. The polite nods, chatter, and occasional laughs turn into head turns, double takes and whispers as you walk past people. Coriolanus looks at you as you walk. You seem unbothered by the attention and loop your arm around his elbow. Once you make it to your table, his classmates greet him.

“Ah Coriolanus! Good to see you!” Festus Creed exclaims

“You as well Festus.”

“And might I say it’s a pleasure to meet you.” Festus follows up extending his hand to you. You take it and greet him.

“Nice to meet you”

Coriolanus officially introduces you and Festus to each other. You then turn to smile at a few of Coriolanus’s classmates hanging around, but they stay back as to not intrude on your boyfriend’s conversation. They whisper to one another. You couldn’t tell if they were talking about you though. What you couldn’t tell was if it was good or bad. Coriolanus knew however. The sneering looks and childish giggles of Livia Cardew and Clemensia Dovecote were looks that he was all too familiar with. Coriolanus looks at you. You seem to have slipped into a polite conversation with Festus, who by the sound of it seems to be a fan. You indulge his enthusiasm. Coriolanus nods at you and walks over to investigate the conversation between Clemensia and Livia’s conversation. As he approaches they seem too caught up to notice him.

“I mean the matching roses. So cheesy.” Clemensia snickers

“And the matching colors. Like give me a break.” Livia follows up

“Also what is that. A night gown? She looks like a whor-“ Clemensia starts

“Clemensia. Livia. How are you two this evening?” Coriolanus asks firmly, cutting her off

“Oh Coriolanus!” Clemenisa startles “Good to see you.” She says, suspicious of if he had overheard their conversation.

“Anything the matter?” He asks

“No. Why would something be wrong?” Livia asks

“I hope there wouldn’t be.” He states in a somewhat threatening manner

“So your date. What a surprise.” Clemensia sneers not at all intimidated by Coriolanus’s stern manner

Coriolanus starts to feel a strong wave of protection over you, with a slight tinge of possession. He looks at Clemensia with a threatening look masked in curiosity.

“How so? I thought there was rumors of us floating around am I wrong?” He asks

“There were, just interesting to see them be confirmed. Happy for you.” She smiles “Seems like you’re not the only one who is infatuated by her.” She snickers

Coriolanus whips his head around to see that a crowd has gathered around you. A few more of the male students in addition to Festus. They ogle you and subtly fight for your attention. Coriolanus finds himself slowly filling up with rage. He forces a smile to Livia and Clemensia, excuses himself, and walks over to you. You watch him as he walks over. He moves to stand behind you, placing both his hands on your shoulders. He dips down to kiss your cheek and you smile.

“Making friends” he jokes trying to hide his anger

“Apparently” you whisper back

As you and Festus continue the conversation and Coriolanus tries to contain himself. He rubs your shoulders. He’s fuming with anger at Clemensia and Livia. And at the other men trying to steal your attention. Part of that is his fault for walking away from you. Letting them have access to your attention. Still, how dare they. And how dare anybody try to insult you. He wouldn’t stand for it. The evening continues and Coriolanus keeps you close to him for the remainder of the dinner. He watches the people around you. The group of boys from before seem to keep their distance now that Coriolanus refuses to leave your side. He also keeps a close eye on Clemensia and Livia. He wants to teach them a lesson for their gossip and wants to gouge that group of boys eyes’ out.

He tries to temper his anger, but his paranoia seems to continually get the best of him. Maybe you’ll leave him for one of them. Get bored, think taking the relationship public like this is too much. Maybe you do think the matching roses are cheesy and think he’s silly for suggesting it. He glances around at the numerous eyes looking at you. He tries to convince himself that every man looking in your general direction isn’t looking at you but he can’t help but notice how their eyes seem to linger. They way they gawk at you disgusts him.

You and him leave, making sure not to linger after dinner is served. Coriolanus is anxious to leave, practically rushing you out of the mansion and into the car. There is an awkward silence on the way back to his apartment and you try to talk to him, but he just shakes his head and whispers firmly “I’ll explain when we get back.”

His mood seems to escalate as the car approaches the apartment. When it arrives he rushes out in a hurry and you thank the driver before trailing behind him.

“Coryo? What’s wrong.” You ask

“Just get inside” he huffs

You walk past him into his apartment and he follows you. He shuts the door and lets out deep breath in frustration.

“What’s wrong?” You ask again

“I can’t stand how people treat you?” He huffs

“What do you mean?”

“The way they talk, the way they look at you.” He explains. He walk over to a chair in the kitchen and flops himself down. His chest rises rapidly as he looks down at the floor. He tries to control his breathing, but the thought of how that group of boys looked at you, plays in his mind. And he can still hear the obnoxious giggles of Clemensia and Livia.

“And you think that I care? That’s how it always is for me.” You sigh with a laugh

Coriolanus still feels upset however and his body language doesn’t change. He’s still fuming.

“What about the attention from all the boys tonight. Do you care about them?” He perks up

“Is that what’s truly bothering you?” You ask stepping closer behind his chair.

“Partly.”

“And what else?” You ask standing behind, placing your hands on his shoulders.

“A few of my other classmates. I caught them gossiping about us.” He confesses

“Hmm. They are probably just jealous.”

He doesn’t respond as he tries to calm himself down.

“I just want to put them all in their place. Show them they shouldn’t mess with us.”

You start to massage his shoulders and he begins to lean back into the chair and relax. You move your hands up towards his neck and continue to massage him. “And tell me what would you do to them?” You ask.

“I want to sew those girls mouth shut. And tear those boys eyes out.”

“Mmm. Maybe you can find something special for them in Dr. Gaul’s lab” you whisper as you feel Coriolanus sink further into your touch. You run your hands up and down his chest. “Or turn them into avoxes. So they never speak again.”

“And those boys?” Coriolanus asks

“Well if you’re upset at them then you’ll have to put a price on everyone’s head who looks at me like that.”

“I just don’t want them getting ideas” he replies

You giggle and continue rubbing his chest.

“Well they’ll think what they want. Not much I can do there. But it doesn’t matter because they’ll never have me. It’s a game to them. And they’ll never win. They will always lose.” You pause to kiss his cheek “And Snow always lands on top right?” You whisper kissing his earlobe and the side of his jaw. He groans and leans his head back in response. You cup the side of his face and rub his cheek. He turns his head and kisses the inside of your palm.

“You’re the only one who gets to touch me. To have me. Only you. No one else gets that right except you.” You whisper

“Am I?” He asks

“Mhmm” you nod

“Show me”

Coriolanus grips your wrist. He pulls your hand off his face and tugs at it, signaling that he want you to come in front of him. You walk around and stand in front of him briefly. He looks at you lustfully and spreads his legs. You stand in between them and grin at him. He rubs your hand as you slide onto his lap. As you sit, you guide his hand to your thigh and under your dress, slowly guiding him.

“See. Only you.”

He inches up and down your thigh. His fingertips graze the inside, making the heat that has begun to bubble up in between your legs more apparent. You move your hips against his crotch and feel his semi-hard cock aching to be free from the confines of his pants. You lean in and kiss him. He kisses you back and snakes his hand further up your thigh. He brushes his fingertips across your core and feels how wet and hot you have become. He lets out a breathy moan, breaking the kiss.

“Is this only for me too?” He mutters. You nod your head and he snakes two fingers under your panties. He starts to lightly rub at your clit. “You look beautiful tonight.”

“So then I can’t be blamed for wondering eyes now can I?” You whisper back

“No, but they will pay. All of them.” He mouths at your jawline and down to your neck. You tilt your head back, giving him better access. He sinks into your neck, with the goal of marking you up. To show everyone that you belong to him. He sucks and bites on your skin, turing the flesh into fresh black and blue bruises. You whimper at the sensation as you melt into his chest.

“Coryo” you whisper

His free hand begins to grope your breasts over the dress and he moves his hand back down your thigh. He swings your legs over his lap and shifts on his seat. He picks you up unexpectedly and you gasp in surprise. You cling to him. He takes you to his bedroom and tosses you on the bed. You gather yourself and scoot back, as he strips himself of his sports coat. He unbuttons his shirt halfway down, then eagerly, he pulls at your ankles. You yelp and he slides you towards him. He smirks at the look of awe on your face. He could tell you were hungry for him. Not just that, but you seem mesmerized by him. Coriolanus couldn’t tell if it was because of the way your eyes were filled with need or that his clear possessiveness over you had you wondering about what was in store for you. He ran his hands up your thighs, pushing your dress up past your hips. He kneels down and his fingers trace the lining of your panties. You jerk your hips slightly and he takes the opportunity to slide them off your legs. You bite your lower lip in an attempt to hold back your moans, but they stifle out as little whimpers that go straight to Coriolanus’s cock.

“So needy for me.” He smirks

He kisses the inside of your thigh and grazes his teeth over the spot he kissed. He begins to leave the same marks he put on your neck. You can’t help but love how much he’s marking you. You know it’s only because he’s frustrated and wants everyone to know not to mess with you. You whine in frustration, needing Coriolanus to touch you.

“Please Coryo. I want you so bad”

He gives you a devilish grin and squeezes your thighs. “Mmm keep begging pretty girl.”

“I need you. Please just touch me.” You whine

He begins kissing your thigh again, all the way up until he reaches your core. You shutter at the feeling as his lips press against your clit. He moves you closer to him and you rest your legs on his shoulders. You reach for his blonde hair, running your fingers through it. He restrains his actions, only pressing light kisses on and around your clit.

“Coryo please…please.” You beg again

“Mmm that’s it.” He moans

He dives in His mouth fully devouring your pussy. He mouths at your clit and you instinctively squeeze your thighs around his face. He presses your legs apart and devours you even more. He sucks and nibbles at your sensitive bud, taking in the pleasure that is spread across your face. Coriolanus likes having this control over you. He likes hearing the small, soft whines that escape your lips and he loves how you beg for him. How you need him. It makes his ego swell in his chest. He knows you’re addicted to him. He knows that he makes you feel so good. He laps up your wetness and runs his tongue along your folds. It makes your hips buck, causing him to put a stern hand on your stomach.

“Take it baby girl. Try to stay still.” He murmurs against you

You nod your head as he gives kitten licks to your clit before sucking it into his mouth. Without warning, he removes his mouth and replaces the sensation with his fingers. He watches you carefully as your face contorts. He doesn’t hold back as he pumps his fingers into you. You look even more beautiful for him like this. Willing and submissive to his touch. You’re perfect, pretty face scrunched up in pleasure. He drinks you in as he runs his tongue up your thigh. You jerk your hips and he pushes your body back down on the bed. You’re throbbing at this point, so hypnotized under him. He crawls back up to you. His tongue licks a long stripe up your neck, just as he did to your thigh.

“So desperate. Are you gonna be good for me?”

You nod your head, which lands you a firm slap to the meat of your thigh.

“Speak up princess.” He warns

“Yes Coriolanus, I’ll be good for you.”

He strokes the side of your face, his knuckles brush up against your cheek. His hand moves to grip your chin and under your jaw. He forces you to look into his sinful gaze. He leans in and clashes his mouth with yours. He fights to dominate the kiss and you let him. He sits you up as you continue to kiss him. He unzips the back of your dress and it slides down your shoulders. In the same motion, Coriolanus unhooks your bra. He brushes your straps from your shoulders and pulls the rest of the dress from your body. You lay there, completely bare for him. You feel vulnerable, especially given his clothes are still on. You feel like his prey.

“So beautiful like this.” He states rubbing your thighs. He sits up on his knees, towering over you. He begins to explore your body with his hands. He moves them up to kneed and cup your breasts. His fingers gently massage your nipples as he pulls at them. You wince at his actions, squirming under his touch.

“Coryo please I need more…” you beg, your tone sounding desperate and whiny

He smirks. He leans down close to you and gives you a few chase kisses to your neck and up to your ear.

“I like how you sound when you beg. So pretty.”

He tugs at your earlobe with is teeth, causing you to shutter. The action of it going straight to your throbbing core. He rubs his fingers through your slit, humming to himself. He removes them, causing you to whine. He unbuttons the rest of his shirt, revealing his perfectly toned chest. He then unzips his pants and steps out of them. At this point his cock is hard and ready under his briefs. He rubs himself through his underwear as he gazes down at you.

“Touch yourself.” He commands and you obey

Your fingers dragging through your folds slowly as you look back up at him, mouth agape.

“There you go. Good girl.”

“Coryo” you whisper. He smirks at you and pulls his briefs down and his cock springs forward. This isn’t your first time with Coriolanus. Still, every time you got nervous and he could tell. Your fingers slow down and you think about having to take him in you.

“What’s wrong my pet?”

“Just you’re so big Coryo.”

He gives you another smirk “Yeah, but you can take it right? You always take me so well.” He growls, slithering his hand around your neck.

He kisses you as he lines himself up with your entrance. He slides in slowly. At first it’s painful and he keeps his eyes focused on your face to get a read on how you feel. You temper your breathing and try to fixate on how handsome the face staring back at you is. He pushes into more until he reaches the hilt and his hips meet yours. You sigh in relief as the pain replaces with pleasure. You moan and he captures your lips. He dominates you. His lips move fast with yours. He’s clearly just as hungry for you as you are needy for him. His tongue swirls around with yours and he starts to move his hips. You moan again and he breaks the kiss. He looks down at the spot where you both connect and shutters. His gaze returns to yours.

“See. Look how well you take me. Just like you always do. So good for me.”

You nod your head in agreement and wince. He picks up his pace, thrusting deeper and deeper each time. His cock drags in and out of your pussy with ease now, the pain totally subsided. You nod in agreement, but that doesn’t satisfy Coriolanus. He needs to hear you say how much you like it. How much you crave this feeling he gives you. A feeling only he can give you.

“Talk to me. Use that pretty mouth of yours.”

“You feel so good.” You start hesitantly

“More.” He demands

“Mmhm Coryo you fill me up so well. Better than anyone else.” You moan

“The best you’ve ever had?”

“Mhmm.” You moan

In response he grabs your chin and forces you to look into his eyes.

“Use. Your. Words” he demands,, pumping into you harder with each word.

“Yes Coryo, you’re the best I ever had. And you’re the only one I want ooh…” you whine

“Good girl.” He grits through his teeth, giving you more of himself. He hit deeper and deeper, his lust fully overtaking him. He kisses you harshly, pinching and massaging your cheeks. “Only I get to have you like this. You understand?”

“Yes Coryo. I understand.” You mewl

He nods against your mouth. You feel your buildup coming, tense in your stomach, waiting to release. With a few final thrusts, you come around his cock. Your hips buck up, legs shaking, cunt throbbing as he fucks you through your euphoria. Soon enough he’s finishing inside you, stuffing warm ropes of white cum down your hole. You float down from the feeling that he gave you and temper your breathing. He pulls out, admiring as his cum drips out of you. He gets greedy, taking his index finger and pushing it back into you. You moan as he fingers you

“My sweet girl. I hope you know who is here for you. I’ll always watch over you. I’ll never let anyone disrespect you again.”

He pulls his hand away and traces his fingers over your neck, where he had previously sucked and marked you up. He smirked to himself. He puts his finger in your mouth. You suck yours and his collective cum off it and he coos at you.

“I get you all to myself. How fortunate for us both then hmm.

“Mhmm.” You nod, too fucked out to properly respond. As much as Coriolanus wanted you to speak, but he could see how spent you are. He kisses her cheek and settled into the bed next to her.

“Good girl.” He said letting his word be the last.

⋆ ˚｡⋆୨୧˚⋆ ˚｡⋆

Artwork

[cerastes]

One of the fundamental aspects that helps carry Bocchi as such a genuine article is that Bocchi herself is at neither extreme of the competence scale.

In a lot of these “Main Character has immense insecurity issues and social anxiety”, you have a main character that REALLY doesn’t have anything going for them except their ‘pure heart’ (they are kind to others and that’s it) or they are actually a huge wellspring of untapped potential that just needs that little extra push in order to flourish.

There’s positive messages to be gleaned from these, for sure, like “sometimes being yourself is enough” and “you are so incredible, you just don’t know it, you can do anything”, which, while definitely something that can be That Event or Realization that helps someone overcome something, I think ultimately fails to account for the, perhaps, more worldly, more realists out there that don’t need to hear that for the one hundredth time, because the previous ninety nine times didn’t really do it for them, kind of how like “fake it till you make it” works for a lot of people, but also doesn’t for a lot of others.

If anything, I think one could glean something else from this: Unless I’m naturally a very kind person who’s always willing to put themselves down to get others over and can show genuine heartwarming kindness, or a genius waiting to bloom, just so incredibly good and skilled at something or various things that that cements my worth, I’m shit out of luck. And let’s face it, extreme purity is more of a negative in the real world than a positive, because people will kind of just walk all over you if you let them, plus you’re likely not a lot of fun if all you got going for you is “I’m Nice :)” without something else to compliment it, like being funny, knowing interesting things, etc. On the other side of the table, it is ultimately a very utilitarian view to consider someone awkward, eccentric, and otherwise different likeable only because they are incredibly good at something or some things, a Rudolf the Reindeer situation where his red nose makes him an ostracized freak right up until it’s actually useful for others and has a practical application.

It’s here where I think Bocchi subtly nails it: She’s at neither end of the stick. Bocchi’s only real skill to speak of is that she’s good at playing the guitar, but that’s because she’s actually been diligently playing for years now, has a successful ‘Tube channel, and explicitly enjoys playing the guitar both as a hobby and as a pressure valve; one of the early gags is that when overwhelmed with negative thoughts, she’d channel that right into composing a melody to play with her guitar, which she abandons after a few episodes when she’s a bit more comfortable with the people around her. Besides that, it’s explicit that Bocchi isn’t particularly good at other things, and we know she’s kind of ‘creepy’ in the endearing, eager way, the photos thing with her room being less that she’s a maniac and more that she’s very very stoked to have friends, for example, which she then reigns in when her mom tells her “hey, sweetie, that ain’t it”.

Everything Bocchi does is ultimately very consistent with who she is presented to be: She doesn’t just magically do a 180 turn just because she’s technically doing everything she set out to do, Bocchi is still a naturally anxious, negative person, and that’s fine, and her friends aren’t oblivious to her being like this (the gang being oblivious to the MC’s anxiety is a recurring thing in the genre!), in fact, they are fully aware and many times they say “oh is Bocchi having a Moment again?” or “ok I know where to find her, we need to look in a place where creatures like Bocchi, such as slugs, can be found”, they are fully aware that Bocchi is like that, but they like her anyways because, much like the audience, they think she’s fun to be around. Her being a good guitarist isn’t even why they stick by her, since she was actually bad at playing guitar with a band initially, only adjusting later, but even during this period before she adjusted, the rest of the band is like “oh no yeah this our guitarist Bocchi and we love her, she turns into a creature now and then and gets attacked by birds for no reason and it’s really funny, we’re going to store love in her”.

Bocchi isn’t exceptional in either a pathetic or successful way, she’s just Bocchi and she has friends that she likes and that she likes, and in the end it’s not really about “fixing” her as much as it is just making the band work out and having a good time while seeing that through. The only ones you could say are out to truly make sure Bocchi has a great opinion of herself are Kita and Kikuri, the former because that’s just how she is, and given how loving she is, she would like for Bocchi to see herself as someone actually cool and funny, the way she sees her, and the latter because Kikuri herself used to be pretty negative and never really got through it properly, relying on heavy alcohol binging instead to get in a good state of mind, and initially really wanted Bocchi to just enjoy playing music as an artform regardless of her skill.

All of this helps the dynamics feel not like we’re supposed to be backing a bland MC that is less a main character and more a vehicle to see the cooler rest of the cast, not like a Rudolf the Reindeer situation, but instead, helps it feel like we’re just seeing people that like being friends, being friends and hyping each other up or messing with each other because that’s what pals do.

[zvaigzdelasas]

"it was made by a person" does not absolve the image of sin, because by that logic every piece of ai art is ok actually. because obviously the ai could never just make art, the people using it to generate book covers so they don't have to pay an artist are actually typing in the description for what they want the ai to make. so it's ok !! a human told the ai to make that ❤❤❤❤

I mean. Other than the moralizing ("absolve of sin", "so it's ok!" etc)...Yes? Of course AI art is made by people?

Do you think AIs have agency or something? Do they find their own data and train themselves without a human telling it to? How does the AI pay for electricity?

If AIs have agency why can't they be Artists?

You're undermining your own position and actually fundamentally agreeing w the silicon valley tech bros lmao

If someone pays a human on Fiverr $5 to make a book cover in order to avoid paying someone a more reasonable price....thats basically the same moral situation right. If that guy on Fiverr is just choosing between 10 different templates he already has (and maybe copied from the internet!) and just changing the text on it, he is "typing what they want to make". What's the difference to paying someone $5 on Fiverr to generate a book cover for you using AI. Where's the moral difference, what does the tool have to do with anything.

AI doesn't have any agency, people do. AI is a tool. AI being used to lower prices is an economic choice made by humans.

A useful analytical framework to understand why this is the natural result of competition is actually Historical Materialism, which understands the social world as fundamentally existing of Humans, Human action, and Human relationships. Instead of trying to act like things like AI - spectral reflections of human labor - are "creatures" themselves, and tilting at windmills. Historical Materialism teaches not only why this happens, but how to overcome that process entirely.

In machinery, objectified labour materially confronts living labour as a ruling power and as an active subsumption of the latter under itself, not only by appropriating it, but in the real production process itself; [...]In machinery, objectified labour itself appears not only in the form of product or of the product employed as means of labour, but in the form of the force of production itself. The development of the means of labour into machinery is not an accidental moment of capital, but is rather the historical reshaping of the traditional, inherited means of labour into a form adequate to capital. The accumulation of knowledge and of skill, of the general productive forces of the social brain, is thus absorbed into capital, as opposed to labour, and hence appears as an attribute of capital, and more specifically of fixed capital, in so far as it enters into the production process as a means of production proper.[...]

In machinery, knowledge appears as alien, external to [the worker]; and living labour [as] subsumed under self-activating objectified labour. The worker appears as superfluous to the extent that his action is not determined by [capital's] requirements.[...]

Fixed capital, in its character as means of production, whose most adequate form [is] machinery, produces value, i.e. increases the value of the product, in only two respects: (1) in so far as it has value; ***i.e. is itself the product of labour, a certain quantity of labour in objectified form***; (2) in so far as it increases the relation of surplus labour to necessary labour, by enabling labour, through an increase of its productive power, to create a greater mass of the products required for the maintenance of living labour capacity in a shorter time. It is therefore a highly absurd bourgeois assertion that the worker shares with the capitalist, because the latter, with fixed capital (which is, as far as that goes, itself a product of labour, and of alien labour merely appropriated by capital) makes labour easier for him (rather, he robs it of all independence and attractive character, by means of the machine), or makes his labour shorter. Capital employs machinery, rather, only to the extent that it enables the worker to work a larger part of his time for capital, to relate to a larger part of his time as time which does not belong to him, to work longer for another. Through this process, the amount of labour necessary for the production of a given object is indeed reduced to a minimum, but only in order to realize a maximum of labour in the maximum number of such objects. The first aspect is important, because capital here -- quite unintentionally -- reduces human labour, expenditure of energy, to a minimum. This will redound to the benefit of emancipated labour, and is the condition of its emancipation.

Nature builds no machines, no locomotives, railways, electric telegraphs, self-acting mules etc. These are products of human industry; natural material transformed into organs of the human will over nature, or of human participation in nature. They are organs of the human brain, created by the human hand; the power of knowledge, objectified. The development of fixed capital indicates to what degree general social knowledge has become a direct force of production, and to what degree, hence, the conditions of the process of social life itself have come under the control of the general intellect and been transformed in accordance with it. To what degree the powers of social production have been produced, not only in the form of knowledge, but also as immediate organs of social practice, of the real life process.

Marx [PDF link]

[steddio]

Steve is used to pushing through pain. Sure, the adrenaline of a life or death moment is one thing but when that fades and all that’s left is stinging cuts and tender swelling and a full-body bone-deep ache there’s no excuse for letting weakness show. Or letting others see the lingering migraines, achey joints, and night terrors that continue to wound his body and psyche even once everything is “back to normal.” Ingrained in him since an unforgiving childhood, Steve’s grit-your-teeth-and-bear-it philosophy has served him perfectly well and he sees nothing wrong with it, thank you very much.

Until he meets Eddie. Eddie who curses, shouts, screams and cries his pain, broadcasting it to those around him with his typical dramatic flair. Eddie whose eyes betray every feeling and emotion, amplified tenfold by the flailing of too-long limbs and gesturing of ring-bedecked fingers. Eddie who sees right through Steve’s facade to the core of his pain.

It starts with Eddie giving Steve an obvious once-over each time he sees him, checking for visible injury, the lasting echo of shared trauma. Steve knows how to navigate this, having faked his way through countless minor sports injuries in order to stay off the bench and in the game. What Steve doesn’t know how to navigate is what comes after. Unlike Steve’s coaches, who accepted his apparent well-being without question, Eddie has an unnerving tendency to locate the exact source of Steve’s discomfort.

“Harrington, are you limping? Cut the shit and sit down over there, I told you not to overwork your bad knee.”

“Ok big boy, pull over. I’m driving and that’s final. Don’t argue with me, you can’t even see straight. Driving with a migraine is definitely worse than my driving, dude.”

“You look like shit, go home, I’ll help Robin close. Yes, yes, I got it, how hard can it be?”

Eventually, and even worse, Eddie moves beyond snarky well-meaning comments to saying nothing but doing everything. Like shooing the younger kids out of Steve’s house when he’s starting to squint against the bright lights and loud conversation. Or grabbing heavy bags from Steve’s hands before he’s even halfway from the car to the door. Or wordlessly turning up the stereo when Steve needs something, anything to drown out the ringing and echoing screaming in his ears.

At first, being seen hurts more than the actual pain. Stripped raw by the casual tenderness, the sheer humanity zinging at newly exposed nerves. Steve doesn’t know how to handle this breakdown of his primary defense mechanism. He tries to keep shrugging Eddie’s concern away, but Eddie is relentless. Eddie “willing to repeat senior year three times rather than drop out” Munson is entirely undeterred by Steve’s patented nonchalance. Despite it all, he keeps caring. And Steve has no choice but to accept the tidal wave that is Eddie’s concern.

It takes a while, for Steve to recalibrate his self-perception. So used to shoving it aside, he has to learn again how to really feel pain. How to acknowledge it, respond to it. How to attend to his own discomfort the way he attends to Robin’s, or Dustin’s, or Max’s.

The first time he cancels plans with the gang because of a migraine he’s overcome by guilt. He’s five seconds away from calling back to say just kidding he is totally fine and would love to drive everyone to the movies when he hears a knock at the door. Before he can even fully open the door, Eddie barges in.

“Harrington! Where are your towels, I brought you drugs, the legal ones don’t worry, go lay down, what are you doing standing there gawking, here swallow this and put this over your head.”

Before he can fully process what’s happening, Steve is manhandled onto his own couch, a cool damp towel over his eyes and forehead, and Eddie is back out the front door shouting that he’ll check in on Steve after the movie ends.

The second time he cancels plans, his bad knee too achey to make the trek out to Dustin’s radio to celebrate his and Suzie’s anniversary, Steve is still guilty, but almost unsurprised when Eddie turns up at his door, rented movie in hand, shouting at Steve to ice and elevate his damn knee already.

After a while, the guilt goes away, replaced by a bone deep security that’s brand new to Steve, a quiet reassurance that it’s okay to put himself first, it doesn’t make him selfish or bad or pathetic or weak or any of the things his dad used to shout at him before he learned to mask himself. Replaced by an overwhelming fondness for Eddie and his exuberant care, the way he wears his feelings like his tattoos, on his bare skin.

After a while, Steve realizes that not all of Eddie’s once overs are checking for pain, sometimes they’re simply for checking him out. And this, this he knows how to handle.

The tenth time Steve cancels plans, he’s waiting at the door for Eddie to arrive. Eddie is all blurred motion and Bambi-eyed concern, looking for Steve’s source of pain. Steve points to his cheek.

“One too many direct hits and my whole face gets achey when the weather changes.”

Eddie turns, no doubt intending to rummage through Steve’s kitchen until he can find ibuprofen, or ice, or anything. Before he can get far, Steve catches his arm and turns Eddie to face him.

“Maybe you can kiss it better?”

[ladyluscinia]

Ok, I think I might be exiting the "are you fucking kidding me?" period and ready to make a real argument, so lets talk about Three Act Structure!

Is OFMD S2 just the "Darkest Hour"?

A very common explanation I've been seeing for some of the... controversial... aspects of S2 is that it's meant to be that way. That the middle act is where the protagonists hit their lowest point. Where we get the big failure point. Where everything looks kind of shit.

S2 is supposedly just that point. It's The Empire Strikes Back. People have been making that comparison since before the first episodes even dropped, telling everyone to expect something that could be disappointing or unsatisfying - it's just a matter of needing to wait for S3 to pull it all together.

It's not a baseless framework to consider the show through - I'm pretty sure David Jenkins has mentioned it in interviews (or at least mentioned he planned for three acts / seasons) so it's certainly worth asking how he's doing at the 2/3rd mark.

So - quick summary of Three Act Structure:

Act 1 introduces our characters and world. It includes the inciting incident of the story and the first plot point, where a) the protagonist loses the ability to return to their normal life, and b) the story raises whatever dramatic question will drive the entire plot. Act 2 is rising action and usually most of the story. The protagonist tries to fix things and fucks them up worse, in the process learning new skills and character developing to overcome their flaws. Act 3 is the protagonist taking one more shot, but this time they are ready. We get the climax of the story, the dramatic question gets an answer, and then the story closes.

If you want examples, the Star Wars Original Trilogy is a very popular template. And, hell, he said it was a pirate story... the main Pirates of the Caribbean trilogy also does a solid job with their three acts.

Let's compare. (Spoiler: I'm not impressed 🤨)

---

First thing I need to establish... Wait. Two things. First is that Three Act Structure is flexible, so we can't really analyze success or failure by pulling up a list of necessary plot beats that should have been hit in X order. Second is that if you tell me you are writing a romance with a Three Act Structure - where "the relationship is the story" - the first thing I'm going to do is ask you how you are adapting it. Because while there's not necessarily anything preventing you from applying this to a character driven plot, most people are familiar with it as plot structure for externally driven conflict.

Unless there's a reason the status of the main relationship is intrinsically tied up in the current status of the war against the evil empire, a standard Three Act Structure is going to entail either an antagonistic force that absolutely wants your main couple apart being the main relationship obstacle OR the romance aspect being a subplot to the protagonist's narrative adventure. None of those sound like how the show has been described.

So how is OFMD adapting it?

---

Act 1

(Can't figure out how well Act 2 is doing if we don't start at setup.)

Right out the gate, OFMD breaks one of the main "rules" for a story where the Acts are delivered in three parts. Namely the one where the first Act is treated as an acceptable standalone story, with it's own satisfying yet open ended conclusion.

In Star Wars, A New Hope ends with the princess rescued, Luke finding the Force, Han finding his loyalty, and the Death Star destroyed. The Empire isn't defeated, the antagonists still live... the story is not over, but this one movie doesn't feel unfinished.

Similarly, Curse of the Black Pearl gives Jack his ship back, Elizabeth and Will get together, and Norrington has the English Navy let them all off the hook and give Jack and the pirates one day's head start.

OFMD's final beat of S1 being Kraken Arc starting is not that, even if Stede returning to sea is still a pretty hopeful note. Now... I don't necessarily think this was a bad call. At least, not if the story is the relationship. It's easy to close on a happy ending and then fuck it up next movie if the conflict is external and coming for them. Not so much if you're driving the story with your protagonists' flaws, in part because it should be really obvious at the end of setup that your main characters need development and can't run off together right now. I actually like that they were risk-takers and let S1 look at the situation clearly vs doing a fragile happy end, because it takes into account the difference between a character-driven and plot-driven narrative.

I think OFMD's Act 1 actually ends at maybe the Act of Grace? Well, there through the kiss on the beach, counting as our "first plot point" before everything goes wrong, basically.

At that point, they have setup the story and characters. We've been introduced to Edward and Stede's current issues. Signing the Act of Grace does make the intertwined arcs between them real - it's no longer a situation that either one of them could just walk away from like it was in 1x07 - and we narrow in on the (alleged) driving question of the show:

It's not about "Will Stede become a great pirate?" or "Will we develop a better kind of piracy for the crew?" - the show is the relationship and the big question is "What is Stede and Edward's happy ending?"

Act 1 ends on their first solution, being together and making each other happy and admitting it's more than just friendship. Act 2 starts, appropriately, by saying both of them are currently too flawed for that to go anywhere but crashing and burning.

Now... looking back, what does Act 1 do well vs poorly?

I think it's really strong on giving us the foundation for BlackBonnet's characters and flaws. We aren't surprised Stede goes home or Edward goes Kraken (or at least... we weren't supposed to be surprised. There are still a lot of holdouts blaming Izzy for interrupting Edward's "healing" despite how at this point in the story it doesn't make sense for Edward to have the skills to heal... but I digress). The relationship question is compelling at the end of S1, the cliffhanger hooks, and the fandom explosion of fics did not come from nowhere - the audience was invested.

I also think Act 1 does a great job of settling us in the universe. We understand the rules it abides by, from how gay pirates are just a fact of life to how there's no important organs on the left side of the body. Stede has a muppety force field. Rowboats have homing devices, and port is always as close as you want it to be. Scurvy is a joke. The overblown violence of pirate life is mostly a joke, but we are going to take the violence of childhood trauma seriously.

Lucius's fake-out death, while technically part of Act 2, works well because Act 1 did a good job of priming everyone to go "obviously this show wouldn't kill a crew member for shock value, and we're 100% supposed to suspend disbelief about how he could have survived getting flung into the sea in the middle of the night." And we do. And we get rewarded for it.

Regarding antagonists - a big focus of any setup - the show is deliberately weak. The one with the most screentime is Izzy, and he's purposefully ineffective at separating our main couple. Every antagonist is keyed to a particular character, and they function mostly to inform us of that character's flaws and development requirements. The Badmintons tell us about Stede's repression and feelings of inadequacy, and Izzy tells us about Edward's directionless discontent and tendency to avoid his problems. Effectively - the show is taking the stance this will be a character driven narrative where Stede and Edward's flaws are the source of problems and development the solution. No person or empire (or social homophobia) is separating them...

...which leads me to something not present - there nothing really about the struggle of piracy against the Empire. Looking at Curse of the Black Pearl... we see piracy is in danger. The Black Pearl itself is described as the last great pirate threat the British Navy needs to conquer. Hangings are omnipresent - Jack is sentenced to die by one almost as soon as he's introduced to the story, when his only act so far had been to wander around and save Elizabeth from drowning. OFMD tries to invoke this kind of struggle in 2x08, but there's no foundation. Our Navy antagonists are Stede's childhood bullies, and so focused on Stede the crew isn't even in danger when they get caught. The Republic of Pirates is getting jokes about being gentrified, not besieged.

Even the capture of Blackbeard by the Navy is treated as a feather in Wellington's cap but not a huge symbolic blow against piracy... because we just do not have that grand struggle woven into Act 1. You only know the "Golden Age of Piracy" is ending if you google it, or have watched a bunch of pirate shows.

Overall, a solid Act 1, well adapted to the kind of story they've said they were looking to tell - a romance in the (silly-fied) age of piracy, instead of a pirate adventure with a romantic subplot.

---

Now, Sidebar - Where is the story going?

The thing about the dramatic question - in OFMD's case: "What is Stede and Edward's happy ending?" - is that a) there's normally more than one question bundled up in that one + sideplots, and b) while you aren't supposed to have the answer yet, you can usually guess what needs to happen to give you the answer.

Back to our examples... Luke's driving question is "Will the Empire be defeated?" Simple. Straightforward. Also: "Will Luke become a Jedi?" The eventual climax of our story from there is pretty obvious... the story is over when Luke wins the war for the Rebellion in a Jedi way. That's the goal that they are working toward.

Pirates of the Caribbean is a bit more complicated. We're juggling more characters and have a less defined heroic journey, but there are driving questions like "Is Jack Sparrow a good man?" and "Is Will Turner a pirate / what does that mean?" and even "Will the British Navy defeat piracy?" They get basic answers in Curse of the Black Pearl, and far more defined ones in At World's End. Still, this is another plot-driven narrative. They've laid the foundations for the Pirates vs Empire struggle, and when that final battle turns into the trilogy climax then you know what's happening.

OFMD is not doing a plot-driven narrative. To judge how they are doing at their goals, we have to ask what they think a happy ending entails in a character sense.

Clearly it's not the classic romantic sideplot, where the climax is the first kiss / acknowledgement of feelings. They've teased a wedding in Word of God comments a lot, so that's probably our better endpoint. Specifically, though, a wedding where both of our protagonists aren't ready to flee from the altar (big ask) and where they've both grown enough that their flaws / mutual tendencies to run away from life problems won't tank the relationship.

In Stede's case it's still massive feelings of inadequacy and being too repressed to talk about his problems. Also he ran away from his family to chase a lifelong dream of being a pirate - "Is Stede going to find fulfillment in being a pirate captain, or will the real answer be love?" Edward meanwhile expresses a desire to quit piracy and retire Blackbeard, but we also find out he's struggling with massive self-loathing and guilt from killing his father - "Is retiring what Edward wants to do, or is he just running away?"

If they are going to get to a satisfying wedding beat at the climax of their story, what character beats do we need to hit in advance?

Off the top of my head - both characters need to self-realize their flaws (a pretty necessary demand of anyone who runs away from problems). They are set up to balance each other well, but also to miscommunicate easily. They have to tell each other about or verbally acknowledge that self-realization so it can be resolved. Stede has to decide how much being a pirate means to him. Edward has to decide if he's retiring and what he wants to do. They both need to show something to do with getting past their childhood traumas given all the flashbacks. Through all this, they also need to hit the normal romance beats that convince the audience they are romantically attracted to each other and like... want to get married.

Oh, and this is more of a genre-specific sideplot, but once they demonstrate a behavior that hurts the people who work for them, they need to then demonstrate later how it won't happen again. Proof of growth, which is kind of important in a comedy where a lot of the humor is based in them being massively self-centered assholes. Stede doesn't earn his acceptance in the community until he kicks Calico Jack off the ship, making up for causing the situation with Nigel in the first episode. A workplace comedy can get a lot of material from the boss as the worker's antagonist, but if you want the bosses to stay sympathetic you have got to throw them some opportunities to earn it.

All that sounds like a lot, but like - the relationship is the story, right? If we spend so much time on establishing flaws big enough to drive a story, we also have to spend time on fixing them. Which is where the turning point hits.

---

Act 2: How it Starts

This is where the full story reality-checks your protagonist. Glad you saved your boyfriend and embraced new love in Act 1, but his repressed guilt means he's about to completely ghost you, and your own abandonment issues and self-loathing are about to make his dick move into everyone else's problem.

Again, it's a non-conventional choice OFMD has this start at the very end of S1 rather than with a sudden dark turn in the S2 premiere, but it's still pretty clearly that point in the Three Act Structure.

In Star Wars, The Empire Strikes Back opens with a timeskip to our Rebellion getting absolutely crushed and hiding on a miserable frozen planet. The Empire finds them as the plot is kicking off and they have to desperately flee. They get separated. Han and Leia try to go to an ally for help and end up in Vader's clutches. It's a sharp turn from the victorious note that A New Hope ended on.

Pirates of the Caribbean's Act 2 starts dark. Dead Man's Chest opens with our happy couple Will and Elizabeth getting arrested on their wedding day for the "happy end" escape of the last movie. Jack has not been having success since reclaiming his ship, and we'll soon find out he's being hunted by dark forces. As for the general state of piracy, we get a horrifying prison where pirates are being eaten alive by crows, and a new Lord Beckett making the dying state of piracy even more textual. "Jack Sparrow is a dying breed... The world is shrinking."

The key here is making a point that our heroes aren't ready. This is the struggles part - things they try? Fail. The odds do not look to be in their favor.

Now, OFMD apparently decided to go all-in on flaw exploration, especially with Edward. The first 3 episodes of S2 are brutally efficient in outlining Edward's backslide. In S1 you could see he had issues with guilt and feeling like a bad person. S2 devolves that into a destructive, suicidal spiral where Edward forces his crew into three months of consecutive raids, repeats his shocking act of cruelty with Izzy's toe offscreen (more than once!), escalates it with his leg, and finally they state directly that Edward hates himself for killing his dad so much that he fears he's fundamentally unlovable and better off dead.

Stede's struggles are subtler, but most definitely still there. He's deliberately turning a blind eye to tales of Edward's rampage, half from simply being too self-centered to care about the harms Edward causes others, and half from being unable to face or fathom that he had the ability to hurt Edward that much. Upon reunion he wants to put the whole thing behind them, not addressing why he left in the first place. Very "love magically fixes everything" of him, except Stede is no golden merman.

Interestingly, here, BlackBonnet's relationship dysfunction has very clearly been having a negative impact on the surrounding characters we care about. Make sense, since it's the driving force of the story, but that also adds a lot more relationships we need to make right. Like... Edward is the villain to his crew. The show focuses on their trauma and poisoned relationships with him. And then draws our attention even more to Stede taking his side to overrule their objections to him.

For a story where the conflict and required resolutions are primarily character based, and the setup had already given the main couple a good amount to work with, dedicating a lot of S2 to adding more ground to cover was... a choice. Potentially very compelling on the character end, certainly challenging on the writing end... but not a complete break with the structure.

Bold, but not damning.

---

Act 2: How it Ends

Now it is true that Act 2 tends to end on a loss. Luke is defeated by Vader and loses his hand, and Han has been sent away in carbonite. Jack Sparrow for all his efforts cannot escape his fate, and he and the Pearl are dragged to the locker.

But the loss is not the point. The loss is incidental to the point.

Act 2 is about struggles and failure, but it's also about lessons learned. There's a change that occurs, and our cast - defeated but not broken - enters the final act with the essential skills, motivation, knowledge, etc. that they lacked in the beginning.

Luke Skywalker could not have defeated the Empire in Return of the Jedi until he'd learned the truth about his father and resisted the Dark Side in The Empire Strikes Back. (Ok, confession, I'm using Star Wars as an example because literally everyone is doing so, but frankly it's a better example of formulaic Three Act Structure repeating within each movie because on a trilogy level - relevant to this comparison - it is a super basic hero's journey in a very recognized outfit and as such the Act 2 relevance is also... super basic "the hero tries to fight the antagonist too early" beat where he learns humility. Not really a lot going on. So, for the better example...)

Dead Man's Chest has a downer ending with the closing moment of the survivors regaining hope and a plan against an enemy now on the verge of total victory - a classic Act 2. But in that first loss against Davy Jones we get Will's personal motivation and oath to stab the heart, Jack finally overcoming not knowing what he wanted and returning to save them from the Kraken (being a good man), Elizabeth betraying Jack (being a pirate), Barbossa's return, and Norrington's choice to bargain for his prior life back. The mission to retrieve Jack from the World's End is the final movie's plot, but things are already on track to turn the tables back around as we enter the finale.

Now, relevant sidenote - one major difference between Three Act Structure within a single work vs across three parts is that Act 2 continues into Part 3, and only tips over into Act 3 about midway through. This is because obviously your final movie or season cannot just be the climax. That's why both movie examples start with a rescue mission. They have to still be missing something so they can get the plot of their third part accelerating while they go get whatever that something is.

But if you wait until the 3rd movie / season to get the development going at all - you're fucked.

Jack's decision in the climax of At World's End to make Elizabeth into the Pirate King goes back to the development we saw in the Pearl vs Kraken fight in Dead Man's Chest. So does Elizabeth's leadership arc. Will's whole arc about becoming Captain of the Dutchman gets built upon in the third movie, but it starts in the second. Not just as an idle thought - he's actively pursuing it. Already consciously weighing saving his father vs getting back to Elizabeth as soon as he makes the oath. Everyone is moving forward in Act 2. Their remaining development might stumble for drama, or they might be a bit reluctant, but I know that they know better than to let it stick, because they already faced their true crisis points.

I'm not sure we can say the same about OFMD.

S2 does a good job of adding problems, yeah, but there's not really any movement on fixing them. Our main couple stagnates in some ways, and regresses in others.

Stede opened Act 2 by running away in the middle of the night back to his wife without telling Edward anything. We know he did it because of feeling guilty and his core childhood trauma of his dad calling him a weak and inadequate failure. Now in S1 he actually speedruns a realization of his shitty behavior with Mary, but what about S2? Well...

He continues to not talk to Edward about... pretty much anything. My guy practiced love confessions galore but Edward only finds out about going back to his wife via Anne, and it gets brushed aside with a love confession. He seems to think Edward wants him to be a dashing pirate, or maybe he just thinks he should be a dashing pirate. Idk, it doesn't get examined. Regarding his captaincy, they give him an episode plot about Izzy teaching him to respect the crew's beliefs, but this is sideplot to a larger arc of him completely overruling their traumas and concerns (and shushing their objections) to keep his boyfriend on the ship so. That.

Stede kills a man for reasons related to his issues, shoves that down inside and has sex with Edward instead of acknowledging any bad feelings. At least this time Edward was there and knows it happened? Neither Chauncey's death nor his dad have been mentioned to anyone. He gets a day of piracy fame that goes to his head, gets dumped, and ends on a complete beat down by Zheng where he learns... idk. Being a boor is bad? He's still wildly callous to her in the finale, and spends the whole time seeking validation of his pirate skills. He reunites with Edward, kisses, and quotes Han Solo.

Where S1 ended on a great fuckery, his S2 naval uniform plan after they regroup is ill defined except to call it a suicide mission - and we don't get to see what it would have been because it devolves into a very straightforward fight and flee. And gets Izzy killed. Quick cut funeral (no acknowledgement of his S2 bonding with Izzy), quick cut to wedding (foreshadowing), quick cut to... innkeeper retirement? Unclear when or even if BlackBonnet discussed Stede's whole driving dream to be a pirate and live a life at sea, but I guess that got a big priority downgrade. Despite the fact he was literally looking to Zheng for pirate-based compliments in the post-funeral scene.

I guess he's borderline-delusionally dogged in his pursuit of love now - so unlikely to bolt again - but he's also got at least a decade of experience mentally checking out in a state of repression when he's unhappy. And he's stopped being as supportive and caring toward the crew in that dogged pursuit, while arguably demonstrating a loss in leadership skills, so, um, good thing someone else is in charge?

And if Stede is a mess, Edward's arc is so much worse.

As established, they devote the Kraken to making Edward worse. He literally wants to kill himself and destroy everyone around him in the process because Stede left, and this is fixed by... Stede coming back. That's it. The crew tries to murder him and then exiles him from the ship (and Izzy takes the lead on both, indicating exactly how isolated Edward has become), but it's resolved in half a day by Stede just forcing them to put up with his boyfriend again. Like they think he murdered Buttons and still have to move him back in???

The show consistently depicts Kraken Era as a transgression against the crew, but they also avoid showing Edward acting with genuine contrition. He admits he historically doesn't apologize for anything, and then mostly still doesn't. It's a joke that he's approaching probation as a performance (CEO apology), and then the only person he genuinely talks to is Fang - the one guy cool with him - and the only person who gets a basic "sorry" is Izzy - the guy he really needs to be talking to. Edward's primary trauma is guilt, but apparently he only feels it abstractly after all that? He's only concerned with fixing things with Stede, despite Stede being about the only person around who hurt him instead of the reverse.

Speaking of primary traumas, Edward hating himself doesn't really go anywhere after the beat of self-realization. Apparently Stede still loving him is enough of a bandaid to end the suicide chasing, but he doesn't like. Acknowledge that. Edward is maybe sorta trying to go slow so he doesn't hang all his self-worth on Stede again (you can speculate), but they a) absolutely fail to go slow, and b) he doesn't make any attempt to develop himself or another support structure. Just basically... "let's be friends a bit before hooking back up." And then we get the whiplash that is Blackbeard and/or retirement.

Kraken Era is Blackbeard but way worse, like no one who has known Blackbeard has ever seen him. In the Gravy Basket Edward claims he might like being an innkeeper, before destroying his own fantasy by having the spectre of Hornigold confront him over killing his dad. The BlackBonnet to Anne & Mary parallel says running away to China / retiring makes you want to kill each other - burn it all down and go back to piracy. Stede rightfully points out prior retirement plans were whims. Edward gets sick of the penance sack after a day and puts his leathers back on to go try "poison into positivity". But also claims to be an innkeeper (look - two whole mentions!) when trying not to send children to be pirates after teaching them important knife skills.

Killing Ned Low is a serious, bad thing that prompts ill-advised sex and then going hardcore into retirement mode - leathers overboard, talk about mermaid fantasy, get retirement blessings from Izzy, end up dumping Stede for a fishing job instead of talking about how he's enjoying piracy. The fishing job, however, is also a bad thing and a stupid decision because Edward is a lazy freeloader fantasizing about being a better person. We have an uncomfortable, extended scene of "Pop-Pop" weirdly echoing his abusive dad and then sending Edward to go do what he's good at - disassociate, brutally murder two guys, fish up the leathers, rise as the Kraken from the sea. He continues with comically efficient murder but also he's reading Stede's love letters and seeking to reunite with him so... wait, is this a good thing? Post makeout / mass slaughter he's trading compliments on his kills with Zheng so. Yeah. Looks like it. Murder is fine.

Wait, no, skip ahead and Izzy is dying and Edward suddenly cares a whole lot as Izzy makes his death scene about freeing Edward from Blackbeard. Now being a pirate was "encouraging the darkness" because Izzy - a guy who had little to no influence over Edward's behavior - just couldn't let Blackbeard go. Murder is bad again, and he is freed. Minus the little detail that the murder he explicitly hates himself over was not related to Blackbeard or piracy whatsoever, so presumably haunts "just Ed" still. Anyway he's retiring to run an inn with Stede now, as the "loving family" Izzy comforted him with in his dying moments sails away from the couple that can best be described as the antagonists of their S2 arc. Also Edward implicitly wants to get married. It's been 3 days since making out was "too fast". He's still wearing the leathers.

So most of the way through Act 2 and Edward's barely on speaking terms with anyone but Stede, who he has once again hung his entire life on really fast? Crushing guilt leads to self-hatred leads to mass murder and suicide, but only if he's upset so just avoid that. He's still regularly idealizing Stede as a non-fucked up golden mermaid person (that maybe he personally ruined a bit) because he barely knows the guy. His only progress on his future is "pirate" crossed out / rewritten / crossed out again a few times, "fisherman" crossed out, and "innkeeper ?"

Just.

Where is the forward movement?

It's not just that the inn will undoubtedly fall apart - it's that the inn will fall apart for the near-exact same reasons that China was going to at the beginning of Act 2, and I can't point to anything they've learned in the time since that will help them. I guess Stede realized he loved Edward enough to chase after him, but that was in S1! They should be further than this by now. You can't cram another crisis backslide, all the Act 2 development, and the full Act 3 climax into one season. Certainly not without it feeling like the characters magically fix themselves.

If they just fail and keep blindly stumbling into the same issues because they don't change their behavior, then Act 2 doesn't work. You're just repeating the turning point between Act 1 & Act 2 on a loop.

---

Where Did They Fuck Up?

Actually... lets start on what they did right.

The one consistent aspect of S2 that I praised and still think was done well in a vacuum (despite being mostly left out of the finale) was the crew's union-building arc.

With only 8 episodes and more to do in them than S1, side characters were going to get pinched even if the main plot was absolutely flawless. That was unavoidable. With budget cuts / scheduling issues, we regularly have crew members simply vanish offscreen outside of one scene, meaning cohesive arcs for your faves was not likely. Not to say they couldn't have done better - my benefit of the doubt for the TealOranges breakup and Oluwande x Zheng dried up about when I realized he was literally just her Stede stand-in for the parallel - but something like Jim's revenge plot from S1 was realistically not on the table without, like, turning half the crew into seagulls to afford it.

The union building works around this constraint really well. They turn "the crew" into the side arc, and then weave Izzy's beats in so that they aren't just about Izzy. The breakup boat crew working together to comfort each other and protect him turns them into a unit, and Stede's crew taking it upon themselves to address the trauma vibes while the captains aren't in the way solidifies it across all our side characters. The crew goes to war with Stede's cursed coat and wins, they Calypso their boss to throw a party, and they capitalize on a chance to make bank with an efficiency Stede could only dream of.

We don't get specific arcs, but Frenchie, Jim, and Oluwande are defaulted to as leaders in just about every situation, and Roach is constantly shown sharing his inventions with different characters. Individuals can dip in and out without feeling like the sideplots stutter. Any sense of community in S2 is coming from this arc - even if there are cracks at the points where it joins to other storylines (Stede and Edward, Zheng, etc.)

So why does it work? Well, because it's a workplace comedy, and you can tell they are familiar with working on those. They know where the beats are. They know where to find the humor. They know how to build off of S1 because they made sure the bones were already there - an eclectic group of individuals that start as just coworkers, but bond over time in the face of their struggle against an inept boss who they grow to care for and support while maintaining an increasingly friendly antagonism because, you know, inept boss.

OFMD does its best work in S2 when it's being true to its original concept... and its worst work when it seemingly loses confidence in its own premise.

"The show is the relationship," right? It's a romance set in a workplace comedy. The setup of Act 1 was all about creating a character-driven narrative. So given that... where the hell are we getting the dying of piracy and a war against the English Navy?

That's not a character-driven romcom backdrop, it's an action-adventure plot from Pirates of the Caribbean or Black Sails. It's plot-driven, creating an antagonistic force that results in your characters' problems. Once the story is about the fight against the Empire, the dramatic question becomes the same as those adventure stories - "Will the British Navy defeat piracy, and will our protagonists come out the other side of the battle?"

Forget the wedding. The wedding is no longer the climax of the story, its back to the happy ending flash our romantic subplot gets after winning this fight.

Except, of course, trying to pivot your story to a contradictory dramatic question near the end of Act 2 can be nothing short of a disaster, because either you were writing the wrong story until now, or you've completely lost the plot of the real one. I shouldn't even be trying to figure out if they are doing this, because it should be so obvious that they wouldn't.

And yet.

What do the Zheng and Ricky plots add to the story if not this? Neither of these characters have anything emotionally to contribute to Stede and Edward - they truly are plot elements. It's a hard break from the S1 antagonist model, but it also takes up a lot of valuable screentime. This was considered important, but still Zheng's personality and motivation only gets explored so far as it's an Edward-Stede-Izzy parallel with Oluwande and Auntie, and they only need the parallel for Izzy's genre-jumping death scene. Which follows a thematically out-of-left-field speech about how piracy is about belonging to something good (workable) and how Ricky could never destroy their spirits (um...?). And then David Jenkins is pointing to it and saying things about "the symbolic death of piracy" and speculating S3 might be about the crew getting "payback"??? An idea floated by Zheng right before our temporary retirement, btw.

Fuck, the final episode of S2 didn't have time for our main couple to talk to each other because it was so busy dealing with the mass explosion of Zheng's fleet and Ricky's victory gloat. We get lethal violence associated with traumatic flashbacks until they need to cut down enemy mooks like it's nothing, at which point we get jokes with Zheng. The Republic of Pirates is destroyed outright, and it feels like they only did it because they got insecure about their "pirate story" not having the right kind of stakes. Don't even get me started on killing a major character because "Piracy’s a dangerous occupation, and some characters should die," as if suspending disbelief on this aspect makes the story somehow lesser, instead of just being a fairly standard genre convention in comedy. Nobody complains about Kermit the Frog having an improbably good survival record.

Did someone tell them that the heroes have to lose a battle near the end of Act 2, so they scrambled to give them one?

Just... compare the wholly plot-driven struggle in 2x08 to Stede and Edward's character-focused storylines in 1x10 and tell me how 2x08 is providing anything nearly as valuable to the story. Because I can't fucking find it.

At best they wasted a bunch of time on a poorly integrated adventure plot as, like, Zheng's backstory or something, and just fucked it up horribly by trying to "step up" the kind of plot they did for Jim. In which case the whole thing will be awkwardly dropped but damage is done. Otherwise, they actually thought they could just casually add a subplot like this because they've done something wildly stupid like think "pirate" is a genre on the same level as "workplace comedy" and can just trample in-universe coherency while you draw on other media to shore up their unsupported beats.

Bringing us to the most infuriating bit...

---

"...end the second season in a kinder spot."

If this was the goal, the entire season was written to work actively against it in way that is baffling and incompetent.

The really ironic thing is that the reason that the Act 2 part typically gets a downer ending is because of the evil empire that OFMD did not have to deal with until they pointlessly added it. A plot-driven story has an antagonistic force - a villain - that the heroes need to defeat. Something external working against them. The story ends when they beat the thing, and it's not much of a climax if they do most of the defeating before you get there. Ergo, they have to be outmatched up to the climax. Ergo, the second part cannot end on them feeling pretty comfortable and confident going into the third.

The same rules do not apply in the same way to a character-driven arc.

We already established Edward and Stede declaring their love is not the end of the story. Nor, necessarily, is both of them confidently entering a relationship. Even once they've developed a bunch they will have to show that development by running into the kinds of problems that would have broken them up before and resolving them better.

David Jenkins keeps talking about this idea that S2 is getting a hopeful open ending and S3 will get into potential problems, and like... I don't see any reason why they couldn't have done that successfully. They didn't, but they could've.

If S2 grew them enough as characters and then had them agree to try again in the last minute of the finale, they absolutely could have had a kind and hopeful ending where you were confident they could do it. And then a potential S3 can show that. It's a bit rockier than they were counting on, but they have learned enough lessons to not break up. And then the overall plot can build to proposal (start of Act 3) and wedding (the romantic climax). It doesn't have to be a blow out fight to be emotionally cathartic.

(Hell, the main rockier bit that they overcome in the S3 Act 2 portions could be marriage baggage. I'm sure they both have some. It would work.)

In the same way focusing on our character's long term flaws and character-driven conflict makes an Act 1 "happy ending" more difficult, I suspect it makes an Act 2 "happy ending" easier.

Instead they wrote an Act 2 that failed to convincingly start development and got confused on its direction, and then presented a rushed finale ending in a copy of the predictable disaster from S1 as though it's a good thing. They yanked the story at least temporarily into an awkward place where a romcom is trying to sell me on a bunch of serious drama / adventure beats that it has not put the work into, and inviting comparisons to better versions of those same beats in other, more suited media that make it look worse. The need to portray everyone as reaching happy closure overrules sitting with a major character death and using it for any narrative significance, while still letting it overshadow those happy endings because a romcom just sloppily killed a major character with a wound they've literally looked into the camera and said was harmless.

If I'm being entirely honest, Dead Man's Chest ends effectively at Jack Sparrow's funeral and then cuts to the British Navy obtaining a weapon of mass destruction, and it still feels kinder and more hopeful just because I leave with more faith the characters are actively capable of and working toward solving their problems.

OFMD S2, in contrast, has half-convinced me our main couple would live in a mutually obsessed, miscommunication-ridden horror story until they die.

---

Additional Reading

Normally I link stuff like this in the post, but that requires more excitement than I'm feeling right now. Here's my alternative:

Where I thought they were going with Edward - really outlines the mountain of character development they still have unaddressed

Where I thought they were going with Izzy - touches on a lot of themes that might be dead in the water & also context that's still probably relevant to why Izzy got a lot of focus in S2

My scattershot 2x08 reactions

An ask where I sketched out the bones of this argument, and another where I was mostly venting about the fandom response

This one, this other one, and this last one (read the link in op's post too) about genre shifts and failure to pull them off

The trauma goes in the box but it never opens back up - the whole point of Act 2 is that they needed to start opening shit like that - and also they focus so much on needed character growth and so little on following through

They can't even carry through on character growth that we got last season???

Why Izzy's death feels like Bury Your Gays ran smack into shitty writing

EDIT: Oh and this post is REALLY good for outlining the lack of change in way less words than I did

[melodrangea]

hello i hope you’re doing well, may i request a black star or soul x shy!reader? maybe something like they’re out on a date and she’s struggling to order for herself?

Soul and Black Star x a Shy!Reader

Soul "Eater" Evans

-Soul overall doesn't typically mind you being shy

-I mean he's pretty laid back and isn't into the whole 'party scene'

-and neither are you so it works out perfectly!

-you both prefer to spend your days lounging around the house or going out on more private dates

-like motorbiking through the city or having a small dinner in a 'hidden gem' restaurant

-I'm totally convinced that Soul follows several blogs about 'hidden gem' places because he thinks they're cool and you like them better than big crowded places

-Soul isn't really a big fan of pda in the first place other than hand holding or guiding you around with a hand on your back or waist

-he just likes keeping things private (except when it comes to bragging about how awesome you are...that you cannot escape)

-he doesn't mind doing things like ordering for your necessarily

-he will think its endearing yet a little silly, he would rather you learn to overcome your fears instead of constantly reminding you

-but he won't particularly patronize you for it, just try and gently nudge you into ordering for yourself

"And they'll have the pasta with, wait babe which sauce did you want?"

-he will do small things like that which will put you on the spot but won't require you to directly give your order to the waiter

-it's ok, baby steps!!

Black Star

-god this kid

-if you're shy in the slightest, I apologize deeply for every considering dating Black Star

-he is not only incapable of sharing spotlight, but just being quiet in general

-though you both find crowds to be unpleasant, he doesn't like being surrounded by "extras" while you find it hard to function due to so many being in close proximity

-and unfortunately without some explaining he doesn't get it at all

-by trying to discreetly ask him to order for you, Black Star will draw even more attention to the two of you

"Wait, why do you want me to order? Do you not feel good or something?" he says very loudly as neighboring tables turn to stare

-black star = having no sense of voice level control

-he will then get very huffy when you obviously get a little passive aggressive with him

-its probably Soul or Kilik that knock some sense into him since Tsubaki "doesn't know how having a girlfriend works" (he says to the lesbian)

-they probably set him straight and make it very clear that you being anxious isn't something your can control and you don't just do it because you want to

-he will be VERY apologetic after, fully understanding why you might be angry at him

-but after about 1,000 punishment sit-ups you come around and forgive him

-from then on he tries to keep your feeling in mind, trying to keep his volume in check, ordering ahead and eating somewhere private instead of ordering at the desk

-he still won't order for you unless he has to because "you can at least order your own food"

-but we take what we can get and this is definitely an improvement from before

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

-melodrangea <3

[imagines-to-quench-thirst]

Ducan "Donut" Vizla🍩

Disclaimer: stories are fictitious and should not be taken literally, the behavior is entirely imaginative and the content may be inappropriate

Updated & repaired: 16/07/2023 (if a story won't load or something else, please message me and let me know)

MAIN MASTERLIST

JOIN US TODAY. BE A DUNCAN HOE!

Fluff🌺  Angst 🌩️ Smut❤️‍🔥

5/7 STORIES

5 Types Of Kisses🌺

MY HEADCANONS W/ OTHER CHARACTERS:

Speak In Flowers 🌺 Flowers speak their own words and show their actions. And your man loves to speak it out loud.

Visiting Your Hometown 🌺 how would your boy act when you drag him along to your hometown

Helping You To Accept Your Stretch Marks 🌺your boy helps you accept your beautiful stretch marks as they are...pure perfection

Explaining To Your Man Kdramas🌺I (V) wrote small drabbles that paired my favorite men and dramas that I absolutely love

Dating A Tattoo Artist 🌺 being a tattoo artist and your boyfriend being part of it

When Tough Times Occur 🌺Life itself can be a pain and with its obstacles, it can seem impossible to overcome it but that’s what makes us stronger as people.

Someone Rubs You The Wrong Way With... 🌺 how would your man protect you when someone doesn’t mind your business

Having A Shower ❤️‍🔥having a shower with your man sounds like heaven right?!

One Thing He Loves About You (Physically Or Mentally)🌺 the title spoils the ending a bit

No Nut November ❤️‍🔥in the glory of No Nut November, you make a bet with your liver saying if they fail you cuff them and use them to your liking but if you lose they get to fulfil one of their fantasies. And you are keen on it to make them lose, by any means.

ASKS

My Saviour 🌺protective! Duncan Vizla? Maybe they capture her and he’s ready to wreak havoc upon them? Hurt/comfort with a bit of makeup smut?

Taking Off Their S/O's Makeup 🌺 (Could you do Duncan vizla,the joker and whoever else you’d like.)taking off their s/o makeup after they come from a nightout because they are to drunk to do it themselves 💛

Stressed Student 🌺 can I request Duncan Vizla, the Joker, Victor Creed and what would they do if they see their s/o down because they're stressed due exams?

You Are My Protector 🌺 do you think he’d appreciate someone being gentle with him and spoiling him with compliments? I just imagine him getting a praise kink whenever his woman kisses his scars 😚💗

Worship Me 🌺 What about Duncan doing some exhausting teasing foreplay the whole day before having sex?😍😍

Kicking in the process... 🌺 Duncan Vizla x Pregnant Reader

October Drive ❤️‍🔥I think daddy Duncan deserves some smut, would you be an angel you are and write something, maybe some August heat car ride or smth!

Telling Him You Are A Virgin ❤️‍🔥 Ok here me out 😂 virgin X Duncan, she constantly flirts with him but doesn’t want a one night stand with him. It shocks him when she says she’s a virgin and only does long term

White Shorts VS. Duncan Vizla ❤️‍🔥Innocent girl + short shorts = very pent up Duncan = very rough sex

Period Sex ❤️‍🔥What do you think about Duncan smut while his girl is on period? I bet he's up to this shit👀👀

Duncan Pleaser ❤️‍🔥 Omg give us more swearing daddy Duncan pleasing his woman😍😍

Outdoor Quickie ❤️‍🔥hi there! I've come up with the idea for Duncan smut, IDK if you like it, but I give it a try🔞🔞how bout some outdoor quickie in winter? IDK if it's even possible in real life, but still! I very much appreciate all your imagines! you're doing great👍👍

Christmas Decorations 🌺 now here’s a little concept (you don’t have to write I just want to share lol) She is super excited for Christmas like REALLY excited she’s all over the house with decorations and at first when she asks him to help her he says no but I mean he can’t say no to her puppy eyes so he caves and they spend the whole afternoon decorating the house ✨💜✨💜✨

I Ain't No Snitch 🌺❤️‍🔥 can you imagine if one day she is kidnapped in order to get to Duncan so he has to find her and everything and when he finds her she’s all scared and crying so he gets all soft and protective 😭😭😭😭😭😭

No Bra ❤️‍🔥 some good old Duncan Vizla smut

Nightly Adventures ❤️‍🔥Lemme ask for some duncan vizla smut, daddy kink, dirty talk and pure filth? I feel like the character is underrated and has lots of potential!

Jingle My Balls ❤️‍🔥 How about some good ol' sexy time with Duncan Vizla! Ohhhhh maybe a holiday theme?? Like the reader wore idk a santa dress/elf dress and Duncan decides to jingle their bells??? ( ͡° ͜ʖ ͡°)( ͡° ͜ʖ ͡°) ya catchin my drift chief?? Im sorry this was cheesy

Daddy Kink Headcanon ❤️‍🔥 I was wondering if u could possibly do some Duncan Vizla with daddy kink (smut) headcaons plz it’s ok if u can’t tho 👌

Wedding Risks ❤️‍🔥 may i ask for more of it, maybe some inappropriate place/timing smut or public place or as you wish, cause it gives life :3

Brave 🌩️🌺 I have a request for Duncan! Maybe one of his old enemies gets ahold of his SO and uses her to lure him into a trap and all the angst but with a happy ending! I love your writing so much!! 💕💕💕

Departure ❤️‍🔥How bout some age gap angsty smutty fic w\Duncan Vizla? Like grey hair and wrinkles and stuff, cause kinks are kinks, you know🔥🔥🔥

First Timers ❤️‍🔥 May I request some Duncan smut, like first meeting him\first date stuff... like why wait for 2nd date when you're all head over heels :3

The Right Way To Wake Up ❤️‍🔥 How about some middle of the night/early morning wake up sex w/Mr Duncan Vizla💦💦

Road Trip ❤️‍🔥what about some road/car sex with Duncan?

Foreplay ❤️‍🔥May I request some NSFW Duncan headcanons like putting a condom on/undressing/arousing words, etc., stuff like that!

Mustache Ride I feel like Duncan's mustache gently massaging skin\clit while giving oral must be headcanon😍😍

Girl 🌺 What Would Duncan Vizla Think of having a chubby girlfriend?

Hand+Job ❤️‍🔥May I ask for Duncan receiving handjob or smth without penetration😍😍

Kisses Of Jealously ❤️‍🔥Thank you for all the Duncan fics, they are perfect😍 Let me request some steamy period smut with Duncan

Bathtub Mishaps ❤️‍🔥May I request some bathroom/bathtub Duncan Vizla smut? It should we very wet out there if you know what i mean💦💦

Leading Praise❤️‍🔥

Sinful Words What would you say about Duncan being daddy he is and talking dirty with his lover😈😈

Duncan Going To Town❤️‍🔥

NSFW Alphabet (VER 1)❤️‍🔥

NSFW Alphabet (VER2)❤️‍🔥

First Time Having Sex❤️‍🔥

Nightly Adventures ❤️‍🔥Lemme ask for some Duncan Vizla smut, daddy kink, dirty talk and pure filth? I feel like the character is underrated and has lots of potential!

Little Miss ❤️‍🔥

Fitting Punishment ❤️‍🔥

Comparisons ❤️‍🔥

Chubby!SO 🌺What Would Duncan Vizla Think of having a chubby girlfriend?

DRABBLES FROM MY🧠

Hands To Kiss🌺

Mother, Meet Duncan Vizla 🌺your mom meets your boyfriend

Jealousy Makes Him Silent 🌺

Duncan Saving You🌺

Duncan Learning Your Native Language🌺

Mornings With Duncan Vizla🌺

Making Out ❤️‍🔥

Dating Duncan Vizla🌺

First BJ❤️‍🔥

Tease ❤️‍🔥

Over The Edge ❤️‍🔥

Breathe 🌺Song fic- Breathe by Mako

DIFFERENT AUs

Professor Vizla (Professor!AU)❤️‍🔥Could you write a professor Duncan Vizla x reader smut... ( ͡° ͜ʖ ͡°) And there is an age gap between them... Something like that... 🙈🙈🙈

Sins Of Ours (Priest!AU)❤️‍🔥 For Anon who requested it: I hope you like it, I have seen the trailer you suggested but I just changed the name because I’m a lazy bitch and haven’t found the name of the character Mads played so I changed it to Duncan. I hope that’s okay. 

SHORT IMAGINE

Duncan Seeing You After A Long Time🌩️

Seeing Duncan’s Old Videos Of Him🌺

Waking Up Next To Duncan Vizla🌺

Duncan Coming To Your Home Needing Help🌺

[creepy-friday]

Ok ok

Hear me out

👀

Imagine if the Proxies were in any type of relationship with Y/N, and Y/N isn't a proxy or maid or anything.

And Y/N got pregnant 💀

Brownie points if the baby is a girl-.

Notes: the reader is in an established relationship with them,and kept the pregnancy a secret until the only option was for the baby to be born

Warnings: pregnancy mentions,yandere tendencies in Brian's part,mental illness in Toby's and misogyny in Tim's

Special thanks to @spookyravioli for the inspiration♡

"Oh.Oh." Toby's first reaction is shock and slowly the feeling of dread would start to overcome him

He never imagined himself as a lover,let alone the tought of becoming a parent.Toughts of his own father started to beat him up,and insecurity spread trough him like a disease

He needs A LOT of reassurance in order for him to not break down.During the pregnancy he would be very supportive partner and would try to keep you as happy as possible

He bought a shit ton of books,from parenthood guide books to kids ones that he would often read to calm down

When the daughter was born,multiple thoughts entered his brain."I'm a father now." sounds both bittersweet and scary to him

This was the time when he started to take medicine for his outbursts,not only for him,but for both yourself and the baby's sake

As much as he wanted to not traumatize his daughter,he couldn't help but make her be constantly on edge

She wasn't afraid of him,but rather wary,slowly understanding that her father wasn't always in the right place

Despite his early efforts,I can see as the daughter grows up she would start to resent him from all the things that he hides away from her to the way he seems off putting

Because Toby's workplace is a demanding one,I can see him completely giving up on meds and having angry withdrawals because of it

That's why it will be up to the daughter to either sugarcoat the way her father is or to step up and overgrow him

Surprisingly,Masky's first tought isn't to go buy milk.Instead,he takes his time to reason with you and to list all the complication the baby will come with

He tries to be a good lover to you,he really doesn't want the of risk losing you because of his shitty moods,that's why he genuinely tries to not stress you out during the pregnancy

Tim will take care of anything you need,even if he would mutter something under his breath,all he does is for you.In his mind,if he loses you he will lose himself as well,that's why he's so eager to please you

After getting into a verbal fight with half of the hospital personnel,he almost lost his mind when he heard that he was having a daughter

He grew up distant for a while,and was passive aggressive while taking care of the baby,as if her whole existence's worth is based off her gender

After he became warmer to you he became colder to the daughter as time flew by and she grew older

"It's because you're a girl" ; "This isn't a girl's job" ; "Are you really going to wear that?Unfit for a girl"

I can see the daughter growing up to break down her father's stereotypes,but at the same time battling with his inner demons

She might have addiction problems and become obsessive over subjects she can have control over

If the mother doesn't do anything about it,I can see the daughter having a history with battling the same type of mental illness her father had

Brian knew all along about your pregnancy,and secretly enjoyed the tought of something or someone to keep both of you forever together

After all,the baby is the living proof of your love,that's what he believes

He made sure you're kept safe and get the best health care from other women doctors/nurses,he doesn't trust male personnel

Brian was an implicated parent,altough he heavily wanted as little communication as possible from you and the outside world

From the time the daughter became a toddler,he started to grow those sick ideas into her little head about how ugly society is

As time flew by,he already convinced her that all men are beasts,and that the only safe resort she has are her parents

He not only made both yourself and your daughter paranoid,but made sure that the others would avoid interacting with both of you by saying things like "oh,my wife became mentally ill because of pregnancy complications..please do not stress her out"

If the daughter grows suspicious about her father's occupation,she would keep it a secret from her panicked mother and would try to figure it out herself,all while trying not to give Brian any clue about it

Brian genuinely thinks he made a safe space for his family,and without the reader's reasoning I can see both the reader and her daughter having a limited life inside the cabin and the forest

[fruit-sy]

My personal thoughts on the major themes of Penacony 2.2

I was gonna make an entire Penacony retrospective and try to really dig into the whole story, but 1. I'm not that smart and 2. It has hours of footage and I don't think I'm strong enough to parse through that and form my own conclusions

so, just the things that really jumped at me and made me pause to think. I may do surface level research to make sure if a character really said this or that, but other than that, these are my thoughts fresh after finishing the quest.

Ok, to start off: Sunday and the road to hell

He's... god, he's such a complicated and interesting little man.

He is what I would call the embodiment of the saying "the road to hell is paved with good intentions". On the surface, he is trying to make a universe which is authoritarian-like. If you peel it back a bit more, he intends to make the universe a better place. But at the heart of it, I think he's just someone who is scared of pain.

There are 3 sequences I want to break down:

The Robin-Sunday exchanges before they meet Gopher Wood

This exchange has a lot of Sunday misdirecting Robin's points, but she calls out most of it.

Robin starts off with observing the dreamscape and concludes that dreamchasers shouldn't use penacony as a means of escaping entirely from reality. Because they won't overcome their demons. She asks if this can really count as "living"

Sunday at first seems to agree that things are not the way it should be. But there's a bit of misdirection on his part. He responded to robin's question by connecting "people using penacony as an escape" with (his opinion on) the way people currently "live" (which is what he was agreeing to in "things are not the way it should be"). He will then frame the narrative to show that people completely escaping through dreams is a good thing, and then will swerve to say how the "strong" should determine the future of the "weak".

Robin understandably does not agree with Sunday's narrative, because she believes that by staying in the dream (or MAKING dreamchasers stay in the dream), it will lock dreamchasers in stasis forever, making them unable to choose how to go about their future and overcome their difficulties. She then criticizes that no one has the right to determine whether a human deserves to live for a future or not.

There's a clear difference in ideology here. Sunday's devotion to Order is so strong because the experiences in his life had led him to believe that forcing his will on other people is the way to go. His ideology is rigid, cold, impersonal and is applied to all uniformly.

Robin firmly believes in choice and refuses to let an authority govern the way people should live. She wishes to unite people through her singing, and to inspire people to live. Her ideology is more personal, uniquely applied, and is idealistic and romantic.

2. The quiz sequence

An interesting thing about this sequence is the first two questions have quite reasonable answers. At the start of it, at least.

The first question is about nurturing and letting go. I think why most of the girls agreed to put the bird in a cage is because to do something great, you must first be equipped to survive. Maslow's bottom hierarchy, if you will. i think Sunday realizes this too, and puts it into some of his points to justify making decisions on behalf of other people.

"We must teach the weak how to live a happy life"

Though, the problem is that he twists this point so much and wants to force this on everyone. This is seen when he puts everyone on Penacony in Ena's dream. This disregard for other people's input kinda reflects how he sees the bird, in a way. The bird is something below Sunday, it cannot object his actions because it is merely just a weak, injured little thing.

It is here that he experienced pain of futility. The pain of putting in effort into something but have it crash and burn in the end no matter what. Afraid of that pain, he wonders if birds are meant for the sky if some fall before they can reach it. He has a very black and white mindset about this.

Either all birds fly and deserve the sky, or if even one bird falls then no birds deserve the sky.

The second question is about a person who is being pursued by the bloodhounds. Sunday is in a position of power, and has the influence to pardon the man. As a result, the man got away, forgot about his children, and hurt the people working under him in penacony.

Though, it's worth to mention that I think it's also partly the fault of the Oak family, who didn't try to discourage dreamchasers trying to find answers or solve their personal problems in Penacony. But I believe that's intentional.

Anyways, the crux of the question, if Sunday had known the outcome of his decision from the start and he had the foresight to think that Penacony isn't a place to search for answers, I actually think upholding the law would be the best course of action here.

I think this is where he developped his fear of... consequence. Because humanity has free will, they may use his pardon from the law to do awful things. This might be why he values upholding the law so much.

Another thing to note, I think Sunday hasn't gone off too far into the deep end at this point of his life. In a previous sequence with the same scenario, he actually questions what devotion to the Order would be like, and his doubts on its way of life.

"Who can judge the strong when their power hides their crimes?"

"Who can vouch for the weak when they will pay any price to survive?"

"Who can comfort the purest souls when even they get led astray?"

It's important to note that Sunday is in a position of power and emphasizes knowing the outcome of the first two questions.

The third question is the only question where he and the other party were of near equal standing. It's where he still hasn't made a decision, and which the outcome has not yet been decided.

Sunday cares about Robin's input and feelings. He cares so much he doesn't have it in him to force her to stay for the Order.

I think this is the crack in his belief of the Order. Because he cannot stop her from trying to fly. Because he cannot apply his law indiscriminately. Because it's Robin. His sister.

He has not made a choice, and Robin has not met her end yet like he's feared.

But he's so afraid of the pain of losing her. He's so afraid it haunts him in his nightmares.

After presenting the quiz, he essentially asks the main question of penacony: "Why does life slumber?"

He answers, "Because we are afraid to awaken from our dreams."

Interestingly, this is identical to Firefly's conclusion in 2.0. The difference is, Sunday thinks his answer is universal and will force his solution on everyone, while Firefly's is just her own personal answer.

Firefly asks what the price for Sunday's paradise is, and that made me stand up and point at the screen in agreement. Because what Sunday's aiming for is an authoritarian universe.

When an authority reigns supreme that it forces its will onto unwilling citizens, all in the name of the ideal society. That's a dystopia.

As Sunday said before, who will keep the authority in check? Who can ensure that the authority will not abuse their power?

That's what's so dangerous about an authoritarian government. You can't take the risk when it comes to this. You can't just give the power to one person, no matter how righteous or nice they seem. Because like the saying goes, give them an inch and they will take a mile. You cannot afford to cross the line, because when you do, who knows how far they'll take it.

Sunday clearly sees Firefly as someone weak, kind of akin to the bird in his childhood who needs his "saving". But Firefly does not appreciate someone deciding on her behalf whether she's weak or needs saving.

3. Ode to Order

I think it's important to note Sunday really frames Ode to Order in this angelic and holy way. Hell, the music even reflects this with a more bright and heavenly choir.

"Requiem aeternam" is a prayer for souls to reach heaven, eternal rest.

(A bit of a tangent, but when I saw this in the game I SHIVERED so hard. This is such creative story telling aughh- Like, using previously established game mechanics and twisting them to become something horrifying is SO COOL. What a delightfully terrifying way to illustrate what Sunday aims to achieve.)

This illustrates Sunday's paradise as a place where everyone is forcefully "tuned" to become a certain way forever. To be manipulated with Ena's strings without their consent like puppets into a picture perfect scene.

Though, I was confused why Sunday framed this ideal society as people abandoning the need for an authority, when it was something he was pushing so hard in previous sequences.

But my interpretation is that he will spread this message, of everyone being of equal standing, but leave himself as the true leader that will stay awake to ensure everyone else is blissfully asleep.

This really ties everything together for me. Sunday is someone so self righteous but self sacrificial that he's willing to put himself high in the sky, and be aware that he will be completely alone up there.

He is afraid of pain, and will do everything to avoid experiencing it ever again.

After experiencing pain, we shouldn't be scared of it. Sure, we can escape a bit to get some reprieve, but we must tend to our wounds so that we may not only survive, but live.

That brings me to the second major theme of Penacony : Nihility, and the feeling of futility

I will be breaking down Acheron's character first.

Self annihilators/Nihility emanators are so interesting, they are beings that slowly are losing themselves thanks to their own powers of Nihility. A predetermined end.

Living for so long + Nihility actively chipping away at her being is sure to make her memories blend in together. This is why Acheron values emotions so much, because it is one of the only anchors she can use to avoid succumbing to Nihility.

Her flashbacks with Tiernan are beautifully melancholic. Their exchange starts with Acheron pondering if the task Tiernan is doing is pointless, and if he should even bother? And if the end is expected, then should they change it? It's a bit muddy, but I interpret that here, Acheron is still searching for the meaning of Nihility, and Tiernan is the person who guides the souls to the other side of the river at that time.

In the next scene, Acheron states she's holding on to whatever she can to avoid succumbing to Nihility. She had journeyed with a Nameless girl once, who wanted to explore IX. But as expected, the girl ceased to be, but left with a smile. Acheron is scared of forgetting her memories with that girl.

The only other anchor she knows is of her promise to bring more warmth to other people, to a more hopeful future where she will cut off Nihility. She associates that promise and hope with the color of red.

The next scene mirrors the first scene. I interpret it as Acheron having found the meaning of Nihility, sorta embracing it, and is now guiding others to advance towards and depart the Nihility, with Tiernan having forgotten himself.

When Tiernan asks if what Acheron does is pointless, she gave the same answer Tiernan gave her, because some things have to be done. And she's come this far without needing a point, so why should she search for one?

"May death be the end of your boundless dream... guiding you back to the waking world."

I still cannot decipher the meaning of this statement completely. As far as I know, it's said 2 times. The first is after Firefly "died", and the second is in the above exchange with Tiernan.

In Firefly's case, perhaps the "death" refers to waking up from Ena's dream at the beginning, "boundless dream" is Ena's dream, and "the waking world" is Dreamflux Reef/reality.

In Tiernan's case, I can assume the "boundless dream" is his eternal unrest, as he's still lingering in the dead sea, not yet ready to enter the abyss of Nihility. The "death" may be referring to him entering the abyss, while the "waking world" is existence, as he finds his way out of Nihility.

To bring this all together, I think Acheron in this case represents and goes against Nihility. She presents Nihility as something inevitable and predetermined (death), something that awaits everyone, and something that everyone will have to embrace at some point of their lifespan (boundless dream).

But she also believes that one shouldn't wholeheartedly embrace Nihility. in the face of Nihility, we must do everything to take in the world around us and remember what makes us exist. She believes there is a way out of Nihility, and that is existence. (waking world)

In the face of futility, if everything really did have a predetermined end, I believe we should still try to make choices. Despite it being "pointless", I think that's what gives meaning to our existence. Otherwise, we risk succumbing to Nihility.

That's why when the trailblazer finally uttered their own choices, I felt shivers. One, because this shows the development of TB's character, and two because TB will do what they have to, they will never be content living in a dream, and they choose to continue in the face of "futility", despite the ending of their journey being predetermined.

In the face of futility, Sunday chooses to eliminate pain and choice out of the equation, only choosing to create a universe that's stuck in a mindless, blissful stasis. Because he is anticipating pain.

But sometimes, the anticipation is worse than the actual pain itself. He is also eliminating the element of choice, with the assumption that people will not be able to survive when they are facing futility.

But, Acheron's words really struck me.

In the face of futility, pain, and pressure humans may freeze in fear. But that innate survival instinct in humans might push them to fight and claw themselves out to save themselves. By removing the choice to fight for their lives, they won't have the choice to fight off Nihility.

To end this, I would like to go back to main question of Penacony

"Why does life slumber?"

And I think TB answers this beautifully.

"Because we will wake from our dreams."

Life slumbers to find reprieve from the harsh reality. But slumbering does not give us the solution to our problems, only recharging us to prepare for the waking world once more. And in the waking world, even if what we do is futile, we still have a choice in how we want to reach for the end.

[breached-containment-script]

So the scarring discourse is still going.

No, characters keeping scars does not automatically equate to that being torture porn. In this context, fans clearly intend it in a way that says "even if you end up with physical marks, it doesn't diminish you". Or is Aang getting scarred torture porn too? Or do you think things like Mortal Engines movie shrinking the female lead's facial damage to a minimum "spared her of physical trauma"? No, it was afraid of depicting something deemed "ugly" and it's a huge disservice to real people who look like she was described in the book.

The topic was not handled super well in ATLA. Katara's wounds got healed leaving no trace on her, on her psyche nor on how she views Aang which is not just unrealistic, but you can literally feel in the show Katara having to go "no Aang it's ok, I'm fine, you don't have to beat yourself up over it, I'm healed, let it go Aang, it's not your fault," it is too much. It would have been much stronger had the burns left some mark, even a tiny one, because then Aang's reluctance to practice firebending would have made more sense and all characters would have gotten a more solid demonstration that the Avatar can be dangerous too. It would have been a wakeup call to Katara that Aang isn't a completely harmless kid she can always shield and protect. That's character development! This would have been a more powerful moment in the progression of their relationship, especially after they sort it out and Aang learns safe firebending later on, because they'd have a more real problem to overcome rather than just Aang's guilt.

Again, show didn't frame things too cleverly - there's no heightened moment of perhaps Katara being extremely happy that she discovered a part of her lost Southern waterbending heritage (just remember her behaviour with Hama, there's none of that here). The show just removes her wounds, she's confused about the ability, and this leads to Jeong Jeong making a point about how fire is wild and destructive. The whole segment ends with removing the source of the problem (wounds) and is about how evil fire is. Aang ends up being traumatized anyway, he isn't less traumatized because Katara's wounds didn't scar.

The point is - Katara gets nothing character-building out of this event, even though it made her cry and cradle her arms for several minutes on screen. Because of this her burns could be considered torture-porn (slightly). Her discovering healing abilities is not a reward she got exclusively because she suffered the burns, she could have discovered it by accidentally hurting herself, or healing someone else. Imagine if Aang hurt himself by being reckless and Katara discovering she could heal him? What she should have gotten out of specifically being burned by Aang, is a changed view of him. I don't mean her viewing him negatively, but taking a step back and both learning they should be more careful. Who said zutara stans want Katara getting scarred by Aang in order to make Aang a villain in this? He literally cannot be a villain here, he made a big mistake by being careless. It's got nothing to do with zutara. It's not helpful to misinterpret some storytelling tools that have nothing to do with shipping, just to prevent them from creating some later story hooks which could potentially be used in shipping a NOTP. Heck, Katara getting scarred could even be used (with skilled writing) in shipping her with Aang - like zutara fans use Katara being angry at Zuko and expecting him to demonstrate that he wouldn't betray or hurt them again.

And if you have a distaste for two happy friendly characters hurting each other on accident, that's fine, but well I have a scar on my arm from my brother's scratch that happened on accident. These things happen and stories shouldn't be scared of portraying it, especially if later on they show how to make ammends and overcome the problem. I'm not saying "Katara should definitely have kept her scars!!!" I am showing narrative weak points and suggestions how things could have been done differently, what benefits it could have had character-wise and what that might have changed.

[prokopetz]

I'm very close to running a campaign of Space Gerbils with some friends and I'm curious about how a combat-oriented scene might play out.

Let's use the 0.3 rulebook's example of a "giant radiation-spewing monster" with a obstacle rating of 5. Would the first action phase in this engagement play out something like:

GM: the monster swipes one giant barbed tentacle across the floor towards you. Players: we want to jump over it! GM: that's fine, "evading" that wouldn't have contributed to beating or escaping the monster so it doesn't trigger a test. you jump over the attack, and the monster roars in frustration! It belches a massive green cloud of radioactive gas in your direction. Players: we wrap ourselves in our null shroud and leap through the cloud towards the monster GM: ok, that also doesn't trigger a test. The monster bellows once more- Players: now! we shoot our plasma cannon into the monster's gaping maw! GM: that triggers a Blast test - roll.

Or would the dodge trigger a test? If it does, would dodging it count as progress towards the obstacle? I'm just not quite sure how much combat I should be allowing the players to do without tests.

I guess since the point of the scene is to beat or escape the monster before the clock runs out, any actions that don't attempt to do those things should be basically free? Including dodging every attack? But then what if the players (for example) couldn't think of a reasonable counter to the radiation cloud and just stood there and tanked it - would you just give them a complication without proceeding to a test?

PS this game's design is really really cool, I'm very excited to see 0.4! Is there a discord or something for playtesters?

A lot of the specifics regarding timing are undergoing significant changes in 0.4 (specifically, a Threat Clock will no longer be a mandatory element of every engagement, though they'll still be an option), but in general, the idea is that, because getting all your ducks – or, rather, space gerbils – in a row in order to make a test in the first place is, by design, a very involved process, you shouldn't be calling for tests for things that don't make progress toward overcoming Obstacles.

Since you only get one test per cycle (barring multitasking or Extravehicular Activity), they can cover a lot of ground. "We jump over the monster's barbed tentacles, use our null shroud to negate its poison gas, and blast it in the face" can all be a single action, provoking a single test, with whatever protocol seems most germane. A single test in Space Gerbils is potentially putting the same weight as an entire round worth of the whole party's actions in a more conventional RPG, so it should have similar narrative impact.

One slightly subtle trap it's easy to fall into here is thinking of an Obstacle's rating as something like D&D hit points, and consequently ending up disallowing anything but Blast tests from reducing it. Even if the Obstacle represents a giant monster, that doesn't have to be the case. Tiring it out by dodging its attacks with Evade, draining its radioactive energy with Channel, and finally putting a plasma bolt between its eyes at point-blank range with Blast could be three separate tests across three successive cycles, and – assuming they all succeed – a minimum of three points off the Obstacle's rating, if you want to play things out in that much detail.

Version 0.4 is going to discuss this in some depth, along with introducing a more fine-grained system for tracking Obstacle ratings. (In brief: the present Obstacle rating benchmarks get multiplied by two, and successful tests shave off 1–3 points based on various factors.) It's also going to address edge cases like "what if the players try to knock off the final point of an Obstacle's rating with something that couldn't reasonably eliminate it?", with the general thrust being "just go with it"; e.g., if they really want to knock the final point off of a giant monster Obstacle's rating with, I don't know, Shift, maybe it falls into a bottomless pit while chasing them, or something to that effect.

With respect to the specific example of the radiation cloud, you'd probably want to handle the players deciding to just ignore or walk through it using the rules for failing to frame one's actions in such a way as to avoid triggering an active Hazard. Version 0.4 will include a saving throw mechanic for groups that really enjoy rolling dice for that sort of thing, as well as other piddly stuff that doesn't warrant triggering a test. (Short version: if some incidental or purely reactive Hazard comes up and it's unclear whether the described response would trigger it or not, roll a single die, and if it comes up odd you get whammied. Any space gerbil can cite an installed system which logically ought to protect against whatever it is to roll two dice and take the more favourable result instead.)

With respect to Discord, there is not currently any sort of playtesting forum for Space Gerbils, as I'm currently too busy to moderate one. That may change once I get version 0.4 out the door and I'm able to shift focus from writing it to fine-tuning it.

Do you have any questions?

[autumnslance]

hi! random question for you because i stumbled upon your blog and have a lot of ffxiv character stuff in my head. what do you think about a WoL who is half dragon - do you think this could work? i'm not fully through the story so not sure on all the lore. but i was thinking of making an OC who is half dragon as an AuRa, who ik are NOT half dragon but what if the WoL was an actual half dragon? thanks for any input! have a nice day!

OK, this is one of those "here is the official lore, do with it, or not, what you will" answers. Cuz it's sorta kinda possible, in a way, just not how many other fantasy settings would do it.

Now, you say you're not all the way through story, but I don't know how far that means. So I may be vague about some things and spoil some others. Lore first, and then some options to play with it...

Number 1: FF14 dragons are aliens. It seems hinted at in some ways, but we do learn that for certain in an optional raid quest in Stormblood. They are extraterrestrial, do not originate on the same planet. Hence the strangeness and strength of their abilities, especially among Midgardsormr and his First Brood, from whom all other True Dragons descend.

Number 2: Dragons reproduce asexually. Their mating is more a meeting of the mind and heart (which is why dedicated sibling pairs, like Tiamat and Bahamut, are not a problem). Their development is highly mutable, and dependent on personality and environment. Which is why there are so many kinds of dragons, and why this form of procreation isn't a problem for them.

(They also don't really care about gender, we find out in later game; they use pronouns and gendered language, but it's more like they pick it out of a hat and also I think it's in part how mortals parse their draconic language and identification of each other.)

In the ARR patches, the Ishgardian church's story about the ancient Saint Shiva is "she lay with dragons" and...sorta? Again, not necessarily sex as we primates manage it, but there was a romantic relationship that's one of the central elements of Heavensward's story.

Number 3: Dragons do not turn into people. Not natural born True Dragons, anyway. There is one who uses a simulacrum/homunculus that he controls in order to walk among people, but it's an artificial puppet body created via certain methods.

Heretics can sometimes turn into dragons--sometimes temporarily, sometimes permanently (not always their intent). They manage this by drinking dragons' blood (willingly given or not, depending on situation). There's also some plot points in HW where we learn some people in the past partook of a dragon's internal source of power and now it's spread through uncountable descendants--the reason for Dragoon abilities and heretics able to tap into that and become draconic.

Certain characters in certain questlines have noticeable powerful aetheric abilities and dragons can sense the connection--because one of their parents had imbibed dragon blood. There's also a quest where a Dragoon, who by training already has an "inner dragon" awoken and tapped into, is forced to drink dragon's blood and nearly loses her sanity and self, the attempt to transform her into a mindless beast (and the source of some of the Horde's shock troops, the characters realize) an element of the story, and can she overcome it.

(these side quests were part of my inspiration for Aeryn's unexpected backstory "Bearing Sins of the Past")

Number 4: There are dragon legends in the East, but only some have to do with True Dragons descended from the First Brood. We eventually learn Seiryu of the Four Lords is not a dragon, though often is mistaken for or described as one.

There are also throughout the world large flying lizards, dinosaurs, and other big reptilian creatures native to Hydaelyn, but not related to the First Brood. They're usually common animals with no intellect.

(This is because world lore writer Banri Oda just loves dinosaurs)

SO! All that said, what's this mean for making a half-dragon OC? Well, there's options!

To be lore compliant, someone of Coerthan descent and involved with, or from a family involved with, heresy (per the Ishgardian definition) can have draconic features, maybe try to pass themselves off as Au Ra, and/or have the ability to transform, either with a catalyst (blood, alchemy, a spell tapping into their inner dragon/draconic heritage, whatever) or because it's become an inherent part of them. Think draconic-blooded sorcerers from Dungeons & Dragons. They get their inherent magic due to draconic ancestry/influence somewhere in their lineage.

There's also always the mistaken/lying element; maybe the character thinks they are, or something has to do between their family and legends of the auspices and Four Lords. One of the things about FF14's lore is a lot of it is given in world and in characters; some of it is known to be wrong or misrepresented or incomplete etc., to give the devs wiggle room--as well as us as players.

One can partially ignore canon and say yeah, a humanoid parent boffed a draconic parent, in whatever form, and now this unlikely one in a million chance (or not, if we're already throwing away some lore) offspring is around and grown into an adventurer.

I've also seen folks portal in their OC from another fantasy setting where such things are more plausible, such as D&D (Baldur's Gate 3 is the current new hotness) or Warcraft (where it's honestly more assumed, as I can't recall an actual canon half-dragon but that's always a popular RP concept).

So while on the surface, some may say "no, that's not canon because--" there are ways to make it work within lore, if not how one usually thinks of "half-dragon" or "dragon-blooded" (tho kinda in the D&D sorcerer sense, IMO).

Or you throw out canon, and tell folks "I know the lore is X, but for my character's story I'm headcanoning Y instead." And then block any fussy attempts at lore policing.

Or just use the power of crossovers and portal stories/isekai to make it work, and again tell lore police to screw off.

Hope this helps, and happy OC writing!