#and then i need time to connect their meaning to the context of what i'm doing

[nondelphic]

thank you so much for 700 followers!! this is so insane to me and i'm so happy people are enjoying my posts.

i know most of you are here for my ""relatable writing posts"" but i also know some of you are interested in who i am, and specifically my writing, so to celebrate hitting 700 followers i thought i'd give you a taste of my writing !! i know i was supposed to tag some ppl but i forgot to write your names down and i can't remember who wanted to be tagged and who didn't 😭😭😭

these are all drafts and i def don't consider myself a great writer, but i think i'm okay at storytelling. regardless, enjoy it for what it is!

this excerpt is from my first completed draft of "the midnight chase." for context, marley is aroace.

-

They sat in silence for a while before Marley shifted towards Lucas. She bit her lip, uncertain of how honest to be. “Lucas?”

He looked at her. “Yeah?”

“You know the party last month? Remember how Elvis kissed me?”

Lucas nodded. Marley averted her gaze, focusing on a path beyond the pond that led to a cliff overlooking the ocean.

“Do you think it’s possible to want that sort of closeness, without wanting it all?” Marley could feel Lucas gaze on her.

“I’m not sure I understand what you mean.”

Marley sighed and let her gaze drop to her feet. Her shoelaces had come undone.

“I mean, I don’t like Elvis like that, but when he kissed me, I felt… warm inside. Like, it’s not something I crave, but it felt nice regardless.”

Lucas remained silent for a moment. Marley looked up to see his gaze thoughtful as he processed her words. The gentle rustling of leaves and the occasional chirp of a bird were the only sounds filling the silence between them. Marley could feel her heartbeat quicken, wondering if she had said too much, or if Lucas might misunderstand her.

Finally, Lucas sighed softly, a small smile tugging at the corners of his lips. “I get what you’re saying, Marley. I think… it’s natural to want closeness, to feel connected to someone, even if it’s not necessarily about romance. It’s human, you know? We all crave that warmth, that feeling of being wanted or cared for, even if it’s just for a moment.”

Marley nodded, relieved that he understood, but still, there was something else she needed to express. She glanced between Lucas and her shoelaces, her senses searching for any sign of judgement or discomfort, but all she saw was patience and a gentle curiosity.

“I guess it just made me question something that’s been nagging me for a long time,” Marley continued, her voice softer now, almost hesitant. “Like, what if I don’t ever want that kind of connection with someone, but I still want to feel close to people? Is that okay?”

Lucas’s expression softened even more, and he reached out, gently placing a hand on Marley’s shoulder. “Marley, there’s no right or wrong way to feel about these things. You’re allowed to want whatever it is you want—or don’t want. It doesn’t make you any less valid or any less… you.”

Marley let out a breath she didn’t realize she was holding, the tension in her shoulders easing slightly. “Thanks, Lucas. I guess I just needed to hear that.”

and here's another excerpt that shows a bit more of the story...... kinda.

-

As Lucas excused himself to go to the bathroom, Marley looked for Chio. Instead, she ran into Silas.

“Hey,” he said, holding his arm out. “Let’s dance.”

Initially, Marley wanted to say no, but something in Silas’ expression made her do the opposite. She took his arm and he led her to a more secluded part of the dance floor. Marley noticed people staring at them as they walked, not unsurprisingly, considering her and Silas' history.

Silas put a cautious hand on Marley’s back as the song transitioned to a sentimental and slow piano arrangement. 

“You know the map I gave you?” Silas asked. Marley smiled. Yes, the one she and her friends had managed to figure out completely. “Did you solve it?” 

Something in Silas’ expression told Marley he already knew the answer. Did he want help? Had he solved it?

“Yes,” Marley said. Silas nodded, and a smile crept up on his face.

“Me too. Which means… the winner will be determined by who gets to the middle first.”

Marley nodded. “You’re doing it alone?” 

“Yes. I work best alone. I know you’re doing it with your friends.” Something in Marley churned at his answer. It was a typical Silas answer, a simple phrase etched with an edge of passive aggressiveness. Marley had solved it with the help of her friends. He had solved it alone, using only his brains.

“Teamwork is an underappreciated tool,” Marley said, finding herself distancing herself slightly from Silas’ hold on her as they danced.

“Of course. It’s important to be able to work with others. At the end of the day, though, you'll be alone.”

Marley looked into Silas’s eyes, trying to decipher his expression. There was something behind his words, a hint of loneliness perhaps, or maybe a sense of inevitability. She decided to keep the conversation light, not wanting to spoil the mood of the evening.

“Maybe so, but having friends by your side can make a huge difference,” Marley replied, her tone gentle but firm.

Silas nodded, his gaze thoughtful. “I suppose you’re right. It’s just... sometimes it feels like relying on others is a weakness.”

Marley shook her head. “It’s not a weakness, Silas. It’s a strength. Knowing when to ask for help, and knowing you can trust those around you, that’s powerful.”

They continued to dance in silence for a few moments, the slow melody wrapping around them. Marley felt a strange mix of empathy and rivalry towards Silas. She understood his drive and his determination, but she also saw the value in the support system she had with her friends.

As the song came to an end, Silas offered her a small smile. “Thank you for the dance, Marley. And for the perspective.”

Marley returned the smile. “Anytime, Silas. Good luck with the challenge.”

“Good luck to you too,” Silas replied, giving her a polite nod before walking away.

Marley watched him go, feeling a mixture of emotions. She was grateful for her friends and the support they provided, but she also understood the weight Silas carried. She hoped that one day he would realize the value of camaraderie.

Lucas returned from the bathroom, a curious look on his face. “Did I miss something?”

Marley laughed, shaking off the remnants of her conversation with Silas. “Just a dance with Silas. Nothing major.”

Lucas raised an eyebrow but didn’t press further. “Shall we continue dancing?”

“Absolutely,” Marley said, feeling lighter and more determined than ever.

They returned to the dance floor, joining their friends in the celebration. The rest of the evening passed in a blur of laughter, dancing, and shared moments that Marley knew she would treasure for a long time.

As the night wound down, Marley found herself sitting with Chio and Maya on a bench outside the hall, the cool air in the stone-cladden corridor a refreshing contrast to the warmth of the dance floor.

Maya pulled out her phone from under her dress. Marley watched her. “Where did you keep that?”

“Oh, I have all my dressed sewn to include hidden pockets. I hate not being able to carry stuff.”

Chio rolled her eyes dramatically. “Ah, yes, custom sewn gowns with pockets, what a normal and humble thing!”

“It’s not my fault that default dresses don’t come with pockets already,” Maya countered.

“Calling normal dresses ‘default dresses’ is crazy,” Marley snorted. She looked at Chio’s dress. It was a beautifully simple dress with long, wide arms and a simple fabric belt around the waist, in a bright orange colour, contrasting Chio’s blue hair in a seamlessly effortless way.

“To be fair, my dress is also customised,” Chio sighed, smoothing out her skirt, before smirking. “I took it in two centimetres at the waist.”

The three girls burst out into laughter. Maya looked at her phone.

“What time is it?” Chio asked.

“10:45.”

“We should get ready.” Marley said. The Midnight Chase started at midnight, just as the name suggested. And she was not running down the maze in a long dress. Well, she could, she knew multiple people participating who were going directly from the dance to the maze. But they weren’t in it to win it. Marley and her friends were.

Hopefully, Silas would find that working alone is actually the greatest weakness.

Marley had a gnawing feeling that her stance would be proven right.

HELP i'm so scared y'all are gonna think my writing is trash because LET'S BE FR THIS IS JUST FROM MY FIRST DRAFT!!!! i haven't yet edited these scenes so they're kinda cringe but i wanted to show my main project. i do have different writing styles depending on genre though, and i'm tempted to show some of my comedy writing. it's pretty hilarious, if i may say so myself.

anyway, thank you again for 700 followers. thank you so much. each like, reblog, reply, message, or ask brings me so much happiness. you have no clue how much your interest warms my heart (or maybe you do because you know how social media manipulates our brains and their reward system)

[imminent-danger-came]

how would you rank the ninja from worst to best based on the ninjago seasons youve seen?

Nya and Wu are the best, everyone else is the same to me

[halfdeadwallfly]

the only thing getting me through is the thought that i don't have physics lab next week

[eff-plays]

Ok so I watched the interview with Stephen Rooney, Astarion's writer, and here are some highlights. (I'm an aspiring writer and current game design student who wants to write for games so I'm sorry if some of these insights aren't as interesting to you as they are to me <3)

He calls Astarion his "horrible little vampire boy"

He loves seeing the fandom around Astarion<3

He did write other characters in the game, but mostly NPCs surrounding Astarion or his storyline, so it mostly revolved around Astarion

Astarion is not as connected to other companions/Origins as, for example, Lae'zel and Shadowheart, or Wyll and Karlach are to each other, but he is still reactive to their stories, even if it's just to stand off to the side and laugh when something terrible happens

He had a clear sense of where Astarion's story would start and end, but it got "muddy in the middle", but those are also moments where the best ideas come from

They write from the general idea that every character has one "good" and one "evil" ending, in order to give the player choice. RIP Ascendant apologists :(

According to Stephen, two of the most important aspects of Astarion's character (to keep consistent when bringing him to Idle Champions, at least) is that he enjoys violence, but is also fun about it

"He has a certain appreciation for violence, I guess? A bit of a murdery streak. [...] He's a vampire, he's all about blood, and he's all about, kind of, those darker sides of humanity. [..] But at the same time, he is ... He is really fun, he's really fun to write, he's really fun to have in your party, and it's very important for me that that is also represented."

"He's gonna stab you, but will have a smile on his face as he does it? I mean, I dunno. That's kind of him in a nutshell."

Larian would not have allowed for Astarion to be a typical brooding Dracula type, and there were scenes that were shot down for not being original enough

The main thing about Astarion was trying to get a "sense of fun." It would be easy to write a character that was very unlikable, and they absolutely did not want to do that

Rooney says Astarion is consistently terrible throughout the game and awful in a whole lot of ways, but he also needed to be charming enough that you could tolerate his presence and wanted him around

Rooney also had a lot of input on Astarion's stats (meaning the 10 Charisma is probalby 100% intentional)

He also had input on how certain lines should be delivered, even though the writers didn't directly work with voice actors

The way Astarion moves and poses is "all Neil"

Apparently, Neil Newbon worked on the character for years and Rooney did not speak to him once, though his voice work did influence how Astarion's lines were written and it became a "feedback loop" (Possible context for "ONLY SLIGHTLY, NEIL")

There were no points where a line delivery drastically changed Astarion's writing; rather it was a constant, slow evolution

However, there was one very spoilery moment where Neil gave such emotion to some "basic" lines that it fundamentally changed the scene (WHAT IS IT OMG)

It's difficult to balance approval, as you don't want to straight up write a monster. Every character needs to have some humanity in them. So if it comes to leaving the party, it needed to be the result of something central to said character. They wanted to be mindful of situations that would cause actual rifts between characters. (I assume this is why most generic disapprovals/approvals are +/- 1 or 2, while character-related ones give +/-5 or more)

However, as they don't write straight up horrible people/monsters, it doesn't come up as often as one might think.

The interviewer makes a point about how characters like Astarion and Lae'zel are good examples of how to play "evil" characters, as they are maybe not the best people but are still eager and willing to stick around the other party members

They worked to make sure the characters would work as a group, no matter the configuration of the group. The characters needed to be on the same path, even if they don't always agree or walk that path the same way.

Stephen Rooney is very proud of the "climactic" scene of Astarion's story. (AS HE SHOULD BE.) He even had to step away from the computer and have an emotional moment. Me too, man.

He's also "extremely pleased" that there's a point where you can punch Astarion in the face. "Actually, that one might be my favorite part" A MAN OF THE PEOPLE!!

Stephen Rooney's tip on what specific thing you should try out with Astarion: When he's trying to get a "sneaky nibble" at night, you should "probably" let him bite you. Way ahead of you there, sir.

No discussion about Astarion's romance unfortunately, but that's that!

[alchemistc]

"When was it for you?" Buck asks, chin tucked over the nice rounded edge of Tommy's left pec, turning his eyes up through his lashes because every time he does that Tommy's eyes do something soft and sweet that Bucks still a little obsessed with. Tommy's fingers continue twisting into his curls, but he raises the 'need more context' brow. Buck obliges. "The - the spark. Like - I mean you had to kiss me for me to get what was going on but uh - I mean subconsciously I was in it to win it from like, the moment I saw how smiley you got seeing Cap and Athena reuniting. So. I'm wondering. What was it for you?"

There's still times when Buck feels like he's going too fast, too hard, pressing and pushing and reverting back to the neediness of yesteryear, but Tommy does this thing - this insane thing that shouldn't comfort Buck at all but somehow manages to both bring him back down to earth and make him feel like he's not alone in this: he takes his time. A measured breath, a quiet look, pressure on his scalp as Tommy thinks the question through without looking like he's being rushed at all. Measured. Processing both the new information he's been given, the little snapshot into what had first drawn Buck in, and the question he's been asked. If Buck had realized thoughtfulness meant so fucking much to him he'd have learned some patience years ago.

Tommy tips his chin, scratches at his cheekbone, stares at Buck like he's measuring out each word in his sentence recipe and setting up the ingredients of his response before he starts mixing.

"The handshake," he says, with a bashful little purse of his lips, like he hadn't expected he'd ever have to admit to it but he doesn't want to lie. "Just couldn't get a read on you for a while after."

Buck sort of wants to hide his face in Tommy's chest in response to the feelings that bubble up in his chest - the right-awayness of it, an immediate connection Tommy had felt even before he did, it feels like there are a thousand little pipe bombs bursting in his chest. No one's ever given him butterflies quite like Tommy Kinard.

"So it was like a physical thing for you," Buck says, fully fishing because Tommy has dated actual models and no matter how many minutes he spends each time they're naked together admiring the belly Buck's unwilling to dehydrate himself to get rid of, he likes hearing that his boyfriend thinks he's hot.

Tommy surprises him, though. "No, actually. You could barely get your name out but you wouldn't let go of my hand while you gave me five facts about helicopters you'd clearly googled on the ride over. Sorta made me want to stick you in my pocket and keep you there so you could provide me a fact-of-the-hour for the rest of my life."

Buck can feel his face going red. It's a mortifying observation, but it feels a lot like all the affectionate teasing he gets on the daily from Hen and Chim. Feels like Tommy knows him well enough by now to know he likes being read for filth when it means he's being paid attention to.

"You want weird facts, I'll give you weird facts."

Tommy chuckles. The hand in his hair tugs, just a bit, like Tommy wants Buck's face closer to his face but doesn't feel like asking. Buck shifts his weight up into an elbow to oblige, gets a thumb sliding along his cheekbone for his efforts and a primetime view of Tommy's serious face as his eyes flit across Buck's. "I didn't expect you," he says, in the serious voice, the teasing edge falling away. "I didn't expect butterflies and second chances and -." He cuts himself off, thumb slipping towards the curve of Buck's nose. "I didn't expect any of it."

Which is a bit of a revelation, if Buck's being completely honest. Tommy'd taken his hand and smiled while Buck did his level best to break the sound barrier with the pace he set at the beginning of all of this. "You thought I'd be an easy lay?" he teases, and Tommy wrinkles his nose.

"Thought you'd be bored with me before I paid the check if I ever managed to get you on a date with me."

It's actually laughable, with the benefit of hindsight, how terribly wrong that assumption had been. Laughable that Tommy thinks he could ever be boring. Buck could spend hours just staring at the subtle changes in his expression in complete silence and still not be bored with Tommy.

"That's stupid," he tells him, and Tommy thumbs at his bottom lip.

"Well I know that now. You're easily entertained. I've told you the Yellowstone flyover story six times and you still laugh at the punchline every time like it's the first time you've ever heard it."

"Moon moon," Buck repeats solemnly, and has to bite his lip not to laugh about it again.

"I like you a lot," Tommy says, and - they've exchanged I love yous, but there's something about this particular phrase - like Tommy's dug into the very heart of all of Buck's insecurities and learned the exact phrase to burn all those question marks to the ground.

"Ditto," Buck says, because Tommy had been insistent on trying to find a romcom that Buck didn't fall asleep to and Ghost had actually kept his attention decently well. Or. You know. Patrick Swayze and Demi Moore had.

Tommy rolls his eyes. "Howie keeps giving me shit for all new movie quotes you keep bringing out at inappropriate times."

"Quoting Clerks at Captain Fuckstache is always appropriate."

"We'll watch Dogma next. See if you can find any gems in that one that'll drive that asshole into an early grave."

"Are there dogs in it?"

"Are there -." Tommy's expression is so offended Buck thinks his eyes might explode. "Evan, even if you don't know the movie I know dogma is one of those SAT words you've found yourself on a Wikipedia black hole about."

Damn. And Buck had been hoping he'd get worked up enough to rant about Buck's serious gaps in knowledge in regards to pop culture. He hams it up a bit anyway. "It's when all the dogs are trying to get into heaven."

Tommy digs three fingers into Bucks side, and if they dissolve into a tickle fight five seconds later, Tommy has no one but himself to blame for the elbow to the face that nearly breaks his nose.

[maplebellsmods]

Expanded Storytelling Relationship Bits Mod: 2

Ok..more storytelling and relationship options for your sims! 

(Really tried my best to push this out before the end of Jan) 😮‍💨

If you want more info about the mod check this page out: Expanded Storytelling Relationship Bits Mod 

This time around created more relationship bits. Here they are

I wanted to try something new this time, which is why it took me so much time. I'll get into it later.

But there are a few new things I have added and changed from the previous one. First off, there are more interactions available: social interactions, phone interactions, and rabbit hole interactions.

Each one of these interactions corresponds to a specific relationship bit.

Healing Touch: 'Plan Relaxing Activities Together,' 'Offer Comfort through Hugs and Physical Touch.'

Wisdom Seekers: 'Ask Questions about the Universe.'

Unbreakable Connection: 'Celebrate Anniversary of Enduring Connection,' 'Promise Everlasting Friendship' (Only available pre-promise).

I do need to note that, just like the other mod, many of these are cosmetic and don't have a full effect yet. (Emphasis on 'yet,' as I will slowly but surely make these more functional.)

If your Sims have the Wisdom Seeker, Tech-Savvy Partners, or Night Owl Companions relationship bits, some interactions will unlock on the phone:

Wisdom Seeker: Study Together at the Library 

Tech-Savvy Partners: Send Tech News 

Night Owl Companions: Night Time Activities Menu 

(Regarding nighttime activities, I haven't found a workaround for this issue yet. However, here's a temporary solution: When selecting an activity for the two Sims who have the rabbit, choose the Sim you want to go with first, and then select yourself again using the same option. I'm not sure why this happens, but it can be a bit inconvenient. I'll work on making the process more streamlined in the future, but for now, this is how you can get them to go to the same activity.)

The new feature I've been working on, which I'm quite excited about, involves social interactions. I've always felt that many social interactions lacked depth and context. So, what I'm currently working on is creating social interactions to fill that gap

One of these interactions is 'Provide Emotional Support,' which is available for Sims with the 'Healing Touch' relationship.

In this interaction, your Sim will be presented with several options when they are feeling sad. Your Sim can choose from these options to express why they are feeling sad. Once they make a selection, the other Sim will ask for more context, leading to the exchange of contextual advice and reassurance.

I've also developed another social interaction, 'Try to Confess Feelings,' which is available for Sims experiencing 'Unrequited Love.

Attempting to confess your feelings will lead to various outcomes depending on the option you choose. In this interaction, the Sim who hears the confession will have several response options available.

The choice made by the listening Sim will have an impact on their relationship, both romantically and platonically. Some response options may harm the relationship more than others.

The way the Sim responds through the animation doesn't affect the outcome. I've designed it this way to leave the choice entirely in the player's hands. However, unless both Sims are in a flirty mood and have a high friendship level, the Sim who hears the confession will always use the rejection animation. Nevertheless, this animation choice doesn't alter the outcome.

The social interaction 'Forbid Relationship With' can be used either before or after designating two Sims as star-crossed lovers. Some of the options will even add the 'star-crossed lovers' relationship bit to the two Sims (if they didn't have it), while others will remove it (if they did have it).

The interaction can be found under the Mean -- Arguments Pie Menu Category. Only a parent, grandparent, uncle, or caregiver can trigger the interaction. 

Depending on the chosen options, the relationship can either suffer a negative or experience a positive impact. While all of the options will influence the relationship, certain responses will have a significantly greater effect on it than others.

These are all the main points! I hope you all enjoy this new feature because I'm eager to create more! There will be additional interactions and other things I'll be adding to this mod. I'm constantly learning new things, and it's truly enjoyable to implement them!

Download Here

Public Feb 24

[cy-cyborg]

Toph Beifong doesn’t hold up as disability representation - Disability in the Media

[ID: A screenshot of Toph, a twelve-year-old girl with black hair in a loose, green and tan short-sleeve shirt and shorts, cheering in an arena. Next to text written in a rough, blocky font: "Disability in Media - Toph Beifong Doesn't hold up as disability representation" /End ID]

Avatar the Last Airbender is one of my all-time favourite TV-shows, and Toph is still easily one of my favourite members of Team Avatar. I was a few years younger than Toph when the show first started airing, and being a disabled kid who was into martial arts, constantly being dismissed by my able-bodied opponents and teachers, meant that I connected very strongly with her right from the get-go.

But upon my last couple of rewatches of the series, I began to come to the realisation that my opinions on Toph as a shining example of good disability representation were... well, pretty heavily influenced by my nostalgia for the show and that many aspects of Toph's character just don't hold up today. Which, honestly is fair, the show is nearly 19 years old (if it were a person in my country, it would be old enough to drink) and I think it's pretty ridiculous to expect every part of every character from an 19 year old show to age well. So today I wanted to talk about the things I think Avatar the original Last Airbender did right with Toph, where I think they missed the mark, and what changes I think would need to be made to Toph to make her work for a modern audience.

So let's start with why I think Toph doesn't really hold up as "good disability representation" today, and the elements of her character that just haven't aged as well.

For me, one of the biggest issues I noticed upon rewatching the show, is how often we are told (often by Toph herself) that she is blind, but how infrequently we are actually shown it's impact on her life beyond her bending or outside of jokey contexts. Outside of her bending, we only ever see her blindness impacting her ability to do things like read or write, otherwise, she functionally has full vision -so far as the audience is informed - with the only exceptions being when she's in the air or water (e.g. on Appa or in the submarines) or in loose soil (e.g. the desert). Having places and circumstances where she doesn't have access to her power that allows her to "see" was a step in the right direction, but I do think it would have been better if her seismic sense wasn't quite as accurate, even in the most ideal of circumstances.

But why? Well, I think Suki explains it really well, long before Toph is even introduced. when Sokka says "I should have seen you as a warrior instead of a girl" Suki stops him and says "I am a warrior, but I'm also a girl". Being a warrior and a woman are both important parts of Suki's character, and only recognising her as one or the other means ignoring a big part of who she is, and the same is true for Toph. Being blind is a big part of toph's character that has informed a lot of her life, but so is being a warrior and bending master. Many people see Toph as a warrior or fighter, but ignore her disability, but both are important. She's disabled, and a warrior, and those things don't cancel each other out, the same way being a warrior doesn't diminish Suki's status as a woman.

When the show was still airing though (and even still today) it was very common to see non-disabled fans of the show exclaiming that they honestly forget that Toph is even blind sometimes, with many people going so far as to say that she's not even disabled (and that this was a good thing). While I do think some of that comes from the fact they weren't used to seeing a disabled character as both disabled and an active participant in these kinds of stories, I do think this mostly happened because of the show's lack of, well, showing the impact of her blindness on her daily life and allowing her earthbending and seismic sense to erase the effects of her disability to some extent. It's much harder to forget a character is blind when it impacts their daily life in ways that are shown to the audience. This doesn't have to be in big, showy ways mind you, showing things subtly but consistently works way better than one "very special episode" type setup.

In the show as it is though, the seismic sense functionally gives Toph a perfect image of her surroundings until it's just not available anymore for *plot reasons*.

[ID: A black and white shot of Toph and how she sees the oponent she's fighting, with shockwaves radiating from him towards her to indicate how she's interpreting the scene. Her foe has jumped into the air and now has his hand dug into the ground of an arena, about to launch rocks towards her. /End ID]

In many ways, her picture of the world is better and clearer than what the non-disabled characters can see, leading to this feeling of her disability being erased. It may have been better though if the seismic sense could give her a general idea of big things in her immediate vicinity but she still missed the finer details, functioning at least a little bit more like a tactile/earthy-vibration version of the limited sight some legally-blind people have in real life. Things like a person's position, movement and overall pose would still be "visible" to her in a general sense, as well as big things in the environment (including things underground, since there are a few plot-points that require that), but smaller things like details about objects and creatures, people's facial expressions or what they're doing with parts of their body that have no direct contact with the ground (like their hands) is less clear. On top of this, she may struggle to detect smaller, lighter objects or creatures that realistically wouldn't cause much of a vibration at all. creatures as small and as light as Momo and Hawky for example might be detectable, but "fuzzy" to her, and anything smaller might make enough of a vibration to tell her it's there when it moves, but not enough for her to be able to tell what specifically it is without some other cue (such as sound). There are a few moments in the show that seem to imply this is what they were initially going for, but it's not really consistent, and is directly contradicted in her debut episode, "the blind bandit" when she explains that she can even "see" something as small as the ants off in the distance.

[ID: A shot of Aang, a twelve-year-old bald boy with an arrow tattoo on his head, dressed in a yellow and orange outfit, standing with Toph at night. In the foreground is an anthill will a trail of ants, which Aang is looking for. /End ID]

With an adjustment like what I'm suggesting though, she still serves her narrative purpose of teaching Aang the importance of being able to wait and listen - possibly even more so, as her needing to wait and collect more information in order to get a clearer image before striking, would back-up what Bumi tells Aang that he needs in an earth bending master. It would also still help to illustrate the connectedness of the world, a theme Toph continues to embody heavily in The Legend of Korra, while still showing the ways her disability impacts her more frequently.

When I talked about the "super-crip" trope a while back, I mentioned that one way to avoid the more harmful elements of the trope (where the character's disability is erased by their powers) is to use the ability in question more like a mobility or disability aid than a straight-up cure. The power should help them, but shouldn't make their disability redundant. People are creative and we would find ways to use a superpower or magic to help with our disabilities if it were available in real life, but what's the point of including a disabled character if you're just going to functionally erase their disability? For a character like Toph, I think this is the kind of approach that should be taken with her. Her seismic sense still helps her, but it's not a perfect replacement. (Ironically, I did use Toph as a "good" example of that trope, but I do think after this last rewatch, for the reasons I'm discussing here, I might have to backtrack that a bit).

I considered giving an alternative approach here, to keep the sensitivity of toph's seismic sense as it is in the show as is, but giving it draw-backs such as making her susceptible to sensory overload similar to what autistic people experience. However, while replacing one disability with another can work for some characters and stories, I don't think it's the best adjustment to make for Toph or any blind character, largely thanks to this also being a trope. The "blind (or d/Deaf) person who's other senses become super-human to make up for it" trope is very common in fantasy, sci-fi as well as older martial arts films, and while I'm not really the best person to cover it, I do know that members of both the blind and deaf communities have expressed a lot of frustration with it. Toph already falls into this trope quite a bit, and any suggestions I could make would have just dialled that element up to 11, and fixing one problem with another is never a good idea.

Another thing that actually did bug me for a while, even before my most recent rewatch of the show, is how Toph is treated on the rare occasions she does point out something won't working for her. There are a number of times where Toph advocates for herself and points out that something The Gaang is doing isn't accessible to her or sets a boundary to do with her disability, and she's either left behind, her concerns are brushed off or she's ignored entirely. The three most noticeable examples of this are in the Episodes "The Ember Island Players," "The Library," and Toph and Katara's segment of "Tales of Ba Sing Se."

In the Ember Island Players, Toph complains that the seats they have for the play are too high up and too far away, and she's unable to "see" what's happening on stage. Her friends don't really take any notice of her though except for Katara who tells her not to worry, "I'll tell your feet what's happening."

[ID: A shot of Katara, a fourteen-year-old girl with long brown hair and blue eyes, sitting with Toph, who is sitting with her arms crossed, annoying in a theatre seat. Both Toph and Katara are wearing red and gold, fire-themed outfits. Katara is looking at something off-screen. /End ID]

My problem here is that this particular kind of situation is something that is familiar to a lot of disabled people. Even the least independent disabled people I know get annoyed when their access needs or requests for accommodations, even among friends, are ignored and their pushback is brushed off with "don't worry, I'll just help you!" It's one of the first things that many disabled people tell non-disabled folks wishing to be better allies to us: you offering help instead of actually accommodating us isn't a good thing. We don't want to rely on others if we can avoid it, because honestly, non-disabled people often aren't very good at actually helping or in this case, relaying information to us without training and more often than not, it just results in us being left out. I find it very hard to believe a character as independent as Toph would accept that without any protest, especially considering that is pretty much exactly what ends up happening (even if the show didn't really acknowledge it). Katara never actually conveys anything about the play to Toph, except when she's attempting to throw Toph's words back in her face when she asks for clarification about the actor playing her - which ends up backfiring on her.

[ID: A shot from the same location as before, this time Toph has a huge smile on her face and is leaning on the balcony excitedly while Katara is leaning towards her, annoyed by her reaction. /End ID]

While it would have been better if Toph was actually listened to, it would have been…fine? if a justification was given for why they had to sit there (e.g. to avoid being recognised), if Katara had actually described the play for her. This wouldn't have been ideal, but it would have been better at least. In real life, many movies, TV shows (including this show's sequel series, The Legend of Korra) and other forms of visual media have an Audio Description track that does exactly that. If they weren't going to move for Toph to be able to see better, having Katara describe the play could have introduced kids to the fact this is an option. but instead it's brushed off, and I'll admit, it left a bit of a bad taste in my mouth, even back in 2006.

The Library is a bit more forgivable in my opinion, since Toph is still new to the group, but in this episode, she states that she doesn't want to go inside the spirit library because she isn't able to read and therefor there wouldn't be anything for her to do. However, it still would have been nice to see her friends consider this at all before they actually arrived. They could have (and should have) still gone, but some acknowledgement that they at least thought about the inclusion of their disabled friend would have been nice.

[ID: A shot of Aang, Katara, Sokka and another man are talking while looking down at a map on the table. Meanwhile, Toph is sitting on the other side of the table, completely disinterested as she sips from a large ice cup with her feet up on another chair. /End ID]

Alternatively, I do feel like Wan Shi Tong, a self-proclaimed all-knowing-spirit or his assistants would have been able to point her in the direction of something to interest her, since he does imply books aren't the only form of knowledge he collects.

The reason I mention this though is two-fold. In real life, disabled people are very often left out of "fun" group activities, whether that be in formal settings or in casual ones, like hanging out with friends. If the episode had been framed as "the Gaang learns about the library and decides to track it down," I might have been less critical, but it's specifically framed as something that at least starts out as a kind of break for the team where they all take turns picking out fun things to do so they can rest, and Toph's access needs not being considered at all until they're already there hits a bit close to home, especially since they just end up leaving her outside. Secondly, there's also a stereotype that disabled people (and especially blind people) don't belong in academia and places of learning, such as in this case, libraries. This stereotype is about as old as the concept of organised institutions of learning, and definitely isn't unique to AtLA, but the assumption is often that disabled people wouldn't be interested in more formal methods of learning, so it's not worth accommodating us. With blind people in particular, when I've seen this in media, the premise is often "well I can't read anyway so why bother?" which Toph definitely falls into here with no push-back against the trope.

[ID: A close up of Toph and the rest of the group, Katara, Sokka and Aang standing in a desert. Toph shrugs, looking bored, while the others looks confused and surprised with the exception of Katara, who looks mildly annoyed, standing with her hands on her hips. /End ID]

It does make sense that she would have been resistant to going in, and I'm not saying this episode should have turned Toph into a bookwork akin to Wings of Fire's Starflight (another blind character) or anything. But there was a chance in this episode to push back against some of these assumptions, and I think it's a shame they missed it. How cool would it have been if Toph had mentioned not feeling welcomed in more formal learning spaces because of her disability, which was just reinforced by the way her old earthbending instructor and her parents treated her. She decides to go inside the library anyway as "backup" in case something goes wrong, grumbling about it the whole way down. Wan She Tong starts his introduction mostly the same way, saying humans aren't welcome and Toph makes a snarky comment about it. Wan She Tong, equally offended that this human thinks he, the all-knowing-spirit, wouldn't have considered something, shoots back with an annoyed comment about humans being so self-centred. He explains that spirits come in all shapes and sizes, and not all of them have eyes, but they can still access his library. She's not the first sightless being in his study, and he-who-knows-ten-thousand-things knows this too. Once everyone is permitted entry, one of the knowledge seekers shows her to a series of slates about a lost earthbending form that she can actually read (or at least, "see" the pictures on) because it's carved. Or instead of a slate, it's a series of statues outlining the form, similar to what Aang and Zuko find in the episode "The Firebending Masters". Perhaps this form is something that helps her develop metal bending later on, and lays the groundwork for Toph becoming interested in teaching in the comics.

And finally, Toph and Katara's segment of Tales of Ba Sing Se. Katara convinces Toph to go get a makeover with her as part of a girl's day. Overall, this segment of the episode is pretty nice, and I liked that they showed that a person's gender expression (in this case, being a tom-boy) doesn't mean they can't like things outside of what we usually associate with that. Tom-boys can like girly things on occasion, and vice-versa, and I think this is an example of an episode that would seem a bit ham-fisted today, but honestly, was needed in 2006. However, there's a throw away joke where Toph says "as long as they don't touch my feet," and it immediately cuts to show spa workers filing down the calluses on her feet in a way so painful several staff are required to hold her down.

[ID: An image of Toph in a bath robe being held down in a chair by two spa workers while a third scrubs at her feet so hard that she is sweating. Meanwhile Toph is fighting against the two holding her down and has a facial expression like she is in a great deal of pain. /End ID]

this might be a minor thing in the grand scheme of the show, but it's still another example of Toph's boundaries about her disability and her access needs being disrespected by her friends, which the show just doesn't acknowledge it at all. People ignoring Toph's wishes about a part of her body she depends on in a much more direct way that others do is played off like a joke in a montage of otherwise enjoyable and goofy activities and this is a very, very common experience in disability circles.

There are a number of other, much more minor issues that show up with Toph as well, such as the fact she's the only one of the main cast who never has an on-screen (or on-page) relationship. not in the original show, not in any of the comics and not in The Legend of Korra. Again, it's not a big issue on it's own, especially because in AtLA, she's young enough where it's possible that she was just not interested yet, and she does have kids in The Legend of Korra where she mentions a relationship with a man named Kanto (Lin's father). So it is implied she does have some form of relationship eventually, but the issue is that it's never shown on screen or on the page. This feeds into a wider pattern in media of disabled characters being the only ones in their respective cast not given on-screen romantic relationships in stories, and so I still think it's worth pointing out, especially since the creators have had a lot of opportunities to correct that by now.

Toph is also portrayed, pretty much undeniably, as the best earthbener in a way that, at times, comes across almost like the creators felt like they need to compensate for her being on the team "despite" her being blind. This trope is one that I think Toph, at least partially, helped to popularise with the current generation of story tellers: The Disabled Savant. In this trope, disabled characters aren't really given the same room for growth as other characters; they aren't permitted to be average or still learning, they start good and get better. If they do progress, they often become the best, which is the case for Toph. To be fair, everyone in the The Gaang is the best at their respective skill by the end of the first series, which is why I say this is a minor point. She dose, however, have the least amount of on-screen growth in skill out of the whole team. Katara starts out barely able to lift any water at all, let alone actually bend it. Sokka is skilled with weapons from the start but does get his butt handed to him a number of times by others with more experience than him whom he learns from throughout his story arc. Zuko spends most of the early-to-middle of the show having things "blow up in his face" (to use his own words) and being belittled by his family of prodigies. While Aang is an airbending and, to a lesser extent, waterbending prodigy, he fails at pretty much everything else for a while before he starts to find his confidence - especially earth and firebending, not to mention the entire situation with locking himself out of the Avatar state. Toph is the only one who doesn't seem to fail or struggle all that much from a combat perspective. She does grow and improve in her bending (she invents metal bending after all) but she never has any moments where she really messes up or even struggles in combat all that much compared to the others.

All of these points and criticisms I've mentioned are not necessarily big in and of themselves, but when looked at together, they build up to create some issues with how Toph is depicted and how the people around her treat her disability

So that's it then? Toph is bad disability rep and Avatar should be "cancelled"?

God no. Like I said at the start, I still adore Toph and Avatar as a whole, but the show is a year away from being two decades old, it's bound to have some elements that don't hold up and I think it's worthwhile discussing them, specifically because I love the show and it's characters. Despite all the negativity I've brought up, I do think there are a lot of things AtLA did well with Toph too.

I've mentioned a few times that we rarely see how Toph's blindness impacts her life outside of her bending and combat abilities, and there's a reason I made that specification. Unsurprisingly, if you know much about the show's development, the ways in which Toph’s blindness and seismic sense impacts her bending and fighting style is one area where the show really does shine, and I still think that is worth a mention. The various types of bending are based on different styles of martial arts, specifically, different types of Kung Fu. Most earthbending in the show takes heavy inspiration specifically from Hung Ga, but Toph is different. Her bending heavily references Southern Praying Mantis Kung Fu, something unique to her within this world.

The reason for this (outside of simply wanting her to be visually distinct) was because the show’s creators made sure to consider what limitations Toph might have and what parts of the more common earthbending styles wouldn't work for her. Since her connection to the earth was critical in order for her seismic sense to work, they decided on a style that would keep her feet on the ground more, prioritised strong stances with minimal jumping and put more focus on attacking with her upper body. While not an intentional choice, the style they went with for Toph, according to the show's head martial arts consultant, Sifu Kisu, was supposedly developed by a blind woman in real life, at least according to legend. The creators also made further adjustments to the style with the help of martial arts consultants and just watching Toph fight is evident that a lot of love and care was put into the decisions made on that front.

I also appreciate that Toph's disability wasn't off-limits to joke about.

[ID: A picture of Toph waving her hand in front of her face with an exaggerated smile to remind the others she's blind. /End ID]

As I already mentioned, they didn't land 100% of the time, but lot of shows are afraid to use disability as a source of jokes, which would have felt weird and out of place in a show like Avatar. I see this hesitance in real-life too; people get extremely uncomfortable when I joke about my own disabilities and I've heard several people and even disabled comedians talk about the same observation. My last video on Tik Tok that got outside my usual audience was a joke about my prosthetic leg, and every single stictch and duet I received was people saying some variation of "I'm such a bad person for laughing!" "I'm going to hell!" or just straight up asking if they're aloud to laugh. If I didn't want you to laugh, I wouldn't have posted the joke! But joking about disability does make it more approachable. Despite how often Toph and the others made blind jokes though, outside of the one instance I mentioned earlier, they never felt mean-spirited or like they were punching down. Even when a very sleep-deprived Katara was intentionally trying to be.

I think it's also worth keeping in mind the context of the media landscape when Avatar The Last Airbender was airing. Today, characters like Toph are very common, so much so there's a whole trope about them (super-crips) but at the time, having a character with a major disability be a main character in an action-orientated kids show like Avatar was really rare. She wasn't the first of course, but a lot of the time, if they were included, they were almost certainly sad and depressed, wishing for a cure or they were designated to the roles of "Guy in the chair" (which is a character, usually a tech person, who helps from the background), inspiration, scary villain fake-out (or other variations of "creepy" character) or the actual villain. Having a character that was not only comfortable in her skin as a disabled person, who didn't want or need to be "fixed" or "cured" to be directly involved in the story, and who's main obstacle (at least in season 2) were how the people around her treated her, was pretty ground-breaking at the time (pun not intended) and went against the most prevalent stereotypes of it's day.

And I really want to emphasise that. For many Millennials and older Gen Zers, myself included, Toph was the first character that didn't tell us we were broken and needed to be fixed in order to be part of the group (even if they slipped up with that messaging occasionally). Prior to seeing Avatar, I honestly thought there was something deeply wrong with me for being happy with my life (a reminder, I was 10 years old when this show first started airing), because every other disabled person in the media only ever talked about how much worse their life was because of their disability, how much they hated it and how much they hated themselves. Many outright said that they wished they had died rather than become like me. Toph wasn't the first to go against those tropes, but she was the first example of a disabled character who wasn't like that many people my age saw. Did she do it perfectly? Hell no, but personally, back then, I was happy to have a character who maybe over-corrected and took things a bit too far than another sad character talking about how lives like mine weren't worth living.

I also deeply appreciated that Toph did struggle with her independence, at least initially, and where to draw the line with accepting help. Because of how much she'd been coddled and overprotected as a little kid, she saw any attempt at people being helpful and working as a team as them trying to baby her. It was very on the nose, but I liked that the show gave her an episode just dedicated to realising that it's ok to accept help. Again, this is a bit of a story telling trope today, but having the disabled character realise that it's ok to accept help, and to do it without talking down to them or saying that them wanting independence was bad, was a refreshing change compared to what was around at the time.

[ID: a zoomed out image of Toph, standing before her parents with Aang, Katara and Sokka standing behind her. /End ID]

While I think the show's creators could have benefited from consulting with disabled people and specifically blind people the same way they brought in consultants for the martial arts featured in the show, it's very clear to me that the intention behind Toph's character was good, and that actual effort was put in to make sure they depicted her well, even if some of it was a bit misplaced. It's also worth noting that the groundwork for a lot of my suggestions is already in place, they just didn't follow it all the way through. Overall, I'd say Toph was good for her time, and she's what was needed in the 2000's, even if she doesn't hold up as well today. I also think it speaks to how far we've come in terms of disability representation. When I first started engaging with the online fandom directly, almost no one, even other disabled people, argued that Toph wasn't good representation, because honestly, the bar was on the floor and we were just happy to have something different. But now there are options, and the standards are higher, and that's so, so good. It means that people, even in the media, are starting to listen and be more thoughtful about their depictions of disability than we were in 2006.

And finally, I want to really quickly mention The Netflix adaptation of Avatar. A few people have asked me now what I think they should do with Toph when they get to her, and what my predictions about the show are. I'm not going to talk about my predictions here, because this post is already way too long and that's not what this is about, but I don't think the suggestions I made today would necessarily work in this particular remake, primarily because of the tonal differences. Some adjustments definitely could, such the other characters doing a better job at listening to Toph when she points out inaccessibility and them actually considering her in the first place, but others might be harder to balance. The original show could get quite dark and serious at times, but it was primarily a light-hearted adventure story for kids. From what I've seen of the live action remake though, they're more heavily leaning into those serious elements - for better or for worse, and as such, trying to tone Toph down in the specific ways I mentioned might not balance out as well as it would in the original show. At the very least, the specifics would need to be different. To be honest, I'm not entirely sure what approach they should take, that's not really the point of this post, but I did want to quickly address it to avoid confusion. My suggestions today were specifically on how to approach the cartoon version of Toph for a modern audience, and were not meant to be read as suggestions on how her live-action counterpart should be depicted.

[pubbamoon]

The Matrix of Destiny

Hi sweeties! Hope you're doing okay. This time, I'm gonna get into a completely another topic I used to do. I want to make a post about the Matrix of Destiny and how to read this chart. It's a little bit similar as an astrological natal chart, but there's also a huge differences there. We're gonna get into that in this post. I'm gonna use my own Matrix of Destiny chart as an example.

The Matrix of Destiny is a method or a tool in esoteric practices where we can analyze and understand someone's individual life, personality, destiny, love life, career path, karma, talents etc. It isn't based on astrology, it's rather based on numerology and tarot cards from Major Arcana. There's 22 tarot cards overall in Major Arcana and they go in this order:

1 - The Magician

2 - The High Priestess

3 - The Empress

4 - The Emperor

5 - The Hierophant

6 - The Lovers

7 - The Chariot

8 - Justice

9 - The Hermit

10 - Wheel of Fortune

11 - Strength

12 - The Hanged Man

13 - Death

14 - Temperance

15 - The Devil

16 - The Tower

17 - The Star

18 - The Moon

19 - The Sun

20 - Judgement

21 - The World

22 - The Fool

If someone was born on 23rd, 24th, 25th of month and on and on, then it's crucial to add the numbers into one digit, so we get numbers such as 5, 6, 7 etc., because the numbers don't go further than 22 in the context of the Matrix of Destiny.

Now, I'm going to explain what the certain position of the Matrix of Destiny chart means.

The Center: A number at the center of a Destiny Matrix chart represents our overall personality and it's our most important number/arcana. It's also related to our comfort zone as well.

The Left Side: This number represents our external world, our first impression, presence and how people perceive us. It can also mean how people see us when they meet us for the very first time.

The Right Side: The number at the right side represents our internal world, our private life, our relationships. This part of a chart can give insight how we interact with our closest people

The Bottom Side: This part of a chart can represent our karmic tale and our past life experiences. It tells us about the side of us that we need to release in this incarnation, otherwise we'll be punished.

The Upper Side: This number represents our inherent talents, abilities and something we're naturally good at. It's about our gifts that we should share in order to achieve success in any area of life.

The Heart Sign: The number close to this sign or emoji shows what we should seek for our partner. It represents the personality of our partner and our love life.

The Dollar Sign: This number tells us about out career path and our professional life. It shows us which career is the most suitable for us in general.

While analyzing the Matrix of Destiny chart, it's essential to take a look on the state of our chakras. Each chakra has two numbers in it and one overall number and means several things.

Crown Chakra (Sahasrara): our spiritual connection and mission

Third Eye Chakra (Ajna): how we use our intuition and its state*

Throat Chakra (Vissudha): our communication and writing style

Heart Chakra (Anahata): our heart's desire, what we love to do

Solar Plexus Chakra (Manipura): our power and confidence style

Sacral Chakra (Svadhisthana): how we use our creativity

Root Chakra (Muladhara): our foundation, ancestors and stability

Summary: our life path and the balanced perspective of our life

*This text was supposed to be dark blue colored, but I couldn't put a dark blue color, so I put pink color as the alternative version.

This is what you're going to see at the end of the Destiny Matrix chart. I'm gonna explain what does all it mean.

Male Generation Lines: gifts and karma from our father's side

Female Generation Lines: gifts and karma from our mother's side

Soul Searching: our life purpose at the earlier stage of our life (mine is 14)

Socialization: our life purpose at the later stage of our life (mine is 19)

Summary: our overall life purpose (mine is 33/6)

Anyway, that's all for today. If you have some questions about this topic, drop them on the comment section and I will answer that. This is just an intro of what the Matrix of Destiny is. Hope it's understandable. Overall, have a beautiful day ahead.

Best regards,

Paky McGee

[nothorses]

This is a genuine ask and I hope it doesn't come off as rude, obviously people can do whatever they want forever, but what is the logic behind a lesbian dating a transgender man? (By lesbian I mean someone who is only attracted to women), wouldn't that exclude binary trans men then since trans men are men? Or is it like "Trans men can be lesbians because they have vaginas" which just feels like bioessentialism with progressive wording...

I think the core misunderstanding here might be in your use of the word "logic". And there's a super high chance I'm extrapolating more intention than you put into that word choice, but hear me out.

On a super basic level, I think it's important to understand the reasons people use words like "lesbian" and "trans man" in the first place. In certain contexts, it makes sense to assign these terms more rigid definitions: a study would likely have a single, clear definition for those words in order to talk about some research results. An academic essay might need a shared definition if they're talking about broad trends and systemic issues.

But when we're talking about an individual's choice of identity labels- the words they use to describe their own personal experiences and relationship to gender and orientation- it doesn't make as much sense to apply someone else's definition of those words to that individual's use of them. They're trying to describe their own internal world to you; what matters in that conversation is how they understand the words they use, and why they chose them.

Don't get me wrong: common understandings of a word can play a part in that conversation! My understanding of what "gay trans man" means has been shaped almost entirely by other people. I chose those words for myself because of what I think most people will understand them to mean. In twenty years, it's possible that the common understandings of those words could change, and I might use different words to better communicate the same internal experience.

But I also might not. I might decide that my personal connection to those words is more important to me, or even that saying I'm a "gay trans man", as a person 20 years older than I am now, better reflects my internal experience as one that was shaped by the time I came to understand myself in. Maybe it'll be important to me to communicate that I understand myself as a "gay trans man" because of what those words meant 20 years ago. Maybe it'll be important to me to ask tomorrow's queer people to learn about my context, and my story, in order to really understand me.

And maybe, when I fill out a survey for a queer study in 20 years, I'll read the definitions they use for all of these identity labels and categorize myself accordingly, even though I don't personally identify with those definitions or words.

So yeah, I could talk about all the reasons someone might identify as a "lesbian" and still be attracted to trans men. I could talk about trans men who still call themselves "lesbians" because of what the words meant 20 or 40 years ago, or some unique definition they heard in one place and decided they liked enough to keep, even though nobody else has even heard it. I could talk about lesbians whose partners turn out to be trans men, and who still feel attracted to them afterwards; whose partners are okay with, or even feel validated by, their lesbian partners still calling themselves "lesbians". I could talk about nonbinary trans men, and bigender or multigender trans men, who are women and/or lesbians as much as they are trans men. I could talk about bi and pan lesbians, who may find themselves attracted to one trans man or a handful of men- trans and cis both- but otherwise mostly experience attraction to women.

But like, the point shouldn't be to find a good enough reason to justify it. The point isn't the "logic". The point is to understand that everyone's internal experience is fundamentally different from yours, and to be curious about each individual.

It's great that you asked this question in sincerity, but I'm the wrong person to be asking.

When someone says they're a lesbian who's attracted to trans men, they're trying to share something about themselves with you! That is a precious, unique thing you are being entrusted with. Get curious! Ask them what those words mean to them, and take the opportunity to get to know them better. Learn their story! Connect!

I can't tell you that person's story any more than you can guess it on your own, no matter how much you try to logic it out. That's exciting! The world is big, and it's full of unique stories and perspectives you couldn't even dream of inventing! That's so much better than a logic puzzle, don't you think?

[meanbossart]

What do you mean with 'an incident he just kind of stumbled onto' referring to Du drow's loss of virginity? I don't recall you talking about his first time with sex so sorry if you've already addressed the topic

Hm I'm honestly not sure if I have! I'm just doing to assume not.

A bit of context: DU drow operated as a vagrant between the ages of 12 through 18. He resided and sustained himself mostly in the woods between cities and occasionally stopped by towns to take odd-gigs and supplies he might be in need of. While he did know how to speak and act around people to at LEAST not be considered a complete lunatic, he definitely came off as a major odd-ball and probably became a bit of a character wherever he went.

Most people were not interested in becoming acquaintances with him, let alone friends or lovers. It's also worth remembering that he looked vastly different back then - he was a 6'5" lanky young man with a gaunt face, sinewy body and almost hip-length hair that he didn't comb and barely washed, not to mention assumed to be a drow of some sort by most and hence, stigmatized and avoided wherever he went. This was the one exception:

He met an elven woman in the outskirts of town who offered him shelter for a night, a bath and cooked food. She was a widower and a lonely person in her own right who was probably charmed by his eccentricity and the mystery surrounding him. She wasn't a seductress or with any kind of evil intent - rather, somebody who felt a connection to this man who she assumed to be an ostracized drow just trying to get by, and believed that a little kindness could go a long way. And to emphasize: someone who was very lonely and likely had baggage of her own.

DU drow was socially inept but he still developed as any "normal" man would, he had a vague idea of what sex was even without having ever partaken in it, and he found her attractive. So, when she shyly came onto him during that night he simply went along with it, and they had an encounter that though awkward, was otherwise normal by all intents and purposes.

Afterwards, the elf attempted to get him to open up to her in conversation and in the process, found out that DU drow was only seventeen years old. She became upset and asked him to leave, which DU drow would have done without inflicting any further harm had Sceleritas not stopped him on the way out.

DU drow has always experienced an emotional overlap of sorts between sex, love and violence, and would have had visions and urges around this woman the same as he goes on to have with Astarion, simply choosing to not act upon them because he saw no reason to. Sceleritas told him that those experiences were a sign, and that taking this person's life was now a part of his supposed "trials". Since DU drow had let himself be entirely brainwashed in this pursuit for greatness at that point, he fulfilled the butler's bidding with no questions. Going back into the home, killing the elf in her bedroom, and leaving the town that same night.

[eilishsmuse]

no need to persuade

— billie eilish x fem!reader

context. at a dinner party for one of billie’s close friends, she pulls you away for a little bit. little do you know she just means a little alone time.

cw. alcohol, swearing, making out, teasing, no smut (sorry not sorry), billie has her little slutty glasses on, billie is a little cutie patootie

soundtrack. generous – doja cat

fer yaps. don’t be mad y’all but this is a little filler for right now. i’m gonna release the other angst fic on friday 😕

Laughter. Chatter. Music. Food.

It was a nice atmosphere. One of Billie's close friends had invited the two of you over to a dinner party in their backyard, and the two of you happily accepted the invitation.

You sat at the long dinner table, surrounded by many of Billie's close friends, and chatted with them all while sipping on some white wine. Claudia and Finneas were both sitting across from you, talking about a movie night they wanted to have with Billie and you.

A double date, Claudia called it.

As you talked with Claudia, you felt Billie lay a hand on your shoulder, making you tense up slightly.

"Hi baby."

Your voice was gentle and sweet, leaning back to look up at Billie and give her a small kiss at the corner of her mouth, followed by a small smile.

"Hi mama," Billie smiled.

"I'm gonna steal her away from you for a little bit, Clauds."

Claudia gasped in fake betrayal, but nonetheless, she let the two of you go and continued to chat at the dinner table. Billie then took your hand in hers and led you into the house, making small talk, asking if you were enjoying the party or not.

As you answered Billie's questions, she pulled you into what seemed like a library-slash-office situation. Pinning you up against the door softly with a smile, her hands finding your waist and gripping softly.

"Have I told you how beautiful you look tonight?"

A smile plays on your lips as your hands travel to the sides of Billie's face, "Yes. Many times."

There was a comfortable silence, and the only sound was the laughter and chatter from the dinner party.

You let a soft smile play on your lips as you looked at her blue eyes through her glasses, which she'd worn a lot more recently.

"Why'd you steal me away?"

Your hands tuck back a piece of Billie's hair behind her ear. Voice gentle

Billie gave a soft hum as she tilted her head into your hand instinctively.

"Hmm, I think you know why," she murmured, nuzzling into your neck softly, her breath tickling your skin and sending a shiver down your spine.

Her hands moved slightly from your hips to wrap her arms around your waist, holding you closer to her.

A small, quiet giggle left your lips as Billie's lips connected to your skin. Tilting your head to give her better access.

"Just wanted a little alone time with you, baby,"

Billie muttered, her lips now connecting to your neck in a trail of feather-light kisses. They were gentle and innocent at first, but they soon began to get more eager and desperate, sucking and nipping at your sensitive skin.

"Besides, everyone was getting on my nerves."

A small hum left your lips as you closed your eyes at the nice feeling of having Billie share some attention towards your neck. Your breathing slowed, and you sighed in contentment.

“You don’t mean that.”

Billie chuckled against your skin, continuing to leave light bite marks on your neck.

"Maybe I do, maybe I don't," she mumbled, pulling back slightly to pull the collar of your shirt down so she could leave a hickey.

"You just taste really good."

A quiet whine left your lips at Billie's words, and you sighed again. This time your sigh was uneven and your legs grew weak.

"Billie."

Your voice was soft and low, eyes still closed, fighting to open to look at her before the two of you did anything in this office that'd make anyone blush.

Your voice was music to Billie's ears. She loved the quiet whine that left your lips, the heavy sighs you would give in between each kiss she bestowed.

But what she loved the most was whenever you would say her name. The way it slipped off your tongue so effortlessly, like a plea, a whisper for her to take you.

Billie let out a quiet hum at the sound of your voice, and pulled back to look at your face, admiring your closed eyes and parted lips.

"God, you look so good like this, baby," Billie muttered, her eyes roaming your face, watching your chest rise and fall with each breath.

"So beautiful, I'm so lucky you're mine,"

Billie then moved one of her hands and gently traced the side of your face, her fingers running across your jawline before moving to your lower lip.

With the left over courage you had, you got a hold of Billie's collar and pushed her back to a couch that was in the middle of the office.

You walked toward her and straddled her hips, your white skirt hiking up in the process. Hands cupping Billie's face and leaning down to finally kiss her soft, plump lips. Her lips sweet with some fruity flavor, probably the punch they were serving in the backyard.

Billie's mind was in a frenzy. One moment she was being the dominant one, and the next, you had her pinned down on the couch, straddling her hips in that pretty little skirt of yours.

Billie let out a quiet gasp in surprise, her hands automatically finding their way to your thighs, giving them a light squeeze. She could feel the fabric of your skirt riding up as you straddled her, and it took all of her control to keep her mind from wandering to impure thoughts.

But those thoughts seemed to disappear as soon as you kissed her. The taste of the wine still lingering on your tongue mixed with your natural sweetness, and she couldn't help but let out a quiet moan against your lips.

Billie's hands then slowly made their way underneath your skirt, hiking it up further, her cold rings against the soft skin of your thighs.

"Mmm."

The moan that left your lips was soft and eager. Your body was fully pushing itself into Billie's grip and touch.

You tilted your head to kiss Billie better, slid one hand up her head and laced your hand into her hair. Her cap falling off in the process, landing on the floor behind the couch with a small thud.

Not paying any mind to the cap and letting your tongue explore Billie's mouth, wanting and needing more of her taste.

Your eager moan went straight to Billie's core, making her squeeze your thighs again in a desperate attempt to keep her control. But as you pressed yourself against her, and let your tongue into her mouth, all thoughts of restraint went out the window.

One of her hands that was on your thigh quickly found its way to your hips, her grip firm as she pressed you even closer against her, her own tongue meeting yours in a passionate battle for domination.

The taste of wine and your natural sweetness was like a drug to her, and she couldn't get enough. She needed more. She needed all of you.

Without warning, Billie then suddenly sat up, a hand still on your hip and the other on the back of your neck, keeping you close to her.

"God, you taste so good, mama," she muttered against your lips, her voice low and raspy, "can't get enough of you,"

A moan left your lips and reverberated against Billie's lips at her words. Your hips bucking into her lap harshly in search for any friction.

Billie then began to plant kisses along the skin of your jawline and neck, working her way down to your collarbones.

"You're driving me crazy, baby," she muttered again, giving the skin of your collarbones a gentle bite, "you just look so good in this damn skirt."

A loud smack was then heard throughout the room as Billie's hand came in contact with your ass.

A half whine and groan left your mouth, throwing your head back softly and pushing Billie further into your skin.

At the sound of your whine and the feeling of you pushing yourself against her, Billie let out a quiet growl.

"You're such a tease," she hissed quietly, nipping and sucking on your collarbone, her hands still exploring your body, finding the soft flesh that lay underneath your skirt. Squeezing.

Billie's hands were everywhere. It was like she couldn't get enough of you, like she needed to touch every inch of your skin.

"Such a good girl, baby," she murmured against your collarbone, "so perfect."

“Dinner’s ready!”

The loud voice was heard from the backyard and caused both Billie and you to stop your actions.

A soft laugh left your lips at both of your reactions, cupping Billie’s face gently.

Billie groaned at the sound of her friend's voice, her head dropping to your shoulder in frustration.

"Do we have to?" she muttered, her voice muffled against your skin.

You lifted Billie's head off your shoulder and gave her a small smile, leaving a gentle kiss on the corner of her lips.

"Yes. I'm hungry."

Her lips were red and slightly swollen, her clothes were slightly ruffled, and her glasses were crooked and not fully on her face like they were supposed to be. The sight made you giggle and you carefully fixed the glasses on her face.

"But I'm still hungry too," Billie mumbled, her voice still whiny, but a small smile began creeping on her lips.

As you fixed her glasses on her face, Billie just sat there and let you, her eyes watching your every move. She then looked back up at you, and let out a quiet sigh.

"Damn it, I'm hungry for you."

You shook your head at Billie with a smile, rubbing her cheeks with your thumbs absentmindedly.

"You can wait till after the party."

Billie huffed at your response.

"That's too long," she whined, tilting her head and pouting slightly, "I can't wait that long. I'm starving."

"Shut up!" You exclaimed with a loud laugh.

You got off her lap and extended your hand for her to get up too and follow you back to the party.

Billie groaned and rolled her eyes, pouting a little but took your hand anyway.

"You're no fun," she grumbled playfully, standing up.

Billie reluctantly took your hand, letting out a final sigh.

"Fine. But as soon as this party is over, I'm absolutely ravishing you."

A laugh left your lips as you leaned to kiss Billie.

"You're such a weirdo."

Billie chuckled at your comment.

"Maybe. But you love me."

She intertwined her fingers with yours, and began to lead you out of the library-slash-office and back to the party.

‧₊˚✩彡

fer yaps!!!

amoooooo!!! 😫

[windvexer]

Theme and Action: a tarot method for brainstorming plots, setting, and characters

I find a lot of story brainstorming spreads to be clunky and rigid, so I did a little experimenting and came up with a method I like a lot. I haven't done a ton of testing yet but I thought I'd share what I have.

Basically, it's a two card draw from a deck split into majors and minors. Each draw always has one major card (theme) and one minor card (action).

When you have a question, like:

What are some ideas for the next scene?

Why would that character behave that way?

What's the defining characteristic of this vampire clan?

What do the people in this society fear most?

Why is this scene dragging?

What does this character need to feel more real?

You would draw one major card and one minor card!

Themes and Action; what it's about vs how it manifests

We could call these cards a bunch of different things depending on exactly how the question is framed, but Themes and Action are good enough.

Basically, the major arcana card gives subtext or context, and the minor arcana card provides specific incidents. Like this!:

"In my vampire setting, what is the most important thing in vampire culture?"

Theme: Death

Action: 10/Pentacles

Interpretation: (Theme) The most important thing in vampire culture is the process of dying and the equalizer of death itself. (Action) This has resulted in cultural rituals where death is treated as a sacred adoption or initiation into a new family/estate.

(I really drew this test spread and it really was death lol)

We can swap out the Action card to see a different outcome:

Theme: Death

Action: 5/Swords

Interpretation: (Theme) the most important thing in vampire culture is the process of dying and the equalizer of death itself. (Action) the horror of death and loss has never been overcome in this society, and it must be dealt with as an individual - because vampires process the pain of their own deaths by taking it out on each other.

Here's a different example. In an urban fantasy book where a witch solves ghost mysteries, pacing is dragging and we need our next scene to be exciting. But despite a foot chase after a suspected ghost poacher, the scene doesn't feel fast paced or exciting. The question is, "how do we spice this up?"

Theme: Hermit

Action: King of Cups

Interpretation: (Theme) instead of a crowded street, the character will be isolated and without normal support. (Action) she'll be trapped in a closed space with the story's main villain, who most closely connects with the King of Cups

Another swap, this time switching out the theme card:

Theme: Empress

Action: King of Cups

Interpretation: (Theme) the scene feels boring because it's action without development. Show the main character's personal development and give her a 'level up' moment. (Action) have the ghost poacher lead her to a premature showdown with the main villain, whom she faces bravely for the first time.

This is already long so I'm not going to go on and on with examples but so far I've found this method to be pretty versatile.

Try interpreting Theme and Action as literally as you can within the context of the story!

If you're writing a story about a flower princess who sleeps on a dewdrop in the mystical Gnarlwood Forest, the Sun card will mean one thing.

If you're writing a story about vampires, the Sun card probably means something very different.

Major arcanas can be literary themes, like the moon representing deceit within society, but they can also be literal; in a werewolf story, the Moon card might represent the celestial body that controls the lives of certain people.

The most important thing for me is to avoid interpreting the cards in a general self-help sense.

The cheerful villagers of prosperous Splitsky Castle are waiting for you to invent a festival so a mysterious stranger can come to town and get the plot going.

The question is, "what kind of festival gives me the right setup to pull off the plot point I want?"

The theme card is the Magician, so ideas for the festival could be:

A festival honoring magic users (if they exist in your setting)

A festival honoring the resourcefulness of the villagers

A festival of stage magic and trickery

The action card is the 6/Cups.

Probably, the festival is not about healing your inner child with Jungian shadow work. More contextual ideas might include:

A festival where children are chosen to be trained in magic

A festival celebrating teaching the next generation important skills

A festival meant to delight and entertain children with stage magic

Developing related factions or foils

Draw a major arcana card to identify a certain Theme, maybe along the lines of:

What do they hold to be sacred?

What do they not care about, or hate?

What is their most cherished virtue?

What is the defining feature of leadership?

When they sing about home, what is in their songs?

This theme will be the same for both entities.

Draw different minor arcana cards to show how each entity expresses that theme.

Conversely, work in the opposite direction: keep the minor arcana card for both entities, and swap out the theme card.

Finding Action cards when you know the Theme

Holding the deck so that it's facing you, thumb through the cards until you find the major arcana card that describes your theme. The most recent minor arcana card that was on top of it, even if separated by other majors, is the action card.

Reversals

I tend to read both cards as upright and reversed, and just apply whatever meanings are most relevant. In my experiments using reversals ended up being too finicky and specific, and limited my creativity.

Complex Concepts and Plots

For a complex reading, like plotting an entire novel or building an entire character, I have found more utility in doing many pair readings rather than doing one large spread with many pairs.

My tests so far have suggested that the most creative freedom is found in asking specific questions, like "what is this character's driving motivation," and "what is her quirky hobby," and "what makes her put up with her annoying best friend," rather than trying to build a giant spread that includes all of these things at once.

As a caveat, in plot spreads, I will sometimes put pairs down without returning them to the deck, and then connect Theme/Action pairs with single action cards to suggest events that connect the dots.

[triangular-static]

look i understand if people just don't like the idea of billford, i think we have a different internal concept of what shipping means (they're not good for each other at all but i need to dissect their dynamic like a bug. you understand. it's fun) but it's fine to avoid things you don't like, good for you genuinely

however people saying they like. don't see it. like. i'm not saying there's no platonic way to read it, i'm aroace spec myself i'm all for reading things in different ways. but i do think saying they weren't partners in any queer sense at all is trying too hard to go against what the narrative is trying to say, or missing it. somehow

anyway media literacy time if a character makes a joke like this

and the previous context of that joke within the show is that it's about an ex wife. what connection do you think the text is trying to get you to make.

and that's just from a writing point of view. not even noting that from an in universe perspective ford likely knows the joke from the same source as stan. and is therefore. placing himself in that role of the joke are you seeing where i'm coming from

(not to mention bill's side of this text which is. extremely manipulative but also does not read very platonic. again, it can technically be read as platonic! bill literally can manipulate ford's feelings. but the specific wording used is very much meant to look like possessive ex partner wording whether the character means it that way or not. it's coding. look again i'm not saying it was good for them i'm just saying there was something there.)

and then there's also the divorce/break up/rock bottom input on the website. like. how else is that supposed to be read. and the corresponding page in the book itself.

the language being used here. like yes he's saying it in a joking way but then there's the other side that isn't joking which is him crying at the bar. it's the both sides (the very coded language on top of the very genuine emotions and dynamic beneath)

i know most of us are on the same page with this i've just seen a couple people saying they don't see it when this is some of the most clear cut coding i've ever seen. and these are just the things that explicitly reference a relationship off the top of my head i'm not even including the general vibes of Everything

tl;dr it's barely even subtext anymore it's all but straight up text. what's not clicking have we forgotten what coding is (lighthearted i just enjoy the phrase what's not clicking. what's not clicking)

[82mitsu]

Previously translated pair names that had been posted to Twitter. However corrections had to be made (misinterpretations & an instance of mistranslation), so this is version 2.

Note: This is the only translated thing I will be posting, I am not off hiatus. I had been meaning to archive this before my hiatus, but I also had to fix some things, which is why there was a delay.

Please consult to this post only regarding pair name translations done by me (82mitsu), any other posts or reposts you might see of this chart is the older version. (Previous version has been deleted, but I'm unaware how far the information had spread.)

If any other corrections need to be made, feel free to contact me and I'll make them as soon as possible.

Below follows an extreme lengthy TL note breaking down some pair names, it's a lot of text, so be warned once you unfold the read more.

A lot of research went into these due to 18TRIPs tendency to mix up words, use Gen-Z slang that hasn’t been picked up by everyone yet (or limited to TikTok) and make up their own words (“Omotenashisto” -> “Hospitalister”). I used dictionaries, searched forum results, looked up how people use these words on social media, went TikTok digging, etc.

I tried my best to localize in a way that should make sense even without added context. I only explained the ones that I thought might needed some more back-up in a cultural sense or because it was a specific JPN thing. Thus, not everything has been explained. However, I hope things are clearer compared to the first version that was posted. For Renga & Yukikaze: For ぽゆぽゆ (poyupoyu) there is no definition or anything for this word, but from context clues and digging through how people used it, I deduced that it means something soft and squishy like a plushie or cheeks, so to say. For Renga & Liguang: かりそめの宿縁 (karisome no shukuen) is a Japanese saying about a fated connection of bond that only lasts for a brief moment, but leaves a deep impact on your life. For Renga & Raito: Party is mispelled in the katakana as “paachii” and not the usual “paatii”. Renga has a tendecy to say English words wrong. While “friends” is spelled the correct way, both words have been “mispelled” to drive the point home. For Renga & Kinari: なぁぜなぁぜ (naaze, naaze) is JPN Gen-Z slang from Tiktok. It’s a statement made as an act for complaining, with a bit of sarcasm and irony thrown in at times. Like, “I said I wanna diet but I ate a big meal anyway! なぁぜなぁぜ” or “I’m an idol but I get more anxious doing improv than performances! なぁぜなぁぜ”. Best way I can describe the usage in this context is Renga is throwing a bit of a self-aware tantrum as to why Kinari would correct him. (As mentioned earlier, he isn’t good at English). I guessed a close equivalent would be “nuh-uh”, since that is a dismissal of someone else’s opinion without actual good reason, even if the other person has a point. For Renga & Netaro: まんまん (manman) means “a lot” but I also believe it’s a reference to meatbuns (nikuman). For Kafka & Yodaka: Hanbei is Takenaka Shigeharu, a Japanese samurai from the Sengoku era. He was known for being Toyotomi Hideyoshi’s strategist. For Liguang & Yodaka: 闘牌伝 (touhaiden) is related to Mahjong stuff. 闘牌伝 seems to be an old timey Mahjong video game with RPG elements. Rekka is a fighting game term, and I will quote the website The Fighting Game Glossary by Infil on this: “A type of special move that has multiple stages, as long as you input more commands to continue the sequence. Not all multi-part specials can be called rekkas though; a rekka tends to have exactly three distinct parts and will move your character forward along the ground with each new input.”  For Akuta & Nanaki: They went to the same kindergarten and were grouped together in the “Oden Class”. Japanese kindergartens, from my understanding from researching, tend to have a name for their class, rather than a number. To give an idea what such names could be, in 2019 the website hyenasclubs hosted a poll of most commonly used names for classes, and the top 3 were “baby chick” (hiyoko), “peach” (momo) and “dandelion” (tanpopo). For Akuta & Muneuji: My take on はっけよい輝矢部屋 (hakkeyoi kaguya heya) is a bit of an elaborate bit joking with Princess Kaguya of the Moon (from Tale of the Bamboo Cutter) because I was wondering why they suddenly opted for Muneuji’s last name instead of first. (I might’ve also just overestimated Kaguya Heya being some joke on Kaguya Hime). Hakkeyoi is what a referee shouts at the start of a sumo wrestling match. For Akuta & Ushio: I think ポジティブに腕押し (positive ni ude oshi) is a take on 暖簾に腕押し (noren ni ude oshi) that means something has no effect or is pointless. Lit. it means “pushing a curtain with one's arm”.    For Akuta & Tao: Akuta Nine is a joke on the baseball movie Gyakkyo Nine which is an adaptation of the manga of the same series, I believe. The movie is referred to as GK9, hence I made it AKT9.  For Akuta & Ryui: The original is OYAxKOBU which comes from 親分子分 (oyabunkobun) meaning “boss and his underlings”. Akuta also calls Ryui by “Oyabun”.

For Kiroku & Nanaki: Weebs who watch highschool anime should be familiar with this, but emergency staircase refers to the hallway stairs in a JPN highschool that are sometimes used as chilling out spots by students. For Kiroku & Chihiro: TuRyStA is the clothing brand they wear. 18TRIP has a various selection of clothing brands, which each character having a preference for one or another. For Kiroku & Yodaka: Zhao Yun, as quoted by Wikipedia, “was a military general who lived during the late Eastern Han dynasty and early Three Kingdoms period of China.” For Ushio & Raito: Some heavy freedom was taken with バスボムしゅわリスト (basubamu shuwaristo). After considering how to approach it in the most sensical way, I decided to translate it as “bubblist” due the other options being “hand sign list” or “bubble list”. I thought リスト might function as in -ist, like dentist, artist, guitarist. しゅわ comes from しゅわしゅわ which means bubbly. Although bubblist isn’t not that common, it is sometimes referred to entertainers that do bubble performances (in English). And I think it made more sense than “hand sign list” or “bubble list” to say the least. This was also taking in consideration how 18TRIP, as explained in the intro, gets very creative with its language usage. For Raito & Nagi: Mandarin ducks symbolize “soulmates” of some kind in China. In other words, Mandarin Duck Touring is more along the lines of “Motorcycle touring soulmates”. However, I find the mandarin duck reference and interesting pull compared to just “soulmates”, so it was kept as is. For Kinari & Ryui: “Super Darling Gap Inspection” is more along the original lines. “Gap” in Japanese is usually used in the context of when someone acts one way, but unexpectedly, can act a different way. Ex. A very shy person shows they can be super vulgar, that can be considered a “gap” of some kind. In English, people are more familiar with “gap moe”, thus gap moe was used. For Tao & Nagi: Might be a reference to Yokohama’s Zo-no-hana (Elephant Nose) Park. For Toi & Yodaka: The original is more along the lines of, in the most literal sense, “going around raisins circle (of friends).” Toi likes raisins, but Yodaka doesn’t, so Yodaka passes them onto Toi. I’ve turned into on a play on “sharing is caring” since that’s a common concept in English.

[queerfables]

I'm still working out what the significance of this is, but I'm now surer than ever:

In season 2, Aziraphale's bookshop is the Garden of Eden.

What first tipped me off was the end of 2x01, when Gabriel asks about Outside, and Crowley urgently warns him that he needs to stay inside the bookshop. It reverberated against the themes of season 1, where choosing freedom over safety is symbolised by Leaving the Garden. Supporting this connection, one of the songs on the season 2 soundtrack is called Leaving the Bookshop; it plays in 2x06 when Crowley escorts Nina and Maggie outside.

There's an even clearer indicator of the symbolism, though, and I am so fascinated by the implications. When Gabriel first arrives at the bookshop in a state of undress, one of the things he says to Aziraphale is:

"Who told you I was naked?"

It's a funny line but it's also surprisingly biblically significant. In Genesis, Adam and Eve's loss of innocence after eating the fruit of knowledge is shown by their realisation they are naked. In this scene, Gabriel is like them before this transgression, innocent and unconscious of his own nakedness.

But it's even more on the nose than that, because in Genesis, when God appears to Adam after he eats the fruit, Adam hides, and then admits he's afraid because he's naked. And I quote directly, Genesis 3:11 (New International Version):

And [God] said, “Who told you that you were naked? Have you eaten from the tree that I commanded you not to eat from?”

I'm sure this reference is intended. It's too similar to be a coincidence. So Gabriel's memory loss is comparable to the innocence that preceded the Fall of Man, and that's fascinating in its own right. This also makes the bookshop, where he is protected so long as he stays inside its walls, a clear parallel to Eden.

In relation to Gabriel, I think Beelzebub is Eve, offering Adam the knowledge of good and evil in the form of a fly holding his hidden memories. An argument could be made that they are the serpent to his Eve, but I think the partnered dynamic makes this a more fitting interpretation.

I'm still thinking on the roles that Crowley and Aziraphale play in this analogy. I keep coming back to Gabriel's line, "I don't go outside, and now I have two friends." If this is Eden, who are his friends? Are Crowley and Aziraphale reprising their roles as the serpent and the guardian? Are they God and Satan playing games with their own little universe, perhaps? Or are they Adam and Eve?

Obviously, if the bookshop is Eden, this has major implications for Crowley and Aziraphale too in the context of their break up. With this framing, Crowley telling Aziraphale, "You can't leave this bookshop" becomes a fascinating twist on his traditional role. He's asking Aziraphale to stay with him in blissful ignorance, rather than confront the truth of their world. I'm not arguing that this is the only level at which this line should be read, but it's one that's worth considering.

You may also notice that in light of this biblical reference, "Who told you I was naked" becomes the first time amnesiac Gabriel echoes the words of God. I'm really not sure what these echoes mean, but they sure do intrigue me.

[lady-of-endless]

Risotto Nero romantic headcanons (sfw+nsfw)

Author's Note: Sorry for being an old-school romantic and writing headcanons like these, don't come at me. I wanted to take my time with Risotto as he is so complex. I really hope that those are not too far-fetched. I hope you'll enjoy it! The lovely gif is not mine, I'm thanking the owners for it.

P.S. Prosciutto will be next. I just have to calm down from the feels I have for the husband, I mean Prosciutto.

SFW

- The most beneficial context for your relationship is for it to start off as a partnership, a team. This way, you go through many critical and dramatic experiences together and that will only bring you closer and strengthen your connection. Even after confessing, this dynamic remains, you are still a team, watching for each other.

- Everything about him indicates a slow burn. From obtaining his trust first and then his heart. Even after those two are won, he's still reluctant to the new dynamic. He will never deny those feelings even if he thinks that someone in his position should. Risotto is not just rationally intelligent but also emotionally intelligent so he knows that such desires of the heart cannot be stopped. He doesn't deny the feelings but he suppresses them. He knows how complex those emotions are and that's the problem, it complicates everything around him and you. But little by little, he starts giving in and surrendering to his love.

- At first, he analyzed you only from a strategic point of view (regarding your abilities and how you can work with his team) and in time, it escalated into a deeper and more emotional point of view. Because of this and because Risotto values other opinions and perspectives from his teammates, he seeks advice. No, he won't ask directly but he'll be more attentive when the others talk about you. However, the only one who Risotto might ask for an opinion is Prosciutto because he shares some morals and principles with him. Surprisingly, Prosciutto will put his rational arguments aside a little bit because more than the respect and admiration he holds for Risotto, he wants him to experience this sort of happiness.

- Risotto will not know how to react when receiving your affection, at first. There are many thoughts and morals that don't let him receive affection right. Many of those thoughts are regarding his line of work. He has made peace with the fact that he's not a good man, that he doesn't deserve good things. He's okay with it now, he did what he had to do.

- His preferred love language is acts of service. He's used to doing things for others (but even so he doesn't see how selfless he is) so acts of service are his way to show his feelings. He would do anything for his close ones so for you, his loved one, he would die for you, kill for you, protect you, anything, you name it. Plus, Risotto is always very observant and because his interest is your well-being, he pays extra attention to your needs. About receiving, it can be anything. Again, he doesn't see himself worthy of love.

- He rarely smiles so when you finally catch a glimpse of this rare occasion and compliment him, Risotto is lost. Any sort of comment like this will have him feel things he never felt before, in a good way. As a result, he starts smiling softly more at you in privacy.

- If you get severely injured on a mission, he still keeps his composure in your presence while helping you, patching you up, and even trying to heal you with Metallica. He's serious while doing it but it will be the only time in which his hands start trembling. After helping you, while you rest, he's still there watching over you fully neglecting his need for rest. As you sleep and he looks at your injuries, that's when his composure breaks. The guilt he's feeling is heavy in his heart, thinking how this way of life is not what you deserve and it's his fault.

- He's capable of many things, he's also a strategist but that doesn't mean that he doesn't have moments in which it all gets too much to process. That's where you come to the rescue. He doesn't want to pass his difficulties to you so it will take a lot for him to let himself tell you what's wrong.

- Secrecy and subtility are a must. But he'll get you (he'll make it), a dainty and thin silver bracelet with a charm that resembles some sort of blade. Whenever he's thinking of you and wants to let you know it, you'll feel that bracelet move a bit from his magnetism, as a reminder.

- As subtle as he thought he was, in time, every member of La Squadra will know what his feelings are towards you. Melone was the first to notice the way Risotto looked at you. Since his discovery, Melone couldn't keep it for himself and since then, they all started behaving suspiciously. They smirk every time you talk to Risotto about missions and other formal details, they try to let the two of you alone more, and so on.

NSFW

- Contrary to popular belief, he's not rough (not every time at least) or freaky behind closed doors. His usual and favorite approach is slow and deep. He likes to take his time with it as he sees sex as not just a way to get pleasure but a moment of deepening the connection you have already.

- He never wants to use sex as an outlet for his pent-up frustrations and stress but if you give him the green light, he might give into it when things get too much to bear. But he still holds back a little bit, worried about how rough he can easily get. If you're into this rough approach as well and it's noticeable, he'll feel less guilty but still careful.

- He can go on with the foreplay for hours. Risotto likes to feel the tension build. Enjoying the reactions and the growing desire gives him the most pleasure, more than the act itself. Because of this, he might sometimes slip into trying orgasm denial with you.

- At first, he doesn't see the point of experimenting with kinks because he's so touch-starved. He only needs you. However, gradually he will start asking you for consent about some ideas he has. Watch out for your hands. If you get them close to the metal bars of the bed, your wrists will get caught in metal bindings in the blink of an eye.

- Quiet in the beginning but soon you'll see him losing his composure and start grunting and growling close to your ear as he buries his face in the crook of your neck. Not only that but you'll hear sweet words of affirmation, unheard before as he gets lost in the feeling of you.

- Aftercare is obligatory. It always gets intense, sometimes even rough, and he's aware of his size too so calming you down and taking care of you is both a way of showing his gratitude and also a duty (don't get this one wrong, he sees the act of aftercare as important as the rest of his duties, that's it). The aftercare always ends with him holding your hand and kissing it as another silent expression of his gratefulness and adoration for you. It's his unbreakable habit.

- He has to admit, he likes to mark you. Not in a possessive way, that's why those marks will only be on parts that are not usually visible. But because he loves the image and concept of your skin reacting to his affection. You can leave marks on him as long as they're not visible, again, it's about secrecy and subtility. He might feel a bit proud, just a bit, when he looks in the mirror at the scratches you left on his back.

- Doesn't get bored of being on top. After all of that slow burn and build-up of your deep connection, of course, he wants to look into your eyes when you both let yourselves be engulfed in the pleasure. Might even get a little mischievous with it when he's in a good mood. "If you look away, I'll stop."

The only situations in which you are the one on top are when you simply ask for it or when you tell him you want to help him relax. Hearing those words coming from you while you start touching him with care and warmth is going to be the death of him.

- Not a fan of quickies. He needs the whole thing. As mentioned before, he needs to feel the tension built and loves taking his time with it. But also, above all, he wants to treat you right so a quickie will never be enough for this.