#and this is making me think I should have a tag for this specific category 🤔

[self-loving-vampire]

theres this cohort of transfems that overlaps with the tma/tme discourse who seem to spend all their time reinforcing an intense doomerism and fear of the world that feels very maladaptive to me. its very demoralizing to watch

I think they're definitely sympathetic in that regard, though. If you look through the tag I linked there has definitely been a major reactionary backlash in multiple countries that are increasingly trying to legislate trans people (and GNC people, and others) out of public life entirely. There was even a proposed bill that would have made going out while trans into "obscenity".

I think that's definitely worth being aware of and talking about. I'd just do it with different language and a different framing. To me, the main things to be critical of here are:

1- Essentialist assumptions about gender based on oppositional sexism. The idea that men are inherently one way and women are inherently another way and there can be no overlap, no third categories, no understanding, etc.

These ideas are unfortunately extremely ingrained even in queer people.

2- Cissexist social norms that treat being trans as inherently undesirable. We see this in things like medical gatekeeping that treats letting people transition as a last resort or a failure state. Something to try only after all efforts to make someone cis have failed, if that.

3- General obstacles to bodily autonomy. The idea that you should be able to do what you want with your own body is still considered extreme, especially if you have any kind of disability. People just assume they know what you want better than you do and so they must control your life and your body. I have also mentioned before that trans rights are tied to abortion, disability rights, and more. Attacks on one are often recycled to attack the others.

4- The efforts of specific far-right groups like Alliance Defending Freedom and the Heritage Foundation. A lot of the recent attacks on trans rights (both legal and social) have links to the same handful of wealthy christian conservative organizations, and they also cooperate with transphobic governments abroad.

...And lots of other things.

So there's clearly a lot of substantial barriers to trans rights there, and I think that's important to understand at least on a basic level even if it's scary or depressing. Without that knowledge it is much more difficult to change anything, or even make personal plans about how to navigate the situation.

There's also good news, of course. A lot of the conservative attacks in the US specifically are unpopular and failing, there's legal challenges on the way regarding the recent situation in the UK, various anti-trans groups involved in crafting this legislation have been officially designated as hate groups, and generally as trans people have become a normal part of people's lives acceptance has somewhat increased even if panic among the right also has.

But there's still dangers to be aware of and prepared for, and the hate has been so overt and extreme since forever that it's hard to blame people for being so wary. Like, I am someone who had to become an international refugee because of transphobia so I know it can really be a sort of nightmare situation. I only survived it by making precise plans and deceiving dangerous people.

[amarriageoftrueminds]

All your recent posts about historically accurate!stucky is making me and my history nerd brain kick our feet and giggle and please would you marry me because stucky PLUS history is making me swoon! Yet again I am so happy we're mutuals

😊

Aww, likewise!

I have to say that makes me so happy to hear (despite how often I waffle/reblog meta stuff,there's always a part of me which worries people will find it boring) To me there's something so satisfying about all that nitty-gritty history meta. It's like it satisfies the same part of my brain that likes making lists??

[velvetvexations]

but you do realize that definitionally, tme as a category explicitly includes cis men, cis women, and far more than just trans men, right. like. if you’ve become biased to assume it’s always talking about trans men, that’s on you. and there’s a word for bias that positions you to ignore trans women…

I don't even need to argue about it's theoretical meaning and how it's actually used, any word that includes more than cis people was inappropriate for that context. If you're saying I should have also tagged it with a word meaning specifically enbies who aren't transfem but aren't transmasc either, sure, I suppose that would be fair even if the harm doesn't to my knowledge attach to them as much - but I could be wrong about that! If you know of such a word, let me know and I'll use it in conjunction with transandrophobia when arguing against the TMA/TME framework.

But, like, anon?

Anon?

Darling?

Sweet child O' mine?

I'm not ignoring transfeminine perspectives because I am one, and there are many other transfems who feel the way I do. Think that makes yall the transmisogynist when I get called a pickme crypto-TERF when I

checks notes

"disagree with consensus"

[brehaaorgana]

ADHD money/budgeting system I'm currently using for my benefit is going well (I've been using it for like half a year now?), and I wanna recommend it.

You Need a Budget is EXCELLENT. 10/10 do recommend. Uhhh rambling about it and my generic disclaimers + gushing extensively under the cut but TL;DR I think it's great for ADHD ppl, I've used it for 6+ months now and I find it super SUPER helpful. also weirdly fun.

DISCLAIMERS:

Budgeting helps you understand/know your money, it can't make money appear where there is none.

Everyone should learn to budget even if you don't have much money (especially then)

This is NOT a magic trick solution. Just like everything else, it is an assistive tool. This is one of those adult things we can't simply opt out of without negative consequences, though.

My advice is based on something I am currently able to do. That is, I can spend an amount of money on this specific thing that works well for me. If you have no extra money to spend then previously I was tracking things in a notebook. So you can still do this.

I believe Dave Ramsey is a fundie fraud/hack and no one should listen to him about money.

DID YOU KNOW THEY CANCELLED MINT???

Okay? OKAY.

Ahem.

You Need a Budget is EXCELLENT.

It is called YNAB for short. The first 34 days are your free trial, and that is my referral link. If anyone uses it and then signs up for a subscription, we both get a month free. Also you can share a subscription with up to six people (account owner can see everything but individuals can pick and choose what they share amongst each other) so like...idk your whole polycule can be on one account. Or your kids. Whatever.

If you are a student, it's free for a year. If you aren't, a subscription is $99 for a year (paid all at once) or $14.99 monthly, which is equivalent to paying Amazon prime. Go cancel Prime and get this instead tbh.

They got a whole article just on ynab and ADHD. They also have like...a big variety of ways to access their info? They have a book, podcast episodes, YouTube videos, blog posts, q&A's, free live workshops you can join (you can request live captioning), emails they can send (if you want) a wiki, and so on. They got workshops on all kinds of topics!!

So whatever ends up working for your brain. It also has a matching app.

If you lost Mint this year they have a gajillion things for moving from Mint.

Also they have a "got five minutes?" Page which has a slider so you can decide how much attention/time you have before going on lol:

They only have 4 rules of the budget, they're simple and practical, and it doesn't get judgey or like...mean about your spending.

1. Give every dollar a job 2. Embrace your true expenses 3. Roll with the punches 4. Age your money.

THEN THEY BREAK THESE DOWN INTO SMALL STEPS FOR YOU! They even have a printable! Also these rules are great because there's built in expectations that things WILL HAPPEN and it's NOT all or nothing with a fear of total collapse into failure. Reality and The Plan don't always align, especially if you have ADHD. So it's directing our energy towards the true expenses and not clinging to The Plan!! over reality.

You can automate a lot of shit (you can sync with your bank accounts just like mint, but also automate tagging the categories of regular expenses/transactions). And if for whatever reason you accidentally do something that makes the budget look weird or wrong:

A) you can usually fix it somehow OR b) they have like, a button you can press that gives you a clean slate and archives the previous version of the budget for you.

So if you forget for a few weeks or months, or accidentally input something wildly wrong, or just don't want to look at a really terrible month anymore and feel like you need a fresh start you can usually either fix it or start fresh which is really nice.

The app also (for whatever reason) scratches my itch to have things like...have incentives or little game-like goals in a way mint never did? I don't know why. Filling up the bars or putting money into the categories to cover my expenses is satisfying lmao. You can also make a big wish expense category for all the fun shit you want, and fund it whenever you can and then you can see the little bar go up and that's fun.

Anyways I've been using it for like 6+ months now and I think it's really helped me when I use it.

[samwhump]

a (very inexhaustive, wincest-heavy) sam whump reclist

@transfemmesam asked me for Sam whump recs a few days ago, and I've had other requests in the same vein before (I can't imagine why.../s) so I thought I would throw this together, since these authors deserve all of the love and support for their contributions to our li'l fandom corner.

like I mentioned in the title, this is not at all a comprehensive list; I have at least ~200 more fics in my to-read queue that could thematically fit here, but alas, I have stupid shit like a job and a body and a dog to take care of, so. I'm always happy to get recs along these lines, so if you notice anything important missing, hit me UP. (and don't take any omissions as any specific commentary by me -- it's likely I just haven't had the chance to read it yet, haha.)

disclaimers:

some (most, honestly) of these contain potentially triggering and dark content, including but not limited to rape/noncon, torture, and suicidal attempts & ideation. I have tried to note content warnings where applicable, and most of the works are hosted on ao3, so the tags should have most of the information you need to make an informed decision. that being said, tread with caution. all of the summaries provided are from the original author, with warnings added after by me.

the list is in alphabetical order and separated into wincest and gen categories. a lot of the gen is also focused on the sam & dean relationship, because...I am what I am. and what I am a sucker for these two dipshits. there is also a brief section at the end with a few fics that don't fit into either category.

gen

All That Goes Unspoken by amnesiawife:

A case forces Sam to confront something long kept buried. (Set nebulously in season 12.)

CW: discussions of past rape/noncon, victim blaming

Beneath the Trees 'verse by Lise (5 works total, starting with Beneath the Trees, Where Nobody Sees):

Sam doesn't go to Stanford. Everything goes downhill from there.

CW: suicidal ideation

a boy is a cage by ad_castra:

After expelling Gadreel from Sam's body, Dean thinks they're in the clear. If only they were that lucky. // S9 fic wherein Gadreel's grace causes some adverse side-effects in Sam's mind.

CW: past referenced rape/noncon, body horror

body of proof by Askance (doomcountry):

There are things Sam hasn't told his brother. They're all in the envelope laid on Dean's pillow.

CW: heavy discussion of past rape/noncon

break these bones 'til they're better by redskyatmorning:

After Sam’s torture at the hands of the British Men of Letters, the latest in a long string of violations, he is rescued by Dean and Mary – and forced to ponder his broken relationship with his own body. Months later, when Sam is resurrected and tormented by Lucifer yet again, Dean confronts Mary and Sam gets his revenge against the devil.

catching my death (staring out an open window) by ad_castra:

Sam gazes at the window, catches the faint pink hue tinting the sky. It’s so realistic - he could breathe in the fresh air if he were really here. ----- They got Sam out. Sometimes, just knowing that isn't enough.

CW: implied past rape/noncon

Death of Convenience by WilsonTheMoose:

It should have been easy. Wendigos are no joke but daylight slows them. The weather's been unpredictable though and perfect, idyllic hunts don't exactly stay that way where they're concerned. Or Sam has one card to play and never stops to think that Dean would care if he killed himself.

CW: suicidal ideation, references to suicide

Echoes of Hell by The_Nightbreaker:

It wasn't real. He wasn't in Hell anymore. That's what he tried to tell himself over and over. But two centuries of torture don't disappear in a day. Sam struggles with visions of Hell, fighting to maintain his grip on reality. Dean hates that he can't protect his brother from what isn't real—but curse him if he doesn't try. When the boys stumble on a case with ties to the Devil himself, will they be able to pull themselves together in time to stop the sacrifices? Or will the echoes of Hell finally overtake them? Aka, season 7, but the plot is Hell trauma, not leviathans.

CW: suicidal ideation

Evening Shadows by withthekeyisking:

Sam is hallucinating the monster who tortured him for nearly two centuries, Dean feels like he's failing his brother, and a diner waitress bears witness.

CW: past rape/noncon

Everything Dies Given Time by Lise:

AU from 5.03. Sam discovers something wrong with himself, and learns to live with it. Only a lot less functional.

CW: suicide/temporary character death

The Freedom to Be Loud by jribbing:

It hadn’t occurred to Dean that maybe Sam remembered so much about that little nowhere town because something memorable had happened there.

CW: referenced past rape/noncon

golgotha by redskyatmorning:

There’s a vacancy on the throne of hell, and Sam is desperate enough to save Dean from Michael’s possession to give into the abyssal depths of his own darkness.

Head Space by ameliacareful:

A witch curses Sam leaving him blind, deaf, and bedridden. Left with only the inside of his own head and the occasional touch, Sam begins to unravel.

CW: suicidal ideation

Hiraeth by inkandpaperqwerty:

(n.) a homesickness for a home to which you cannot return, a home which maybe never was; the nostalgia, the yearning, the grief for the lost places of your past "Dean... I made a really big mistake." For a second, Dean actually thought things were going okay. He was out of Hell, Sam agreed to stop drinking demon blood, they had just wrapped up a successful hunt... for once, everything was okay. And then it wasn't. "I overdosed." Not at all.

CW: suicide attempts, suicidal ideation

if i could leave (i would've already left) by serendipity0930:

“I have a mission from God for you,” the Angel whispers to the man. “It is time for you to do what you were born to.” The man’s face twists into a smile, delighted over being chosen by Him, a purpose from God digging into his heart, carving out a place to fester. “Hunt.” ... 05x03 AU where Zachariah is even more determined to keep the brothers apart and hunters are all too willing to take Lucifer's True Vessel off the board for good

CW: referenced suicide

It's A River (But Not In Egypt) by Lise:

He's still a liar. Maybe always has been.

CW: toxic Sam/Lucifer dynamics

Kindred Instruments by PinBitch:

They’re in a tug of war and Sam is the rope. He doesn’t need to be alive for that. OR Sam dies in detox, being flung against the walls of a metal box will do that to you. Dean and Ruby pick up the pieces.

CW: temporary main character death, permanent supporting character death

lazarus trick by katsidhe:

Sam's alive, so everything is gonna be okay. 13.22 coda.

Let All Mortal Flesh Keep Silence by Lise:

Sam's back. He's in one piece. That's the problem.

CW: self-harm

love is like ghosts by redskyatmorning:

I’m poison, Dean had said instead of I’m sorry. Well, Sam wants to say, what does that make me? What the hell does that make me? (A look into Sam's mind in the aftermath of the Gadreel possession.)

The Other Brother by RadioFriday:

Sam and Adam are pulled from the cage at the same time. Sam is not right, and Adam, stuck as his caretaker, is not pleased.

Oxygen by inkandpaperqwerty:

“Cas! Cas, please! Please, answer me! Cas!” Castiel ignores Dean for several minutes, but then Dean gives him an opening that might help him complete his mission. So, he goes to investigate, and what he finds is a very bloody, nearly dead Sam. Dean tells him where the injuries came from, and Castiel quickly becomes confused. It doesn't make sense, but Dean tries to explain it to him, and slowly... Castiel begins to understand.

CW: suicide attempt

Post Hoc, Ergo Propter Hoc by AmberSock:

Sam waits, kneeling, for his execution. What if Dean hadn't missed?

CW: temporary character death

Safety In Distance by GalaxyThreads and SpiritClusters:

The Mark of Cain is a brand of violence. Sam was an idiot to think that he'd be exempt from it, just because he and Dean are siblings.

sometimes a kind of singing by adi_rotynd:

Sam gets cursed. They're dealing with it. Jack can see souls. That one they're not dealing with quite as well.

CW: past referenced rape/noncon

Soul Windows by GalaxyThreads and Spirit Clusters:

A few months after his birth, Jack learns how to see souls. Then he comes to a realization about the Winchester brothers, Sam in particular, and it's not a pleasant one. (gen)

Starry Night by keepcalmsmile:

Sam attempts suicide-by-monster. Dean tries to help. It sort of works...until it doesn't.

CW: suicide attempts, suicidal ideation

such fragile, broken things by The_Bookkeeper:

Sam wishes that Dean would just get it over with already.

The Tale of Sir Galahad by keepcalmsmile:

Sam once said he could never be clean like Sir Galahad. Dean assumed he was just talking about the demon blood. Turns out, Sam was talking about something else too. WARNING: Extended discussions of the aftermath of rape and childhood sexual abuse (but NO description of the actual events). Happy(ish) ending, but potentially very triggering.

CW: past rape/noncon, mentioned CSA

They Hammered in His Teeth by jribbing:

Sam has a secret.

CW: suicidal ideation

today's troubles (are history tomorrow) by a_good_soldier:

"It's not really something I know how to share," Sam had said. In which Dean figures he ought to help Sam out a bit.

Touch and Go by themegalosaurus:

Tag to 9.19 (Alex Annie Alexis Ann) in which Dean realises why, exactly, Sam is so angry about what happened with Gadreel.

trust fall by ad_castra:

“I’m nothing like you,” Sam hisses. Nevermind relating to the anguish of going it alone. Nevermind that he knows what it is to be strapped down and forcibly cleansed against his will. Sam wonders if these trials are purifying Crowley as well. 

Words Like Glass by broken_cinders:

Dean never figured the cage wouldn't leave a mark. He was prepared for memories, flashbacks, and nightmares. He wasn't expecting the words Sam brought back with him or the way they made him seem just a breath beyond Dean's reach.

Wound and Unwound by fascra:

Sam stops eating spring of his freshman year.

CW: eating disorder

wincest (dean/sam)

Brittle by thecapn:

Sam Winchester has an eating disorder.

CW: eating disorder

Don't You Cry No More by sixtysevenlmpala (schittyfic):

The first time Sam gets badly hurt on a hunt, he doesn’t cry. Dean does.

Fall On Your Knees by dollylux:

Sam doesn't quite make it home on the last day of school before winter break.

The Fall Will Probably Kill You by killabeez:

Set between 7.04 and the aftermath of 7.07. Dean is not as okay as he'd like you to think. Neither is Sam.

CW: self-harm

Feels so good to feel again by Trojie:

The pain keeps Lucifer at bay, at least to start with.

Follow In Your Form by withthekeyisking:

Sam is hallucinating Lucifer in the wake of Cas bringing his Hell Wall crashing down. To make matters worse, it seems like this has his dormant powers flaring back to life.

Last Temptation by merle_p:

Sam is running a fever again, the kind of fever no Ibuprofen or cold compress will bring down, the kind of fever that is eating him up alive, eviscerating him from the inside. He is too hot and too cold and too pale, delirious and shaking, resonating with whatever divine energy the trials are subjecting him to, and Dean is not sure how much longer he can stand to see him be in this state. Because Sam is quite possibly dying, and there is nothing Dean can do to stop it. Because Sam is dying, and he just. Won’t. Shut. Up.

CW: mentioned past rape/noncon

leeches by Anonymous:

Sam discovers a spell to make everybody forget him. He’s convinced it’s for the best. Pre-Stanford.

CW: attempted kidnapping/torture

Make Thick My Blood by themegalosaurus:

“You’re going to kill me, Dean,” Sam says, eventually. And all Dean can say is, “I think I am.” A season 10 AU, set after 10x14 ('The Executioner's Song'). Cas finds a solution that might cure the Mark of Cain; but if they're going to go through with it, Sam has a terrible price to pay.

CW: mentioned past rape/noncon

Prophecy of an Abomination by ashitanoyuki:

Sam is kidnapped by fanatically religious hunters and crucified. Coming back from this won't be easy. Canon-divergent from midway through season 2.

Recall by De_Nugis:

Sam's having a hard time telling what's real and what isn't, especially when it comes to some voicemails from Dean.

The Room Upstairs by brokenlittleboy:

Sam comes back from hell, but he’s inside-out and all wrong, and Dean can’t fix him.

CW: mentioned past rape/noncon

Ruin You (and its companion fic Worth) by Mumble_Bee:

Cole fucks Sam with Demon!Dean watching from a devil's trap, snarling that anyone would dare touch what was his. “I told you I don’t care what you do to his face or his blood or his fucking nose,” Dean growled, “but you put your dick anywhere near him and I will end you.” “Better hurry up then, Dean, because I don’t think I can wait much longer.”

CW: explicit rape/noncon

Snowed In by HelloStarlingFics:

When working a case, Sam and Dean get stuck out in a shack in the woods when the snow comes in hard and fast. Trouble is, Sam’s hated the cold ever since the Cage. Time for Dean to step up and look after him.

Wake by minchout:

Gadreel has had Sam for four years, and Dean, lost in guilt and obsessed with finding a way to get his brother back, has isolated himself in a cabin in the Missouri Ozarks with nothing but the woods, a stray dog, some chickens, and all the books the Men of Letters had to offer to keep him company. Then Sam shows up one day without his passenger, and Dean learns quickly that it doesn't matter that Sam is with him again - there is still a lot of work to be done before they can find their way back to each other.

Wanting to Forget by morganaDW (morgana07):

1-shot. S1 fic. After getting Sam freed from the Benders Dean thinks all he has to cope with is some bruises and cuts. He learns quickly just how wrong he is when Sam wakes up with a nightmare, reliving his brief but bad captivity in every detail. Sam just wants to forget & Dean has to try to get him to let him help. Will one night of cruelty and pain ruin what’s been formed between them?

CW: referenced past rape/noncon

when I wake up I'm afraid, somebody else might take my place by quake_quiver:

Sam doesn’t remember the last time he cried for Dean like he did that night. And now it’s been…two weeks. Maybe more. Sam is tired, and in pain, and starting to doubt that Dean’s going to show up. He’s weak and shaking from a combination of constant pain and hunger. Sam longs for Dean. Dean would make it better. Dean would fix it.

CW: rape/noncon, body horror

Wire Inside Me by merle_p:

There are a lot of things Sam hates about his current condition, to the point where he sometimes feels for the gun under his pillow at night, blindly toys with the safety, imagines pressing the muzzle into the underside of his chin and pulling the trigger just to make it stop. But there’s nothing he hates as much as the shadows he sees in Dean’s eyes whenever his brother is looking at him these days. It’s not an expression he remembers ever seeing before, but Sam thinks it’s probably something like revulsion. Horror. Disgust. What else could it be.

CW: referenced past rape/noncon, body horror, forced pregnancy

Worth (and its companion fic Ruin You) by Mumble_Bee:

Episode 10x01 "Black" where Dean is a human, and very, very, pissed off to hear someone has hands on his brother. “It’s nothing personal,” Cole whispered into Sam's ear, too quietly for Dean to hear, “but I need to kill your brother, and I need him off his game when he gets here. I don’t wanna hurt you, kid, but I’m going to, anyway. I’m going to hurt you a lot."

CW: explicit rape/noncon

you'll never see us again by according2thelore:

Then finally, his eyes trail over to Dean. His pupils are pin-point thin, and his hair is straggling in his face so Dean can’t see most of what expression lies there. Sam usually wakes up from nightmares in one of three attitudes: confusion, fear, or calm. A scary, sense-prickling calm that Dean hates more than anything else. Resignation, almost. Or: Sam suffers from nightmares and touch starvation post-Cage. They do their best to deal.

other Sam/Lucifer noncon

Cage Fight (No Way To Do This Right) by Dyed_Red:

Sam’s visit to the cage is already going awry, but Dean’s one-man rescue ends up skidding it sideways into territory neither him or Sam are ready for. (Gratuitous episode scene re-write. If Cas hadn’t come till after, if he hadn’t been there yet when Dean ran down to the 'parole' cage after hearing Sam scream - how bad could it have got for the brothers before he made it?)

CW: graphic rape/noncon

Into Being by withthekeyisking:

When Sam wakes up in the cave on Apocalypse World after having been killed by vamps, it's not just to find Lucifer there with him. It's to find him in him.

CW: graphic rape/noncon, necrophilia, forced pregnancy

Reggie/Tim/Sam noncon

a pointless resistance for you by withthekeyisking:

Sam doesn't know how long he's been with Tim and Reggie by the time Dean shows up and tries to take him out of there. Long enough that's he's already lost one baby and is pregnant with the next. Long enough that this life is starting to feel like all he knows.

CW: graphic rape/noncon, forced pregnancy & miscarriage, victim blaming

screaming birds sound an awful lot like singing by withthekeyisking:

Sam has done his best to move past what Tim and Reggie did to him, pretending it never happened at all. But running into them again makes that very difficult—especially when Dean gets involved.

CW: referenced past rape/noncon

Waste 'Em All by withthekeyisking:

When Tim and Reggie try to force the demon blood down Sam's throat, he spits it back out. He has no interest in being turned into their own personal attack dog. They don't...take it well.

CW: explicit rape/noncon

[pleasanttaleswithkaityb]

How to Create a Structured Navigation Page on Tumblr: A Step-by-Step Guide

Introduction

Creating a navigation page helps moots stay up today on your posts, especially stories or series on your Simblr. Below are the steps I used to help me organize and create my navigation system!

What Does "Mobile-Friendly" Mean?

A mobile-friendly navigation page keeps users within their Tumblr app while they explore your links. This ensures a smooth user experience for those primarily using Tumblr on mobile devices. To achieve this: - Use links that are generated within the Tumblr app or dashboard viewer. - Avoid using direct URL links from a web browser, as they may redirect mobile users from the Tumblr app. - You can test the links yourself on the Tumblr app to make sure they open correctly without redirecting out of the app.

Step 1: Planning Your Content

Before creating your page, plan the content and sections you want to include. Think about categories like:

Household stories

Series updates

Character profiles

FAQs

Gameplay guides

Mods and CC (Custom Content)

Step 2: Pinning Your Main Navigation Post

To ensure that your navigation is the first thing visitors see, you can pin a post on your Tumblr blog. Here's the process:

Write Your Navigation Post: Create a post with all your navigation links and information. This post will serve as the main guide for visitors to your blog.

Pin the Post: - Open your Tumblr dashboard. - Navigate to the post you want to pin. - On the top right of the post, click the "..." (more) button. - From the dropdown menu, select "Pin this post to the top of your blog".

Set Pin Duration: Decide how long you want the post pinned.

Check Your Blog: Visit your Tumblr blog to ensure the post is pinned at the top.

By pinning your main navigation post, you make it easy for followers and visitors to understand how to explore and enjoy your content right from the start.

Step 3: Organize Your Tags

Establish a tagging system that works for you and be consistent. For example here are some of mine:

Use #the[lastname]household for family-specific posts.

Tag seasonal stories with #fall1, #winter1, etc.

Create special tags for FAQs, such as #askkaityb for questions.

Step 4: Create Hyperlinks

Transform tags into clickable links that lead to filtered content:

- Write out your tags in your blogs search bar - Click a tag, the page should change to all your post with that tag. you're going to copy the URL and hyperlink that to your navigation post (for example here what mine looks like: https://www.tumblr.com/pleasanttaleswithkaityb/tagged/pleasantview%20legacy) - Repeat for each tag you plan to use.

Step 5: Design and Layout

Make your navigation page visually appealing:

Use headers to denote different sections. Consider adding icons or images for visual interest. Keep the layout clean and readable.

Step 6: Publish and Promote

Once you’re happy with the page:

Make sure to publish or reblog your new navigation page in a post to inform your followers.

Step 7: Maintenance

Regularly check your navigation page to reflect new content and ensure all links work. Now, anytime you tag a post with your hashtags, that link's thread will automatically be updated!

Tips:

Keep your audience in mind. Use clear, descriptive titles for your links.

Update your navigation page regularly as you add new content.

Encourage feedback. Ask your followers if they find the navigation page helpful.

Feel free to customize this guide to match your blog's specifics and needs. Let me know if y'all have found any of your own tips & tricks for creating your navigation system! Happy simming!

@bambiwhims - Hope this helps :3

[am-i-the-asshole-official]

I am I the asshole for telling someone what they were doing was "mean spirited and cruel"?

(submitted this a while back but was never posted - don't know if tumblr ate it or if it broke a rule, but i'm sorry if its the latter)

My complex has a facebook page where residents can post questions or concerns to other residents. One day a woman posted asking if we could move the food bowls where people feed the feral cat colony that lives near us because when she walks her dogs they always lunge at the cats; she had just had surgery and it hurt when they pulled on the leash. Someone responded saying they had moved the bowls down and that seemed like that.

Two days later she posted again saying that our "kind and caring neighbor" (her) had called someone to come pick up the cats. From another comment on the post it seemed like she had talked to someone IRL who was rude and basically told her "I've been feeding the cats for 10 years fuck off" and then called animal control immediately after that.

This felt really petty to me, and I posted saying that calling animal control on the cats was "mean spirited and cruel". I explained that almost all feral cats taken in are put down, and that she was making a decision about the community's cats without consulting the community. I added that I was sorry she had been hurting since her surgery, but that there were other steps she should have taken before this.

She responded that I needed to have more compassion for her as she herself was very compassionate and caring person. To which I responded that she should then extend that compassion to these cats that had never hurt anyone. (Seriously, they just chill around our complex and eat rats – they’ve never scratched or bit any person or animal)

She responded that they hurt her “fur babies” everyday because they make her dogs pull at their leashes and choke themselves. She then went on a rant about how she didn’t understand why people weren’t respecting her anger and that since she lived here she had a right to want the cats gone. She also mentioned that calling her “mean spirited and cruel” had racial connotations and that I wouldn’t call a white person that.

Important context, I am a white woman – up until this point I had not realized that she was a black woman as this argument was in a facebook group and the pictures were small. But it is very possible this is something I saw and internalized without consciously recognizing it.

I was really thrown by this, and just replied yes, I would and that I’m sorry it hurt to hear, but that is what her actions were. (Which, yeah, nobody ever not in the racist category uses the ‘I’d say that to anyone!’ excuse, but I truly didn’t know what to say). She continued to respond to my comment saying how I was a pitiful person if I’d really call anyone that, and that I hadn’t addressed any of her other points.

More people where commenting at the same time on this post, and while she responded to all of them my “mean spirited and cruel” comment apparently really got her because she kept bringing it up in arguments with other people. She really felt that people were being unjustifiably angry and mean to her for something she thought she had a right to do.

It also came out that she had apparently posted complaining about the cats the day before but it had gotten so out of hand the post was deleted before I could see it. She had also gotten into several arguments IRL with people feeding the cats. This explains why she felt so ganged up on I suppose – though none of this I knew before replying.

The next day she specifically made a new post calling out racists in our community and tagged me and few other people (even other POC) who had disagreed with her about the cats. I didn’t respond, but fairly quickly that and the post from before were deleted.

I’ve been really trying to think about if my internalized racism did unknowingly influence my actions, but I honestly keep coming back to the fact that I think I would have said the same to anyone who tried to get a cat colony killed because her dogs try to attack them.

Also for those curious – the cat colony is still here! It turns out removing a cat colony from their home is actually considered animal cruelty and is illegal in this state

What are these acronyms?

[canonkiller]

Hi, I'm trying to do art commissions, but no one has commissioned me yet. Do you have any advice for attracting customers?

I wrote a lot of words for you in hopes that at least some of it will be helpful, so I'm putting the bulk of this answer below a read more to save people the scrolling. The quick and easy two tips that I find people forget to do the most are:

Is your art easy to find? Having a pinned post with a tag for your art, a link in your bio, or an art-focused / reblog-light blog (like this one!) make it so that people know you draw, and knowing you've been posting art for a while makes you less likely to be a scammer.

Is your commission info easy to find? People can't buy things that they don't know you're selling; clear and accessible links to your prices and terms are important.

Now for the real bulky meat of advice giving, where I say a lot of words that may or may not be relevant:

I have a lot of advice, but I do want to say before getting into it:

A lot of selling art (especially in a non-industry setting, like with social media commissions) is luck.

There is no one size fits all method for selling art, and it's best to go with what feels right to you (I'll go more into this later)

Tips for selling are not necessarily tips for creating, and there will be advice in here that I don't apply to myself. Determining what you do and do not implement is something you should decide for yourself and your work flow.

Your art not selling doesn't mean nobody cares about it.

Personally I think the idea of intentionally curating a single subject demographic of Customer and Consumer for your work is limiting and doomed to burnout in a non-industry space. I will also touch more on this later.

Now for the rest of it in varying orders:

✨ Attracting Customers

This one is going first because you mentioned it specifically. It is kind of vague though, by nature of the term, so what I advise doing is specifying.

When you are thinking of a customer, are you trying to appeal to:

People who will buy pre-made art products? (Pins, stickers, prints, etc)

People who will buy custom work? (Commissions for specific subject matter)

People who will buy art resources you've created? (Fonts, bases, texture packs, 3d models etc)

There's also frequency: a repeat customer of custom art will usually be appealed to more by a wide range of options (like illustrations), while you might get more single-purchase customers if you only offer a limited range of options (like only icons).

Demographics also, of course, play a substantial role in just custom art commissions; furries get lauded as high spenders, but they're also a huge community that is focused around OCs, so by statistics alone they will have more people with spending money and will be frequent customers of people drawing OCs. A narrower audience means fewer people, but often the spread of the people within that audience is the same - and at the end of the day, selling an art piece only requires one other person, it's just a matter of happening to find them.

The follow up question is of course the finding: the average artist in fandom spaces selling commissions does not have the platform or budget for an ad campaign. This, however, is also its own category:

✨ Posting Online

Right out the gate: anyone who has told you that just drawing x thing is the way to get easy money is wrong.

"If you draw more fan art, you'll -" wrong.

"Nobody cares about that, you should be drawing this instead -" wrong.

"if you need to sell fast, just sell porn -" wrong. And also re-evaluate your perceived lack of quality or value about the subject.

The things you will be able to create easily and consistently will be the things YOU, SPECIFICALLY, like to create. It is also entirely impossible that you are the only person on earth to have ever liked those things, which means that if you create them, there are people out there who will enjoy them.

It feels itchy to be like "and those people are Potential Customers", but it is true; your work will resonate with people. They will want you to create it. It is vitally important to your own well being that the things you create, that you want others to enjoy, are things you enjoy as well.

(This is also why the "just draw porn" joking advice that gets tossed around is particularly fucked up. You as the artist should not feel forced into drawing things you aren't comfortable with, and the vast majority of customers for explicit content also don't want the people making it to feel forced into doing so. It's basic consent. I have strong feelings about this.)

If you are creating things and putting them out into the world, they will find an audience. That audience may be one singular person! The number does not matter, because that's still a person who - again, sucks to frame ig this way - has the potential to buy things from you.

If you're constantly chasing a bigger follower count, more interactions, etc etc for the future, it can genuinely be pretty taxing on the people who want to support you in the present. When you enjoy someone's work, and want to support them, being told constantly that that support is not good enough is frustrating. Trying to follow your work should not lead to seeing more "likes are WORTHLESS and NOBODY reblogs my things" posts than it does art. You are a person making things to share with other people, and you have to remember it or you will burn yourself out into a desiccated husk.

TL:DR consistency is key and the easiest way to be consistent is to just draw whatever the fuck you live drawing in whatever ways you want to draw it, and then slap it on the internet somewhere and Keep Doing That

✨ The Actual Commission Information

this one is just factual really. A lot of artists have really shitty commission sheet layouts, because advertising graphic design and illustrative art are different skill sets. That's fine. You don't have to remake the wheel. A good commission sheet should include:

More images than text (if you can't see what the examples are when zoomed out, you have to rearrange or cut down on words)

Examples organized by price / type, and clearly labeled

Your personal favourites for examples - one really strong example piece is better than twenty tiny images of work you think is just "okay"

Contact information - having a method that works WITHOUT a social media account (email.) Is important and way easier to keep organized, imo

A SIMPLE list of strengths (the things you draw the best) and things you won't draw (common example: mechs). You do not need to list every fandom or subject matter. Limit yourself to a top five.

A clear and easy to type link for your terms of service. Carrd, and sites like it, is good for this. This will go into details about your process, what you will and won't do, permissions granted to the commissioner (like "no, you can't make an NFT with this"), your privacy policy (saying you won't sell commissioner details to third parties), and other stuff. You do not want to have all of this on your original post, because it should be thorough and you want your main post to be showcasing your work and not your legalese. Here's mine as a reference; if you have trouble writing your own, feel free to copy from it and make the necessary alterations for your work.

✨ There Was More I Was Going To Write But I Forgot

I have a different document of commission related talk here, which is also incomplete but in a different way. It's in my nature. Hopefully some combination of this and that can be useful to you. Sorry if they're not. I love you have a nice day

[lizzybeth1986]

Drake and Kiara: When You're Fucking Racist

Series - TRR's Alternative LIs - The "Romances" that Didn't Happen

Previous - Hana and Madeleine: When You Reward Your Favourite Bully with One of Her Victims

A/N: Again, apologies for the length. There was a LOT to unpack in this one!! I'm really, really not going to be nice to Drake here. It was harrowing to go through a lot of these scenes again and I honestly don't have the patience or inclination to sugarcoat any of it.

CW: Mentions of gun violence and minimization of trauma. Mentions of racist fan vitriol towards a black character. Examination of the Jezebel stereotype.

Whenever I think about how unhinged the hatred towards Kiara (and especially towards Kiara's attraction to Drake) was, a specific edit comes to mind.

On the surface, it looks quite simple. Kiara in a white wedding dress, Drake right next to her in his blue formal suit. Both of them are smiling at the viewer. The background is a beautiful forest, and the entire picture is bathed in a lovely, muted sepia tone. A sweet, simple wedding scene.

The caption underneath this edit?

Classify under things no one asked for.

Kiara's dream come true!

The tags read "#i barf a little looking at this" and "#i must post to share the suffering". You find out in the comments that the OP created this edit inspired by one of the many fics where Kiara was Drake's stalker, and intended to make her creepy and deranged (but ultimately failed).

The comments are...tbh, things that this fandom has long since normalized and shrugged at when it comes to Drake stans. Multiple puke-face emojis. Multiple gifs signaling disgust. One stan even equates the ship name (Driara) to the word diarrhoea.

"She looks very stalkeresque and white "I drugged Drake so he's marrying me" wedding ready!"

"Well it's close to Halloween so we should expect scary shit"

"THAT is why I made that bitch my Maid of Honor...so she got the message LOUD AND CLEAR...it ain't NEVER gonna happen honey" (right below a barfing gif)

I wish I could say this example of Kiara hatred was the worst of the lot, or even the only one. It wasn't. I'm not sure even an entire essay would be adequate space to explore the sheer levels of vitriol, hatred and double standards dumped on this one character.

Until now, we've seen examples of alternative LIs that were treated with respect. With adulation. Often with kid gloves in case we hurt their poor lill fee-fees. Up until now, no matter what an alternative LI may have done, the LI matched with them wasn't allowed to treat them badly, nor was the MC able to get away with hurting them without punishment.

But in this series, Kiara was, is, and will always be an anomaly.

The Jezebel Stereotype

In most media, black women in particular tend to be subjected to a variety of stereotypes that often have serious, real-world implications. The Mammy, the Sapphire (that over time evolved to what we now know as the "Angry Black Woman" stereotype) and the Jezebel, being the most prominent ones among them. In this essay, I will be focusing specifically on the last.

An article in the Black Then website explains the definition and history of the trope this: "The portrayal of black women as lascivious by nature is an enduring stereotype. The descriptive words associated with this stereotype are singular in their focus: seductive, alluring, worldly, beguiling, tempting, and lewd. Historically, white women, as a category, were portrayed as models of self-respect, self-control, and modesty – even sexual purity, but black women were often portrayed as innately promiscuous, even predatory. This depiction of black women is signified by the name Jezebel."

So it isn't altogether uncommon to see stories where black women are juxtaposed against "pure", "innocent" white/white-passing women, and viewed as lesser. PB hasn't exactly escaped these stereotypes in their stories either - though there are a variety of characters and character types, we can't deny that there was a time when a black woman was made the antagonist, often in ways that were meant to measure her up to the MC/another white woman to her detriment.

(VoS screenshots from the HIMEME YouTube channel, ACOR screenshots from Vika Avey's YouTube channel)

Two very prominent examples of PB using this trope are Scarlett from VoS, and Xanthe from ACOR. There are other black women who serve as antagonists but in a more professional space, but these two particularly are measured on their attractiveness, sex appeal and "purity" in the narrative in comparison to either the MC, or someone close to them.

In VoS, Scarlett Emerson and Kate O'Malley are the sisters of the two male LIs (Grant and Flynn), but their treatment couldn't be any more different. Scarlett's role in the book is pretty short-lived. She's very prominent in the first half of the book as Kate's potential MOH who secretly hates her, before it's revealed in Ch 5 that Tanner was cheating on Kate with her (and that she'd loved him since she was a child). Notably, in that very scene, the MC places most of the blame on Scarlett (rather than on Tanner for choosing to betray his fiancée) by labelling the act as her seduction of him.

Thereafter she is either only mentioned, or has blink-and-you-miss-it appearances in one or two chapters. We see her in the "memory" portion of the bonus scene, but we are never shown what her future is like (even as minor characters like Miss Harleney get one!). Her bonus scene shows us how her bracelet ended up on Tanner's boat, and it is an uncomfortable scene to get through. Tanner berates Scarlett for having sex with him a week before his wedding, but it is she who points out that he asked her to come there! Yet the MC and others view her as the temptress who "seduced" Tanner, as if the man had no mind of his own.

The narrative often juxtaposes her with Kate, the pure, innocent, sweet fiancée (and she actually is! No pretence there) and the fandom lapped it up. There were many demands for Kate to be upgraded to LI status, which eventually resulted in PB allowing us to marry her if we chose. As I mentioned earlier, both Scarlett and Kate are sisters to two of our LIs - but one is made an LI, while no one bothers to even imagine what the other's future entails.

An even worse fate greets that of Xanthe, the sole female antagonist in ACOR. The slut-shaming and disgust over her overt sexuality is far more blatant here. And it is extremely ironic for Xanthe to be viewed in this way, because the MC herself is a courtesan and uses wiles to get men to do her bidding. While Xanthe herself is not perfect by any means - she is depicted as xenophobic and callous, going as far as to mock Syphax when he is sent away to a possible death as a gladiator - the MC's targeting of her goes beyond just her "righteous indignation" and develops into a form of hypocrisy. She has no qualms mocking Xanthe for her direct approach or her skimpy red dress (even though the MC herself wears a skimpy red dress and can seduce a man in a temple not too long after).

The end Xanthe meets is horrific in its implications - the black matron of her scholae (who began by promising the MC herself that "you need do nothing against your will") sends her away to sexual slavery in Sicily, while the black man who was one of the few bastions of morality in the book, escorts her, smiling, to the ship that will take her there. As far as the narrative is concerned, the end was well-deserved...even though PB has had no issues allowing white women to do far worse without any punishment.

We cannot view what ACOR did with Xanthe in isolation. They had built up to it early on - from the MC's reactions towards her, her patrons' dismissiveness of her, the MC's LIs' viewing her with derision and zero respect. The MC - despite her own unscrupulousness - is viewed as the "noble whore" to Xanthe, yet it is clear on even a surface read that there is not much difference between the two women.

The Jezebel stereotype, ultimately, is about dehumanizing the black woman it focuses on, so that her actions and choices are viewed as deviant from what is "normal" - feeding into either responses of disgust and derision, or a desire to objectify her. To some readers, it makes whatever awful or comparatively unfair end they meet, more palatable. Scarlett and Xanthe are not viewed as people by the narrative - especially not the way the MC of their books or even white female antagonists are. No one cares for their backstories, coos over their losses, wonders if they are okay. When they meet their inevitable end, the characters and so many in the fandom alike just shrug and move along.

How does a character like Kiara fit into this? Her smarts and linguistic talents are her most prominent traits, and while she does have feelings for Drake, she never really acts out-of-pocket towards him (more on this later). So at least from what we see in canon, there's very little about her that seems to apply to the Jezebel stereotype. Yet, the fandom is not only inclined, but eager, to view her as one. Kiara's feelings have been viewed in a far more predatory light, perhaps more often than any other female character in the series. Why is this so?

A response I have often seen - on reddit, on Kiara's wiki page, at times on Tumblr too - is how there is a "certain something" about Kiara that people "just don't like". Many players who prefer Penelope to her are often very aware of what she has done, but still insist they like her far more than they do Kiara. On a reddit thread about questioning the logic of having Kiara and Penelope as options for the MC's MOH in TRR3, certain players commented thus:

"I don't know why, I just dislike her a lot. Penelope is fine to me, but Kiara irritates me." (said commenter is an Aerin stan)

"I liked Penelope, I thought she was nice. But Kiara got on my nerves."

In her book, The Sisters Are Alright, Tamara Winfrey Harris makes an eye-opening (to me at least!) observation about how misogynoir works:

"Misogynoir, abetted by dehumanizing caricature, is like water. It fills its vessel, taking many forms, and then overflows, creeping unnoticed into the cracks of things, rotting the foundation. It spreads a belief in Black women’s inherent wrongness." (Italics mine).

Now of course, if I were to ask the current fandom, they would come up with a range of reasons. Some that emerged from fandom myths and became more popular than the truth in time, some from PB's excessive pandering to players that hated her. But the root of it all is in a certain "je ne sais quoi" that makes her automatically unappealing, resulting in those readers leaning towards misreading or misremembering her scenes, misrepresenting her motives, or watering down the impact of worse actions from whiter women. It results in a group of writers (who have thus far gone to the extent of retconning the worst of a white woman's actions just to make her look good) leaning into such readings, even when they're not true.

TRR1 Kiara: Pragmatic Courtier or Backstabbing Snake?

"Kiara is fake", "Kiara is a snob", "Kiara is self-serving", "Kiara promised to be friends with us but dropped us like a hot potato the moment we became unpopular". These are some of the most enduring takes about Kiara in the past few years, and readers who say this usually bring up a vague recollection of TRR1 and 2 as proof. Mostly that "Kiara was our friend" in the first book, and left us hanging at the beginning of TRR2.

Is that reading based in fact, though? Let's take a look at TRR1!Kiara and find out.

We are introduced to Kiara (along with Penelope, and standing next to Hana) in TRR3 when we meet Liam's other suitors. Olivia introduces each woman differently, and the descriptor she uses for Kiara is that she is the "daughter of a diplomat and fluent in ten languages" (note: Kiara never boasts of her linguistic skill, Olivia does. Nor are there any scenes of her looking down on anyone who doesn't speak her mother tongue French, unless of course you accidentally ask her to sleep with you).

Both she and Penelope note immediately that the MC doesn't quite fit in - if the MC questions the women about being allies with Olivia, a woman who calls them "harpies", they view that as an overreaction. When the MC tells the ladies at the Derby about getting lost, Kiara finds her tardiness and inability to fit in, a sign that she cannot keep up with the competition. Until the chapters in Lythikos, Kiara's and Penelope's characterizations are almost interchangeable, personality-wise. It is likely the team envisioned them more as European nobility rather than specifically Cordonian (based on Olivia's introductions), and they are both depicted as poised, refined and aware of their place in court.

It's in Lythikos that Kiara, at least, begins to show a more distinct personality (for Penelope it's after the Regatta). Unlike the rest of the court, who watches Olivia's unwanted kiss on Liam with either mild shock or disinterest, Kiara is angered by what she sees as a very obvious power-play - which gives the MC the opening she needs to gain an alliance.

Now this "alliance" scene of Kiara's is interesting, for two reasons. One is that fandom often uses this scene to establish her "double standards" in TRR2, claiming that Kiara opted to be friends with the MC. Yet nowhere in the scene does the MC or Kiara ever suggest a friendship with each other - they both agree to an alliance. Furthermore, this is an arrangement that benefits the MC more - there isn't exactly anything she contributes (or is expected to contribute) to Kiara from her end. Kiara's promise is that she will put in a good word in the MC's favour, and she upholds that promise throughout the social season.

Another is that among the courtiers, Kiara herself is the first person to identify and respond to the MC's potential if she shows it at the Derby and the tea party (though Hana is also a courtier, I view her strictly as an LI in this context - since her support is by default and is founded on a more emotional basis). Not many nay notice this, but there is a distinction between how Kiara responds to an MC in a successful play vs a failplay...in a way that none of the other suitors do. Take note of the screenshots below:

The top two pictures in this collage are dialogues that feature by default. The bottom two, however, are dependent on branch-coding. They only appear IF the MC has managed to win the approval of the King, the Queen and the press. If you don't succeed in the same, she will not mention your performance in the social season at all, nor will she say anything about the value of your alliance.

That is a far bigger deal than most players of this series realize. It means that Kiara has been watching us closely, and has understood our potential over the course of just three court events. Only two other characters are shown tracking our progress this way: Bertrand (who is our sponsor, so he has to keep track) and Queen Regina (who can guess already her stepson's feelings for the MC, which automatically makes her a person of interest). For Kiara to understand the MC's capabilities, and to openly admit she has potential this early in the competition - it takes a high level of rationality, honesty and pragmatism to come to such a conclusion. Unlike Olivia (who lashes out in jealousy at the MC), Penelope (who has to be told why exactly it's good to have allies), and Madeleine (who dismisses us as competition until it's too late), Kiara actually views the MC with a discerning, impartial eye and an objective approach.

So on the surface, it appears as if Kiara is written by a team that likes her! You could almost be convinced that they thought she was cool but were forced to pander to "crazy Drake stans" in their writing later (which is an argument I have heard often). After all, she's established as beautiful, skilled, smart and observant. You wouldn't do that for a character you don't like, right?

But even as early as TRR1, a disdain for Kiara creeps in from the writing that you rarely see for any of the others.

This is especially apparent when you look at how Kiara's proficiency with language is spoken about. It is supposed to be her most visible skill - Olivia identifies her by it, we see her peppering her English sentences with French words (of course, many may argue that she doesn't exactly sound like an actual French person...but let's remember that her writers aren't exactly very used to the language themselves or interested in doing extra research for authenticity!). As we approach the end of the first book, there are at least two dialogue options that result in people doubting her abilities or mocking her for speaking only English and French most of the time.

In TRR1 Ch 16, Madeleine optionally speaks to the MC over phone (believing her to be a reporter taking her interview) about her thoughts on Kiara. Kiara's tendency to speak mostly in French and English is supposed to be a sign that she "exaggerates her accomplishments". Mind you, this is from the same woman who claims to be the best choice for Cordonia despite her poor strategies and her antagonizing potential allies during the engagement tour (TRR2); who complains if the MC doesn't compliment her for mediocre work as a press sec (TRR3). The MC can also choose to diss Kiara in a similar way, treating Kiara like she is a circus performer and her skills as if they are meant for the MC's entertainment. The only solace I could derive from this dumpster fire of a dialogue option, was that Kiara managed to shut the MC up with her multilingual response.

No other time are we allowed to call a courtier's abilities and skills into question. The MC accepts on faith that Olivia is a badass with great fighting skills. Same with Penelope's ability as a seamstress. The MC is never even allowed to have legitimate complaints about Madeleine's work as press sec, besides maybe that she could "be a little nicer". So the fact that the writers not only have other characters doubt Kiara's talent, but also allow people to mock her about it in all three books...is really something.

Another possible indicator of this disdain is the fact that Kiara is the only suitor who never gets a chance to actually interact with Liam on-screen. Even Penelope, a fellow minor character, can approach and talk to him twice...and her gift to him is shown in Ch 18 whereas Kiara's and Hana's aren't. Despite the fact that Kiara is a potential suitor, the story never allows her to interact with Liam. She doesn't exactly have any interactions with Drake in this book either, but honestly nor does any other couple have much time together besides Liam and Olivia.

Drake and Kiara hardly seemed to be a possibility back in TRR1. Drake himself didn't seem to associate with anyone besides the MC and the group in the first book (and even with the group his interactions were infrequent). Kiara herself doesn't have many scenes that aren't related to the court or to the competition, even once she is no longer participating. The closest she comes to any sort of association besides Penelope, is a friendship with Hana that begins sometime before the Fox Hunt. Drake and Kiara never actually have any scenes together, or interactions, or references. It is likely that the idea to pair them up was entirely a Book 2 thing.

On a fandom level, neither Kiara or Penelope garnered much attention or fan reactions. They weren't noticed much, nor did you see their scenes too often. Probably that is why it was so damn easy to remember Kiara's entire equation with the MC wrong. Why certain stans of the book were able to get away with misrepresenting the relationship between her and the MC in TRR1, to hate on her in TRR2. I will not deny, though, that certain dialogue choices from PB (like "I thought we were friends!" in the Fydelia scene) may have had a hand in those beliefs becoming the "truth".

TRR2 Kiara - Pragmatic Courtier or Backstabbing Snake (Part 2)

I plan to get into the way the Drake and Kiara angle is framed in canon, but before that it's important to tackle that one elephant in the room - Kiara telling the MC the alliance is over. Because very often, people used this scene (coupled with their misinterpretations of Book 1) as their "justification" to hate her. Often, people would choose the ruder options (such as the Christmas card dialogue) and assume that Kiara was rude by default, rather than as a consequence of the MC's behaviour towards her.

Kiara and Penelope are the first to express surprise at the MC's return (and their reactions are shown as representative of the rest of the court). Kiara in fact is shocked that the MC dared to return (which is kinda warranted! Several people in these early chapters view that as a risky move, a gamble that could backfire on her. That's why Bertrand gets her a press secretary). Their scene with the MC immediately follows the MC's conversation with Liam and Madeleine (and mind you, in the option where the MC can tell her she was set up, Madeleine herself voices disbelief of the same. Conveniently, this is never used as a reason to hate her). Both women let the MC know of their change in status, and therefore the change in their relationship with her.

What gets missed overall, is that Kiara is a lady-in-waiting (which is an actual role with specific duties) to Madeleine, which means her loyalty now has to lie with this woman whether she likes it or not. For her to even agree to approach the MC and explain the situation, is a risk. In at least two dialogue options in this scene, she tells the MC straight-up that they will be in trouble if they're even seen talking to her (this becomes a moot point by Ch4, mostly because Madeleine herself is shown talking to the MC and allowing her into conversations in public, once Hana arrives).

Penelope is often viewed in a better light in this scene because of her obvious friendliness and her sadness at no longer being the MC's friend, but once you have the reveal of her being a traitor, her behaviour in this scene seems wildly disingenuous, and I'm surprised more people didn't call her a fake when the reveal came out. She had to know the allegations against the MC were fake when she rushed to hug her, having been an integral part of that fabrication. It makes her lament when she's caught, in the failplay, ("I can't do anything right. You were never supposed to find out!") that much more chilling. She is eager to have the benefit of the MC's friendship and emotional support, without ever being honest about her role in smearing her reputation.

The other was that - no matter what you may choose to think of this scene - Kiara was placing herself at risk to let the MC know it was over. Approaching the MC was the right thing to do, but what is never spoken about is the fact that it was also a brave thing to do. Rather than ghost the pariah of the court and never give an explanation, she tells her honestly what the situation is, and strives to protect her impulsive friend (who could get both of them in trouble) at the same time.

When you view Kiara's actions from that lens - when you look at the facts - suddenly the claims that Kiara was "fake", "a flip-flopper", "a backstabber", "unscrupulous and self-serving", sound pretty hollow.

TRR2: The Drake x Kiara "Romance" Begins...and So Does the Vitriol

So...an interesting thing about the general reaction to Kiara in the early chapters of TRR2. I was new to the fandom when this book was released. There was an annoyance at Kiara when the first chapter came out, but to my surprise it didn't exactly become full-blown hatred until she started showing an interest in Drake in Ch 3.

This book is often used as a reference by Drake stans when they speak of Kiara as an obsessed, stalker-type, sex-hungry woman - often in contrast to their "pure", "innocent" MCs. Basically...the Jezebel. But the five scenes we see of this ship in the book itself tell a completely different story:

1. Drake Helps Kiara Lift A Heavy Beam (TRR2 Ch 3)

Chapter 3 is perhaps the first time we see an indication of Kiara's attraction to Drake on a physical level. The scene takes place at the barn raising, but only if we choose to stay with Drake over Hana for the barn raising activities. Kiara shows up in a rather pitiable state - her friend Penelope abandoned her for thirty whole minutes, leaving her to lift incredibly heavy beams alone. Drake helps Kiara and mildly chides her for not asking for his help, and Kiara stares at his bare chest, mesmerized.

She isn't exactly alone in this - the MC herself ogles at his bare chest at one point (if we go by the lines in the narrative that read "his muscles glisten in the sunlight" which is def from the MC's PoV). This scene was meant as fanservice for stans who wanted to drool over Drake's physique for a bit, and belatedly build up an alternative (at least for all three male LIs, they were trying to do this in TRR2).

The MC can either point out Kiara's obvious attraction towards Drake, or suspect her of being part of the plot. This will not be the last time the MC or the group will view her with suspicion, with little to no basis in fact. In the option that calls attention to Kiara's attraction to Drake, she is shown covertly sneaking a second look at him. Drake is shown with a visible discomfort at even the idea that Kiara could like him, one that only the MC notices considering she is working in proximity with him.

The reaction to this was instantaneous from several Drake x MC shippers. One or two glances at Drake's chest was enough for Drake stans to begin typing posts in capslock, screaming "BACK OFF KIARA HE'S MINE". The excuses given at the time were that the MC didn't get much opportunity to romance him (Drake was trying to refrain from kissing her in Ch 2 because he felt guilty), and largely-inaccurate judgements of Kiara's character. Jealousy of this kind is sometimes seen as the norm when you have a popular ship and a third angle is created, but this was about to take form in some...very disturbing ways in later chapters.

2. Kiara was Once Savannah's Friend/Kiara's long-standing crush on Drake (Ch 4)

A misconception I often see in the fandom (particularly in relation to how Kiara's feelings for Drake aren't given the same level of consideration that Olivia's for Liam is) is that Olivia's are "more genuine", and Kiara's are "mere lust" or "only physical" and this is probably why she's not given as much respect as Olivia was. Even though, tbh, Kiara was far, far more respectful of Drake and his personal space, than Olivia was of Liam in TRR1.

Leaving aside the obvious problems with that train of thought (viewing sexual feelings as "lesser" just because they're not rooted in some intense emotion), this is not even true, and the first part of the Driara garden party scene is proof enough. Kiara says, straight up, that Drake had been "such a good friend to [Liam]. It's part of why I always liked you." (Bold mine). If the MC voices doubts about this (likely incorporated for readers who would question it as a retcon...and it was a retcon since they didn't interact in TRR1), Kiara tells her that she doesn't wear her heart on her sleeve, which actually matches her practical approach to most things. In fact just a few scenes earlier, when the MC questioned her about wanting a husband (when she'd mentioned earlier about wanting to join the ministry), Kiara informs her that it would never hurt to have both. So it makes sense for her character if she's someone who kept her feelings for Drake a secret, especially while in a competition for winning the Crown Prince's hand. But we cannot, in any honest capacity, claim that Kiara's feelings for Drake weren't deep enough, or lasting enough, or genuine enough. At least based on the evidence we have.

Another point this scene brings up is Kiara's friendship towards Savannah. Up until this point, the only people who did reference her were Olivia, Drake and Maxwell - and Olivia's mockery of especially seemed to imply that the ladies of the court weren't very nice to her. Kiara's account is very different from this, and actually quite affectionate ("she was one of us", "she was coming along so well in learning French"). It's not the closest friendship, but Kiara did care enough to tutor her in the language and clearly missed her. It is possible that this scene was positioned to both build up to the alternative romance and foreshadow Savannah's presence in Paris. There is a lot more that could have been done with this angle, but perhaps that is a discussion for another section.

3. Never-Have-I-Ever (Ch 9)

This is a small option in a drinking game - the MC can get to say "never have I ever had a crush on Kiara", and loses, because Drake says she isn't his type (ironically he claims he isn't her type in the next chapter). It's interesting that he does consider her as not as bad as some of the others in that group.

3. Flirting with Drake in Paris (Ch 10)

For five chapters, we don't see any more hints of this romance. We see Drake in plenty, and we see quite a bit of Kiara. But none of it shows them together.

Kiara's scene with Drake at the tea party, is in some ways a continuation of his diamond scene with Savannah. He knows now where his sister is and what her big secret was, but this scene is where he realises how little he actually knew about her, if even her "noblewoman friend" knew she had intentions to go to Paris and he, her brother, didn't. This scene also takes place at what I call a "rest period" in the story - the group has just come out of a high-intensity altercation with Bastien, and it is one chapter before the major reveal about Constantine. So the MC can relax a little, some of the loose ends of previous stories can be tied up, and we get a vibe check on at least two alternative ships.

Drake is rather civil to Kiara in this conversation, mostly because he's trying to get information about his sister out of her. There isn't much he contributes besides this - it doesn't seem to matter much to him that Kiara was a rare friend among the court to Savannah (tho TRR3 would later retcon this), and when she talks about herself he doesn't pay much attention. Kiara does make an attempt at a light flirtation which goes largely unnoticed.

The MC's response when she first sees them goes three ways - a neutral comment about the petit-fours, a "matchmake-y" comment that points to them that they "look cozy", and a "jealous" comment about interrupting them. The third one especially results in Drake inadvertently confirming he doesn't think of Kiara in a romantic light, and Kiara appearing disappointed. Remember, at this point she doesn't see much evidence that Drake and the MC romancing him are an item.

The follow-up conversation with Drake, too, follows along similar lines. The neutral comment just asks him about the information he gathered from Kiara, the "matchmake-y" one points out she has feelings for Drake and the "jealous" one is... something.

The third response is very obviously crafted for the more possessive Drake stans to get satisfaction from dissing Kiara, perhaps in a more aggressive way than the Maxwell stans could. While the Maxwell MC can pass an insult or two to discourage Penelope, the Drake MC will go as far as to tell him he belongs only to her, and can threaten to "push her into the petit-fours".

Ironically, this scene follows a scene with Olivia about her lingering feelings for Liam - and Olivia's grief, the MC's clear sympathy and Liam's concern for Olivia are all by default. There is a certain level of sensitivity the Liam MC is required to have for Olivia that is never once expected of the Drake MC, and that plays out in very dangerous ways in the next book.

This scene, again, brought forth rather violent reactions, and in fact the language of the MC's responses itself seemed to encourage that kind of response. A poster later compiled an entire set of these responses ranging from mocking, to "back off, Kiara!" to straight up demands for murder (I couldn't link to this post because the names of the people involved were included in it, but I do have quite a few of those screenshots for reference).

After this point, you don't see any more scenes where Kiara actively flirts. In fact for most of the second half you see her and Penelope very rarely. So it does feel really wild in retrospect that "obsessed Kiara" became such a popular interpretation, after one checking-out scene, one flirtation and one rather sweet and genuine compliment of him as a person.

4. Pranking Kiara (Ch 17)

A pattern you would have noticed by now is that there is a bit of a mean streak in Drake for Kiara that is either very dominant or latent, based on whether the MC tries to encourage him, or shows jealousy towards her.

And this isn't necessarily an indicator that he can never be interested in Kiara. A distrust for nobility is almost a norm for him at this point, and let's not forget that Drake's first few interactions with the MC too didn't exactly leave her with the best impression of him either. Kiara initially being on Madeleine's side at the beginning of the story could be a factor in some level of disdain too. Such complications could - in a good story - add layers to a potential romance in the future if that was the direction the writing was going for.

Around the MC who doesn't mind them as a pair, he shows a small sliver of an inclination towards Kiara herself. His response if the MC points out that Kiara was flirting with him (Ch 10) is that he doesn't believe he is Kiara's type, not the other way around. In this scene, a drunk Drake who is encouraged to write a "nice note" to her as a prank, can write "your hair is pretty and your French is totally not stupid". Both of these lines present a sign of a possibility that a romance could happen. His behaviour when an MC casually hints at this possibility, is of someone who may like this woman deep down, but show it in very strange ways (akin to the age-old metaphor of the "boy who pulls the pigtails of the girl he has a crush on"). They wouldn't have even needed to show his responses in this way if they weren't trying to hint at a possibility.

His response to a "jealous" MC is to delightedly bask in her possessiveness of him, and to go hand-in-glove with her as she insults or suggests violence on Kiara in any way. Now one could perhaps headcanon this as a behaviour that comes from being unused to female attention focused on him, coupled with his affection for the MC - but when you take into account his behaviour towards Kiara herself in TRR3 as well, there seems to be a blatant lack of consideration or compassion towards her as a human being. Compare this, again, to the way Liam's behaviour towards Olivia is written in canon, and interpreted by the fandom. Liam is expected to be kind to her, even if he's clueless about her feelings or if she is harming him (eg. Even when she kisses him, he cares enough to opt for a reaction that will not publicly humiliate Olivia).

Not so for Drake. He is very happy to follow in the MC's lead, even in hurting Kiara. And in this scene, he pretty much kickstarts it with the suggestion of a prank.

Drake knows where Kiara's room is (thanks to a nameplate on the door, and the familiarity of the hallway, which he likes for the view outside) and wants to prank her. The MC can either accept or refuse. If she accepts, there is one nice option, and two distinctly mean-spirited ones. The first proposes to mess up her book organizational system, and the narrative describes the attempt as "ruining any semblance of order to Kiara's bookshelves". These are materials she likely requires for her career as an aspiring diplomat, or even books she uses to update herself on the world. But to this MC and Drake, her work and interests are little more than a joke.

The second one is not only aggressively mean - it also is an attempt to ruin her personal space with her personal items. Going by the array of haircare the narrative mentions, maintaining her hair is very important to Kiara (I am not equipped enough to speak about black women and their relationship with their hair, but this option did make me very uncomfortable, because of the little I've seen on how essential regular haircare and good products can be for many black women). Not only does the MC suggest using all that product to render Kiara's bed practically unusable, she also insists Drake waste the full bottle of said product. Because, yknow. "It's a prank. Go big or go home". Drake has one moment where he tries to be less mean in this option (when he attempts to use less of her hairspray), but the moment the MC encourages him towards a crueller direction he does not hesitate. In fact, when the MC first suggests this option, he regards her with something approaching awe, and praises her as "an evil genius".

There's a mean streak in Drake here no matter which option you choose. If you do go for the nicer one, he complains at first that it's not exactly a prank and in fact does claim that they "could still put glitter in her cupboard" as an alternative prank. But the other two options encourage the player to give full vent to whatever underlying frustration/enmity/hatred one could possibly have against Kiara, goading a drunk Drake to be merciless towards the things in her room, in her absence.

Maybe, perhaps, one could just view this as a "fun vent" for the "possessive stans". It allowed the Drake MC and her LI the chance to gang up on her, mock her and cause her discomfort through things that were clearly important to her, treat her like the butt of their joke, and get away with it. When you encourage that kind of hatred with your writing, it can go into some very dark, disturbing places. And it did, especially in TRR3.

The overall response to this scene didn't show much, since it was just one small sequence in a larger scene - and most of the focus was on the heartfelt bonding between Drake and the MC when he takes her to his "special hideout" and his reveal about his motives behind calling the MC by her surname.

Many Drake stans, however, took note of this specific section, and took their interpretations in a completely different direction. Questions were asked about why Drake knew about Kiara's room - completely ignoring that he frequented the hallway regardless for its view and her nameplate is literally placed outside her door - and several fans suspected the two to be involved in an affair just on the basis of him knowing where her room was. These suspicions, again, would crop up from the fandom in a more dramatic way in TRR3.

5. Drinks at Homecoming Ball (Ch 19)

This scene takes place in the finale, just before Kiara and Penelope apologize jointly to the MC for their comments in the beer garden.

Drake is, quite predictably, at the bar in this scene. In some ways one could draw a parallel between this one and the "bar" scene between him and the MC in TRR1 - the only differences being that the two were alone in the first, and that he and the MC are free to romance each other now. However this time, the two ladies of the court could also communicate with him about drinks, and he could use his knowledge of alcohol to guess their preferences.

The scene with Kiara is, again, written to be both a possible sign of familiarity and a diss (mostly the second, I think). With Penelope he just vaguely mentions cocktails and focuses on the decoration for the drink - with Kiara he is able to name the specific wine even though in TRR3 he has no idea what tannins are. There are ways one could envision that as a sign that he notices more about Kiara than he lets on.

The diss, of course, comes with his claim that no matter how top-shelf the wine is, it will still always be "old grape juice" (which is a very strange thing to say because most alcohols are fermented from basic ingredients be it fruit or grains - where did he think his high-quality whiskey that he regularly carries around in his personal flask came from??).

Kiara's attempt to impress him is pretty obvious, but the diss isn't something that weighs too much on her mind. There are less indicators here of a dejection if he brushes her aside, unlike the scene in Ch 10 - she just looks a bit surprised he could guess the exact drink she wanted. Kiara in this scene is more likely to shift gears to something more important. In this case, that is apologizing to the MC for what she views as poor behaviour that sprung up under the influence of alcohol, and offering her an olive branch (the specific apology is for her asking the MC if she came to gloat, not for telling her the alliance was over at the beginning of the tour. In that scene specifically she feels she has nothing to apologise for, and I'm inclined to agree for the reasons I stated in that section).

The overall pattern for this ship seems to indicate that it's...kinda there in case the MC doesn't want to pick Drake, but I always feel like they focused a lot more on the jealousy options and didn't spend enough time to see what a possible relationship could look like. They do claim later that Kiara's affections were supposed to be one-sided, but the buildup at least seemed to indicate some small baseline of interest from Drake's end, even if shown in some rather bizarre ways. However, because there seems to be very little respect for this character already, having the MC threaten violence and having her and Drake overreact over what were essentially harmless interactions from Kiara's end really does indicate that the writers didn't mind taking potshots at her whenever they felt like it. Like I've said before, the trashfire that was Kiara's treatment in TRR3 didn't develop overnight.

Smart, Skilled...Disliked?: Kiara and the Writing Team in TRR3

On 25th Sept 2023, PB released a two-chapter series on Storyloom called "Choices Secrets", which involved at least three writers (Andrew, Kara and Chelsa) talking about ideas and plots and backstories that didn't make it to the released book. In one section, Kara Loo speaks specifically about the ending of TRR2:

According to this account, the original idea was to kill off Olivia and possibly use that as a segue into the Nevrakis plot of the book, since her aunt and Justin were the real villains at the end of the series. When they decided to keep her alive in the series, Kara mentions finding "more members of your group get injured, like Drake".

Interestingly, Kara referred to "members" in the plural, and Drake is the only person from the core group to get shot. So it's just as possible that the choice to have Bastien, Justin/Anton and Kiara sustain injuries, was made once they decided to do away with the storyline about Olivia's death.

Olivia got spared because her writers cared for her. Kiara was likely one of the people injured in her stead, and probably the only one out of them (except for the one who was the main villain) who wasn't getting a prominent scene that focused on her being a survivor of the attack until some readers protested (the entire intro of TRR3 was dedicated to Drake recieving tender care from the MC, Bastien gets showered with concern and care from Constantine, Liam and optionally the MC. The MC comes to the estate, makes a perfunctory mention of the injury once and proceeds to emotionally blackmail Kiara into joining the tour. Let's not even talk about Lythikos. That shit warranted its own essay). No matter how much you downplay the situation, the truth is that Kiara got grievously hurt in a terrorist attack and her writers didn't think it was important enough to address.

I often wondered in the beginning, why Kiara was chosen for this. A close friend at the time theorized that perhaps it was done to ensure Madeleine would become our press secretary, because there was no way the MC would be considering her for this position if someone less hostile (like Kiara) was around. Another wondered if we might get opportunities to address palace security through the experiences of the survivors. Being a Drake x Kiara supporter at least by the end of TRR2, I wondered whether it was a coincidence that they both were injured at the same ball, and the possibility of the two bonding over such a painful experience.

Well. Boy was I about to be disappointed.

Because why did Kiara have to be so badly injured, if it was going to amount to nothing? If they weren't even going to address it in her own home? If - after even players who didn't care much for her, noticed the silence around that attack - the best you could offer was a scene that followed the MC and her friends suspecting the victim of this attack??

Had I looked at Kiara's narrative treatment (from TRR1 onwards) closer back then, perhaps I wouldn't have expected so much. It would have occurred to me that maybe they hurt Kiara the most, because they cared for her the least. Kiara is viewed as smart, poised, talented. Madeleine even calls her "one of the more competant courtiers" at some point. But that doesn't always mean that the team that writes her deems her worthy of respect.

For one, the writers tend to lean more into fandom perceptions of her in this book, rather than looking at their own canon. Kiara being a snob is not canon - that is ridiculous considering that she was such good friends with Savannah, and her support of the MC when she fits in well. Kiara acting like her linguistic skill makes her better than anyone else isn't canon either - nor is she obliged to speak in all ten languages on a loop just for the MC's or Maxwell Beaumont's entertainment. Kiara being perpetually mean to her best friend is inaccurate at best - she is often frustrated by Penelope, sure, but she spends far time and energy helping her than anyone else in that court.

Yet the narrative gives both these statements as dialogue options for the MC, where she can bitch about Kiara...but somehow only ever allows the same MC to be nice and caring and loving to Penelope - never once reminding her of the hell she'd put the MC through in the past. And because the fandom expected the Kiara-Penelope friendship to focus only on Penelope, PB got away with having Kiara's "best friend" stay conveniently silent as the MC berated her in her own home. The narrative even threw Kiara under the bus in TRR3 Ch 16, in order to make Madeleine look better in Hana's memories of the TRR2 bachelorette, claiming falsely that Kiara shouted at Penelope so much while drunk, that the latter was brought to tears. There is way more energy spent in painting an inaccurate and negative portrait of Kiara, than there is in showing the truth.

For another, the way the courtiers' and their parents' agreement to join the tour is coded...is extremely suspicious. When you compare both a successful and a failplay, you will find that all the parents have the chance to reject the MC's proposal to join the tour...except for one. Kiara's father, Hakim. In a failplay where you purposely do all the wrong things...out of the entire group of people who are still doubtful about supporting you, only Kiara and Hakim join your tour by default, without any expectation of a reward (Madeleine demands her own department after the wedding). They will be a part of it no matter what you do, no matter your failures, no matter how badly you treat them.

Hakim may have joined mainly to confront his old friend the King, but he still stays on even after Constantine dies. The writers made sure to branch-code things in a way that Kiara and Hakim could never drop out even if the MC was awful to Kiara, and never once acknowledged what it must take for them to do that. After Kiara herself had been fucking stabbed!!!!

Joelle, Kiara's mother, and Ezekiel, Kiara's brother, can reject the offer if they aren't impressed with the MC, but out of these two characters only one is viewed with respect - the one they were going to pair up with Penelope.

The narrative doesn't mind letting the MC mock Joelle for her passionate support of the arts if she doesn't win her approval, and her insistence that it is the sign of a thriving kingdom...and they make her sound petulant and churlish in response to that mockery. This despite the fact that in a successful route, she says one of the most profound political statements in the books:

"Hakim and I don't just want Cordonia to remain stable and peaceful. Those are blessings, naturallement, but our kingdom can do so much more than just survive."

In contrast, when you look at the same failplay, Emmeline and Landon are treated with far more respect from the narrative, even though Hakim and Joelle's plans for the country would benefit Cordonia as a whole. Drake looks up to Penelope's parents as an inspiration, especially if he's going to become a duke. Meanwhile Hakim actually acknowledges Drake and his bravery in a way that none of the other dukes and duchesses did, and Drake never gives a shit.

Emmeline can accuse the MC of not taking their situation seriously, if she does a bad job at the polo match, and the MC only has the grace to look contrite rather than lash out at her. Landon himself is never judged for coddling his daughter the way he does. Their focus on Portavira rather than the country is respected, and the MC not meeting their demands is viewed as her weakness, not an overreaction from their end. They never get the snarky responses Joelle gets, where the MC can outright call her "a handful" in front of her own husband.

And then there is the matter of how PB deals with the problems of all the court ladies.

(Screenshots from the Skylia YouTube Channel)

The period of the Unity Tour isn't exactly an easy time for anyone. The LIs each deal with their own shit, and the ladies of the court themselves have their own reasons for being reluctant to return. The entire point of this tour is to address their specific concerns as well as that of their families', because without the courtiers themselves we wouldn't have as strong a court.

In Madeleine's case, we have to talk to her through a diamond scene and then educate her mother on her ways of mourning lost opportunities, among other things. In Penelope's case we are required to give her complete protection and emotional security, for her to even bother joining the tour (there is branch coding where she can refuse to be a part of the tour at all). Even for Olivia - who is already an ally - the diamond scene encourages us to stand up to her aunt, by letting Olivia know that it is valid for her to lean on others for support without being considered weak.

But for Kiara? The best we can come up with, while in her duchy, is some version of - "You're smart. You'd know that if you left now, people will say bad things about Cordonia and then it would be your fault". You either manipulate her, or insult her as being a useless excuse of a diplomat. As I mentioned in another essay, Kiara's comfort is a non-factor. The gap between the care we were expected to give to Madeleine and Penelope, and what we deign to give Kiara in Castelserraillan (which is...well...nothing), is massive. And this gap would only increase - not reduce - in the books to come.

It might seem a bit irrelevant to talk about this, especially when this essay is about Drake and Kiara. But it's important to take note of this inherent disdain the writers had towards this one character - and people close to her. Because it is only too easy to pretend that the writers "got scared of the crazy stans".

Of course the stans had a huge, huge role in this. Of course their vitriol and racism succeeded in bringing about (what I consider) one of the most disgusting dialogue options in this series...or perhaps in any series. But I doubt those "crazy stans" would have gotten this far, without a team that didn't mind being cruel to Kiara.

When the Fandom and Canon are both Heartless: Drake and Kiara in TRR3

As I've mentioned in previous essays in this series, playthrough divergences truly begin in TRR3 (eg. While the playthroughs acknowledge who you chose as endgame by end-TRR2, you can still access diamond scenes through a small tweak that allows you to romance other LIs). And whichever LI didn't get engaged with the MC had indications of a new romantic possibility coming up. These were scenes you wouldn't find in your own playthrough with that LI as your fiancé/e.

Kiara doesn't appear in TRR3 until Ch 7, when the entourage comes to her estate Castelserraillan. There aren't a lot of Drake and Kiara scenes themselves, and I will get into why, section by section.

1. Kiara Greets the Group at Castelserraillan (TRR3 Ch 7)

Many Drake stans - once they found their MCs engaged to Drake in TRR2 - seemed to be practically giddy at the prospect of showing off their newly-engaged status to Kiara, and hurting her through the news. They were perhaps more excited about this than their upcoming wedding.

Well, they got that chance in Ch 7. In every other playthrough, she still holds the same feelings for Drake, and compliments his suit as Drake awkwardly fails to meet her eye. In his specific playthrough, Drake defiantly shows off his relationship with the MC, and Kiara shows a slight wistfulness before she forces herself to be normal then wishes the happy couple well. You'd think that would be enough to satisfy the stans who had been baying for her blood all of the previous book.

A throwaway line about Drake knowing where Kiara's room was, had already raised the heckles of a whole bunch of his stans. Kiara's "wistful look" in her first TRR3 scene somehow added fuel to that fire. Suddenly, you got to see a raging torrent of posts demanding to know if Drake had had an affair with Kiara. Fanfic had already been written about Drake cheating on the MC with Kiara by this point - and some of those headcanons and fanfic hinged on making Drake the innocent/vulnerable one, taken advantage of by this sexy, obsessed woman who would be either a danger to him or would be juxtaposed with the "pure", "virginal", "perfect" MC. Drake would never be the problem here, and none of the stans screaming over the possibility of Drake sleeping with Kiara would dream of blaming him for it. No, Kiara was predatory, Kiara was obsessed, if anything happened between them it would be likely Kiara's fault.

This is where it's important to note, again, that none of the more obvious signs of the "Jezebel" stereotype seem to be used in canon for Kiara. While cruel in her own way, the TRR MC doesn't exactly slut shame her or believe Drake will be unfaithful to her, Kiara isn't accused of seducing (or even trying to seduce) anyone, and she actually places respectful personal boundaries for herself in her attraction to Drake, that she never crosses. She may indulge in a light flirtation with him, try to impress him or simply talk to him - but you will never catch her forcing her sexual attention on him like Olivia did with Liam. Yet in popular fanlore, even Olivia's feelings were often cast in a far more noble light in contrast to Kiara's.

In her essay, The "Offending" Breast of Janet Jackson: Public Discourse Surrounding the Jackson/Timberlake Performance at Super Bowl XXXVIII, Dr Shannon. L Holland explores the historical and contemporary uses of the Jezebel stereotype in depictions of Black women in popular culture and discourse, especially in contrast to white masculinity (which in these contexts, is often viewed as innocent and blameless - and much of the blame lies with the Jezebel figure). The "Jezebel" stereotype "has come to symbolize both a malign, cunning sexual object and an autonomous, liberated sexual agent" - she is at once an independent sexual being making her own choices, and someone who is "incapable" of reining in her sexual appetite...and is therefore often depicted as not only a threat to the "purer" (and often "whiter" or "lighter skinned") woman, but also dangerous for whoever she is "obsessed" with. And we see this time and again in the discourse around Kiara - the fanfic that depicts her in a range of scenarios (stalker, obsessed lover, abusive girlfriend who will break a bottle over Drake's head, at times even descending into murderer to get the man she wants). Which is how we wound up in a position where Kiara even breathing the same air as Drake was viewed as a threat.

It didn't matter that he was flaunting his love for the Drake MC in that playthrough to send a message to Kiara, or that he stayed silent with the others as his wife badgered her into joining the tour. It didn't even matter that Kiara never got a diamond scene the way the two other women did, despite being the most harmed among the ladies. What mattered was that Kiara existed. Her damn existence was the threat.

2. Cheering for Drake's Victory (Ch 10)

Ch 9 of TRR3 was released to players on April 27th, 2018. Immediately after, a mid-book hiatus was announced, mostly to work on some new art (very possibly the red pandas), work on the wedding, and make changes (such as shifting diamond scenes from character-centric ones to LI specific - they'd already started making changes to LI diamond scenes). The book would return 2 months later, in June.

In a livestream before the hiatus ended, the writers had made it very painfully clear that Kiara's feelings for Drake was one-sided. And by that I mean they really emphasized on the one-sidedness of her affection, almost as if to reassure the panicking stans. This would manifest in any future interactions between the two - both in Drake's single and engaged playthroughs - and any hope that such a pairing would even be hinted at was over. But there was one variation that the team had perhaps neglected to edit out.

A small one-word depiction of Kiara cheering Drake when he wins his duel against Neville, joining his friends to praise him. It really isn't much - just Kiara saying "bravo!" before Savannah rushes up to hug him, which is replaced by a scene of Drake himself going up to the MC and passionately kissing her in his own playthrough. What is definitely striking about this depiction is that Kiara was clubbed with his close friends and his sister, rather than the second group of people that largely represented the larger court (Rashad and Queen Regina) who offer their congratulations.

Given the way the writers wrote any remaining interactions between Drake and Kiara, and the fact that this small appearance doesn't really amount to anything, it is possible that this variation was part of an earlier draft that involved other hints, that the writers failed to notice when they put up Ch 10. If they had, I'm pretty certain it wouldn't have stayed in the book.

3. Leaving Court + Wedding Conversations

Remember how I kept stating in this essay that the narrative was going to take their enthusiastic pandering of the "possessive stans" end of the fandom, to some dark, disturbing places? Well, here we are.

Tbh, the writers could have just stopped showing any interactions between the two, or given Kiara another boyfriend if their aim was simply to show that Drake and Kiara would never be endgame. They had done that with Maxwell and Penelope already...oh. I forgot. They actually wanted us to care for Penelope.

Up until this point, Drake's mean streak re: Kiara was present, but not really as obvious as it gets here. PB takes that cruelty several steps further in these two chapters, starting with Ch 11. Ch 11 was fanservice to the people who shouted abuses and "joked" about killing Kiara in every chance they could get. Ch 12 showed this sentiment at its worst, covered it up with enough fluff so it would be harder for people who liked Kiara to notice...and let those players get away with it.

In Ch 11, Kiara approaches the MC and her group to inform them that she is withdrawing from the tour. Drake is the first to respond to this, remaking at the suddenness of the departure. The MC can speculate on a couple of things, ranging from sympathy (that she might be afraid), selfishness (that she is "bailing out" on the MC) and suspicion (that she is hiding something).

In all three options, a pensive Hana expresses sympathy and encourages the group to "reach out". In all three options, Drake will only view Kiara as a suspect.

Mind you - according to Ch 12, Drake is saying this knowing Kiara was injured at Homecoming Ball...and knowing exactly which weapon she was injured with. Aware that she has gone through an event as traumatic as that (if we go by his "just one step at a time" monologue to Kiara), better aware than most how it would feel...he still opts to act like her motives should be suspicious.

This is further emphasized in the Drake playthrough, through the armory scene that the MC takes with Maxwell.

As I've mentioned in the post on this scene, it is divided into three halves. The first half deals with whoever the MC rejected (either Liam, or Drake in Liam's playthrough). The third is buildup to Lucretia's plans to usurp the throne. The second is supposed to be about the excitement among the members of the court for the wedding, and of course as the only people who come for the tour by default (and Madeleine is already taken for the first scene), Kiara and Hakim are used for this scene!

I will only focus on the Drake version of this scene today. There are a few things you notice straight off the bat:

1. Since this is Drake's playthrough, the narrative seems to do away completely with any lingering feelings Kiara may have had are done away with. In this scene she is quite happy about Drake's wedding - in fact, practically chipper. Literally nothing about her behaviour here serves as a reminder that she once had feelings for him.

2. Drake's response to Kiara attending his wedding ties in pretty well with his earlier default suspicion of her. Unlike Hana who is surprised but also happy that Kiara is attending, he seems to voice it as a doubt or a question. While that makes sense and there is continuity, it's pretty awful that he is allowed to suspect her like this and feel no remorse when the truth about her is revealed.

3. Now as I said in the post, this scene is meant to be a buildup to Drake's ice-palace scene. He speaks about wanting a private, country-style wedding in a natural place there, and Kiara's gentle teasing in this scene is supposed to be an indicator of how much he dislikes the usual fanfare. Okay. Fair enough. You're uncomfortable with the fancy decorations and the insane planning, fine.

4. But it's Drake's attitude towards Kiara in this scene that leaves a bad taste in the mouth (unless you were one of those Drake stans that liked to threaten murder on this character ig). The narrative really went out of their way to make him sound uncommonly angry with her, just for asking about his wedding. He angrily hisses at her to keep her voice down the moment she asks about the wedding, and then lashes out the moment she teases him about his love for the MC and his reluctance to be very public about it in that context. Of course, people who either liked Drake or hated Kiara would downplay this scene - either blaming Kiara for not magically knowing his likes or dislikes, or acting like Drake's behaviour in this scene is no big deal.

And his explanation in the ice palace scene really doesn't cut it as a reason for why he should be this pissed off at Kiara's excitement. There is no real bitterness or resentment tied in with the fancy trappings that are mentioned in that specific scene - it's just that he likes simplicity better. If Kiara doesn't know him well enough to understand that - it's because he has never properly talked to her. She made attempts to converse whenever she could. You can claim he never owed her a conversation - but in that case she doesn't owe him a complete understanding of his wants either. He could have just politely answered the question and changed the subject, or quickly took his leave.

He is well-versed enough in court etiquette by this point that he could have managed to sound civil enough. That he could have made a quick, polite exit. But no, he gave her the kind of anger that one reserves for someone who is kicking a puppy or stealing candy from a child, instead. And it was Kiara's grace that allowed her to view that awful behaviour in a more positive light.

It's pretty clear this scene - and to some extent the framing of the next - was made specifically for those Drake stans who were screaming and throwing tantrums about a possible affair. It was to highlight that there was no way Drake could ever return Kiara's feelings - and the only way they could do that was by making sure he treated her as rudely and inhumanely as possible.

I didn't think it could get any worse than this, when I saw this version of the scene...but then I saw Ch 12.

The Talk

If you were to speak just about fandom reactions to this scene...the responses to Kiara chronicling her trauma after Homecoming Ball, were pretty positive. Plenty chose the middle option "You're suffering from the trauma of the event. You need help", and cooed over Drake's touching little monologue about "taking it one day at a time".

I admit at the time I was fooled too. But one thing did niggle at me as I played both this option, and the "understandably cautious" one (I would later understand that the latter was not very good either - it has a thin veneer of "validating" Kiara's feelings, but it still has the MC and Drake expecting her to put their needs before her own safety and sanity).

Drake was reassuring to an extent in both options, sure. But why were his responses so different? Why was his answer to Kiara so closely tied to whatever point the MC was making, rather than independent of it? After all, he was the one who should be able to better relate to Kiara - wouldn't he have thoughts of his own here? If the MC chose that horrible final option, Drake would correct her and comfort Kiara instead, wouldn't he? Wouldn't he???

It was only when I (reluctantly) pressed that third option ("not as driven as I thought you were") that I understood what Drake's role in this scene was.

He wasn't going to be there for Kiara. He wasn't even sympathetic to her! It wasn't even going to be about two traumatized people connecting over their trauma. Drake was a puppet. He was there to parrot whatever garbage came out of the MC's mouth.

Because in the third - and most horrific - option, the MC is allowed to minimize Kiara's trauma, and mock her ambitions in the face of what she has just gone through. Drake is allowed to agree with her ("sometimes ambassadors have to work in dangerous areas"). Kiara is forced by the same narrative to find value in these words.

And all of this, stems from a scenario where Drake and the MC go in suspecting this woman from the jump. Where Maxwell is happy to make jokes about her being a suspect. Where the only two decent people in this group - Liam and Hana - are conveniently written out of the scene, ensuring that these ghouls can act the way they want around Kiara, and get away with it.

Not once is Kiara herself ever allowed to know that the group suspected her by default, nor is she allowed to go through with her intention to leave court. The very roots of this scene are rotten.

Very often, when this scene in particular is addressed, not many people actually address Drake's behaviour here - or in the previous chapter. Stans will vaguely, and conveniently, blame the group as a whole rather than their favourites. Such a tactic allows them to never name the specific people or specific actions, and therefore the main people involved in speaking to Kiara the way they did never have to be held accountable. This is particularly relevant in the case of Drake.

It was Drake's idea to interrogate her. He was the one constantly harping about her "suspicious behaviour". He was the one aware of what happened to her yet chose to think of her as shady. He was the one who should have known better, yet was absolutely game to minimize her trauma or engage in emotional blackmail. And neither he nor the MC came out of this conversation feeling anything resembling remorse. Because, apparently, they never did anything wrong.

They got what they wanted. At best, Drake and the MC manipulated this woman (again) into returning to their court. At worst, they badgered and bullied her into that decision. Either way, she was going to return, and the narrative was going to pretend that the MC and Drake were great people for making it happen.

I have heard some justifications over the years for Drake's behaviour here. One is that he "tends to act like an asshole to everyone". Another is that Kiara is a noble so he was never going to see her in a positive light. Which is hilarious to me, honestly, because in the same book you have Drake reassure Penelope - the woman who had made the MC the target of a reputation-ending scandal - and comfort her when she sees Madeleine. If this was really about the chip on the shoulder he had for nobility, why was he so kind to Penelope? And if Penelope's mental health warranted a change in mindset and behaviour from Drake's end, why was Kiara not worthy of that as well?

The truth is this. Drake was allowed to express his mean streak to a black woman, bully a black woman (the pranks), lash out at a black woman (the conversation at the Lythikos Ball), suspect a black woman, and finally minimize her trauma if the Duchess he had a crush on wanted to. While being overly protective and chivalrous to the white woman who actually did harm her. No matter what way you spin it, that is what Drake's behaviour - especially in TRR3 - is.

The way the team trampled over this "pairing" post that miniscule hint in TRR3 Ch 7, would make a rampaging elephant look like a ballerina in comparison. They wanted to make it clear after the hiatus that Drake x Kiara would never happen, in any eventuality, in any future, in any universe. And no matter how much we pin this on "crazy stans" (who do hold some responsibility for sure, for their own veiled racism), it's a fact that the writing team was comfortable doing this. They had already found other ways to pile disrespect on their sole recurring black female character - what was a little more?

TRH and Beyond: Taking Away What Was Left of Kiara's Remaining Fanbase

Given all the narrative back-and-forth and shadiness, I'd have to say the end Kiara got in TRR3 was comparatively...decent. Not great...not exactly satisfying...decent.

Her fighting off the assassins at the boutique ("not again...not again!!") was the highlight of that scene. In Hana's playthrough, Kiara was her MOH by default, and the lines the MC could give if you chose her in other playthroughs was pretty sweet. At the end of the book, her father would make Kiara his heir, after her older brother Ezekiel abdicated. There were still things I was always going to hate (such as the fact that we could lie about "having Kiara's back" - we absolutely did not) about the aftermath, but all in all as a fan...I could maybe envision a fairly happy ending for her with what we got.

The next series, The Royal Heir, would debut on June 2019, almost a year after TRR3's own debut. This would be the first series that would go completely LI-divergent, spanning four books. It started out as an attempt to envision the future (and pasts) of the main characters, as well as tie loose ends...but descended into an incoherent, retconning mess with each book.

Kiara doesn't feature much in Book 1, but is pretty prominent in certain chapters like Ch 7 (Savannah's bachelorette), Savannah's wedding, and the Apple Ball in the finale. You'll often find a marked difference between the way she is looked at for most of the book, and how the MC speaks to her in TRH1's finale.

Savannah's bachelorette, for instance, features all the ladies of the court in Texas, with new "country" looks and engaging with Texan culture. Here, too, you see a sign of PB leaning into popular perceptions of Kiara rather than remembering their own writing, when we see how Savannah praises the MC by default but has very little to say about her former friend Kiara. Since Savannah's return to court in TRR3, the team seemed to have forgotten that other ladies of the court weren't very nice to her, and Kiara was the only one concerned for her. They have Olivia act sweet and caring towards Savannah in both TRR3 Ch 17 and TRH1 Ch 7, conveniently forgetting the insults she piled upon Drake's sister in the first book. Savannah never has to talk about Kiara's friendship at all, other than a teasing comment hinting at her French lessons. Savannah was never expected to have any gratitude or affection towards Kiara even though she was the only woman who cared about her in court before she left.

An interesting thing to note in the diamond scene of the bachelorette is the way the courtly ladies' previous/current "romances" are framed. Kiara's, in particular, warrants a lot of discussion. Unlike Olivia (who can address her feelings for Liam regardless of playthrough, if asked, and can actually show some level of resentment towards him for not picking her), Kiara's feelings are addressed only if the MC isn't married to Drake. If she is, Kiara mentions a fondness for "rugged, down-to-earth men" (which the MC and Penelope perceive to mean hunky and muscular), and avoids mentioning his name at all.

There are two very interesting things to note about this sequence. One is the pattern of how, and how far, are Olivia and Kiara are allowed to address their feelings for these men. Not only is Olivia allowed to be open about her feelings and her bitterness (despite Liam actually romancing her in TRR3!), the narrative demands our respect for her position and plight. The Liam MC lauds her honesty and her decision to move ahead, unfazed even by her anger for something Liam didn't even owe her. In contrast, in the Drake playthrough, the writing makes sure Kiara never mentions him by name. And not only that, when the MC and Penelope tease her about her romantic preference, she is shown to stammer and seems downright afraid of the MC.

The fact that there is such a gap in how Olivia and Kiara are allowed to act about the men they love, and the fact that this gap was normalized so much in fandom discourse that it didn't even warrant a discussion, tells us plenty about the fandom too. The fandom position has almost always been that Liam owes Olivia love, appreciation, kindness. And that Drake owes Kiara nothing, not even common human decency. Which is why the fandom wants Liam punished for the high crime of not loving Olivia back. Which is why Drake is allowed to treat Kiara like an irritating pest at his best, and like utter garbage at his worst...and almost no one so much as bats an eyelid.

Since most of the story of TRH1 seemed to revolve around the ranch, the ladies of the court made minimal appearances and most of those were in keeping with patterns established in TRR3 (except for maybe Olivia's spy scenes). Some of their parents - too - feature in Royal Council scenes: Godfrey and Landon are part of this council and are seen during the MC's announcement - no one from Kiara's family, besides her brother Ezekiel who is dating Penelope, make any appearances in this book. Towards the end of the book, however, you suddenly find a scene or two where the narrative is suddenly, and inexplicably, syrupy sweet to Kiara:

(Screenshots from the Skylia YouTube Channel. 1-5 are from Ch 18, during the council meeting. 7-10 are also from Ch 18, at the start of the ball. The last two are from the finale as buildup for the pregnancy photoshoot)

There are indications of Kiara's diplomacy and good advice in other parts of the book too (such as her suggestions for dealing with the foreign royals at the baby shower) but never were the praise and compliments as obvious as they were in the last two chapters of TRH1. Kiara was given a quippy dialogue to spout at Godfrey, who would later be revealed as the murderer of Queen Eleanor. All three of the MC's dialogue options in response would praise Kiara by default (a rarity). King Bradshaw would shower her with compliments too about her talent and expertise. And when Kiara approached us with an offer for a pregnancy photoshoot, the MC could cheerfully say "for you, Kiara? Of course!" as if they'd been bffs from the beginning.

There isn't any obvious reason why we saw this sudden change, but I can make an educated guess or two. A pattern that commonly emerges with attempts to address something that would benefit Kiara, is that the writers often only do it when enough people complain; that was how we got the horrible Lythikos sequence. Midway through TRH1, I managed to put up an essay exploring Kiara's treatment (centered around the Lythikos sequence in TRR3 Ch 12) in comparison to Penelope's and Madeleine's. It did not receive an immediate fandom wide response, but several readers did come away from that essay feeling like Kiara really got the short end of the stick, compared to all the other court ladies. I'm not sure whether that essay had a direct impact, but those three scenes PB added to the finale chapters do make me wonder. Was the team trying to prove to the fandom that they did like Kiara and wouldn't personally sabotage her, either for their own enjoyment or to pander to a section of the fandom?

If they did, then that plan didn't last beyond these two chapters.

Another possibility of course was to give Kiara something slightly positive before they did her dirty - again - in TRH2 and 3. Because in those two books, they managed to first make her - along with the rest of the council - party to a vote (that everyone was involved in, including the LIs!) that would later prove detrimental for the country. They would then have her be the only heir involved in the notorious Coventus Nobilis, which ensured that anyone who wanted to hate Kiara could tie her to her vote in favour of Bartie Sr, without ever asking any further questions. This was a far more successful attempt, because most of the fandom already believed the misconceptions of Kiara's characterization to be truth, and these storylines simply added fuel to the fire.

Kiara's biggest supporters tended to be a section of the Liam fandom, as well as wlw stans who tended to like most of the courtly women. Having her vote for Bartie at the end of TRH2, and her explanations in TRH3 about the "MC's ruling style" (which was really canon's way of making sure she did more a silent diss on Liam) was written specifically to place a serious dent among her fans who liked Liam. And sadly, it worked in part. Because even if one considered Kiara's thoughts on "reactive ruling" accurate, it was a fact that the nobility (she included) would have to be blaming Liam for something that the entire Council voted for, and that Liam and his friends fixed on their own.

Making Kiara the lone person to voice this argument, made her a target in this fandom. I mean, people were ready to praise Madeleine and speak of her as loyal (eagerly ignoring that she was actively involved in the child's kidnapping if you didn't coddle her enough), and badmouth Kiara in the same breath, claiming that Kiara wasn't worth forgiving and people should just get over Madeleine's deeds in the past.

This resurgence of hate didn't just erupt out of nowhere. Once they finished spending two chapters on two-second compliments to Kiara, PB reverted in the next two books to some of their usual patterns with her. For instance, remember how I mentioned that PB had an obsession with never letting Kiara and Liam interact? In TRH, they repeated this pattern, but with the Heir. The only scene Kiara has where she can so much as touch the heir is in the last part of TRH3, if you choose for Kiara to read to her. Penelope is regularly allowed to hold her even though she has often placed this child in dangerous situations (on one occasion, Kiara herself had to stop her) - even Madeleine is given an entire babysitting scene to win her favour. But Kiara is the only lady of the court who is made to stay away or care for the child from a distance.

Kiara's family (besides Zeke, and just because he is Penelope's fiance/husband) is subject to disrespect in this book too. Hakim and Joelle were both conspicuously absent from the pregnancy announcement presscon in TRH1 (where Landon, Godfrey and Bartie Sr somehow featured!!), and future books would either retcon the family or force them to do things the other families didn't have to do. In TRH2, the MC takes a tour of the Great Houses with her newborn daughter, and each house is expected to pledge loyalty to her and the crown in different ways. Hakim is written as "bending to his knees" for the child. This is something only Adeleide and Madeleine - whose house, might I remind you, are considered the house of traitors at this point - have to do. Landon and Emmeline are never expected to express their loyalty to this extent.

In TRH3, the narrative callously pushes the Therons under the bus to make the Ebrim family's reluctance to help the MC make sense - the Therons are now "traditionalists" who frown upon scandals and may not allow Zeke to marry Penelope on the account of her past annulled marriage (this makes no sense when you take a closer look at the Therons themselves in TRR3 - they're a far more balanced, far more progressive family than any of the other Great Houses. They even took Zeke's abdication well!). Furthermore, you'll notice that the framing of Penelope's past with Guy is worlds apart from the disdain the narrative shows for the Therons during the flower festival. It is notable that in the latter, the black women are depicted very negatively - Kiara is shown unable to manage her own competition, Joelle is depicted as pompous and incapable of losing gracefully, Drake gets to take sarcastic potshots at Lerato for trying to charm the MC into voting for her and Drake into convincing her to vote. Meanwhile white people like Landon and Marguerite are presented in a just as humourous but less mocking light (eg. Landon moving his table courteously before flipping it in the flashback).

Even into TRF (Ch12), the narrative gives us choices where we can stand up to people criticizing Landon and Emmeline's parenting ("Duke Landon and his wife raised a kind, generous daughter..."). We are allowed to be far less critical of the Ebrims overall, we are allowed to be more charitable even in the dialogue options for suspecting Landon than we are of Kiara (think of how Maxwell can suspect that Kiara was planning to betray us all along). At the end of the Flower Festival, Kiara is made to appear contrite as the MC can choose to either demand she make this right before the latter can forgive her, or indicate that she never will. Ironically, a Penelope who can choose her fancy wedding over the safety of the MC's child never has to face words that harsh.

You will also notice if you look more closely, that the narrative continues to frame events surrounding Penelope and Kiara in opposing ways. Penelope is perpetually viewed as a victim, and Kiara constantly as a suspect.

We are expected to support Penelope, and to mistrust Kiara. And even though Kiara's feelings had long since become a thing of the past, Drake still maintains his animosity towards her and her family. And like everything else, it is so normalized at this point that you barely even notice it anymore.

In TRH2, Drake is allowed to tar all nobles with the same brush because of Godfrey's actions. Though his statement about the nobility ("We can't trust any of them to have Liam's back...not unless it's in their own selfish interests") is about the entire nobility, it is striking that he says this just before they go to Castelserraillan. The Therons are also the only noble family that Drake makes sarcastic comments about (in reference to Liam informing us that their province is a trade hub, Drake quips that "they are going to want to trade babies with us"). These snide comments he rarely makes about other noble families, and serves as a sharp contrast to how he treats the Ebrims (during Penelope's wedding festivities, he is unnaturally invested in Penelope getting a happy ending with Ezekiel). We can't even claim that his behaviour towards Kiara is in line with his disdain for nobles, because Penelope is proof that he is perfectly capable of showing compassion to most of them!

TRH3 ends with Kiara doing an apology tour of sorts - diplomatic missions aimed at improving Cordonia's international relations. TRF finds almost all the ladies of the court - even Olivia - in very minimal roles, as the focus shifts to the Via Imperii. Still, the narrative makes more references to Penelope than to Kiara, to the extent that the epilogue ends on both the MC and Penelope celebrating their pregnancies (Penelope's first and the MC's second) together.

Overall, you will find that the narrative repeated certain patterns with Kiara - the tendency to find her suspicious, purposely limiting scenes with important characters like Liam (TRR) and the heir (TRH) while the white courtiers get almost unlimited access, the discrepancies in expectations for her vs other ladies (eg. Madeleine is hailed for being "good" even though that is solely dependent on how you treat her. Kiara is largely ignored whenever she does help, and attacked when she is written to support the enemy). Drake - even as a former alternative to her, who should have gotten over whatever nonsense beef he'd had with her earlier - is allowed to make snide remarks about her home and family.

It's pretty clear they could do this because they could get away with it... because most of the fandom made it so easy for them to get away with it.

Fandom

When I look back at how the perception of Kiara in the fandom progressed over the years, I find it half-amusing, half-sad how much of it is rooted more in fanlore, and how little in actual fact. And this is something you couldn't just pin on "crazy Drake stans" - they were the biggest promoters of these lies and misconceptions, sure, but normally analytical, commonsense readers often believed that Kiara was fake and a snob and awful to Penelope too.

I get some of it, given the timing of Kiara and Penelope's scene at the beginning of TRR2. It takes place at a low point in the MC's story, a time when she isn't even sure the LIs want to support her. Coupled with that is the lasting image of Penelope hugging you and complaining about Madeleine, making you feel like she's more willing to give you a sliver of solidarity. Coupled with that, is Olivia's newfound popularity in the fandom - once she emerges in Ch 5 of that book, fans believed they found their wildcard who would stand by them in complete solidarity among the ladies of the court (did they ignore Hana's already massive contributions to the investigation? Yes they did. Yes they did). Madeleine herself is shown giving quotable quotes about female solidarity and Tariq's guilt in TRR2 Ch 7, which - coupled with Justin's high praise of her - made people want to find things to like about her too. Penelope's own betrayal was overshadowed by an expectation to support a person with serious mental health struggles.

Kiara's the only one who doesn't get such backstories or explanations. So at least in the heat of the moment, in reading those chapters between weekly gaps, it makes sense that a false impression of her got somewhat solidified.

But when you build your interpretations out of lies and misinterpretations, how does it become so valid that even the writers bend to it and prefer to show that?

Every fandom has its "crazy stans". And this instance wouldn't be the first or last time they are pandered to. But when the same stans get backed up by the "saner", more commonsense members of fandom; when even neutral readers promote versions of a story without actually looking at the scenes in question - that's when a fandom is in danger of turning a "headcanon" into canon.

Kiara being a horrible friend to Penelope wasn't canon. Kiara being a snob was not canon. Kiara being creepy towards Drake wasn't canon either. Especially when you take the fandom response to Olivia's forced kiss on Liam into account.

And that brings me to another point. I had been asked once why I felt the need to compare Kiara to the other ladies in my defenses of her. It's important, when we speak of the kind of hate Kiara received, to understand how a lot of flaws that the entire court has (eg classism) is often pinned onto a lone person, and how several white female characters could get away with worse behaviour while Kiara alone was slammed for harmless interactions.

This is most apparent when you look at how Olivia's violation of Liam's consent is perceived, vs Kiara's harmless flirtation with Drake in TRR2. Which woman had fans foaming at the mouth and wanting to kill her? Which woman was given dozens and dozens of fanfic and content that depicted her as creepy, desperate, downright obsessed with their man? Which woman got the "oh well, he doesn't owe her anything 🤷🏽‍♀️" vs a "he doesn't love her back?? WHAT AN INSENSITIVE ASSHOLE!!1111"?

Perhaps this Olivia/Kiara comparison is where the fandom's tendency to cast Kiara into the Jezebel stereotype is the most visible. Kiara's very act of talking to Drake sometimes is registered as a threat to those stans, and it reflects in the way they speak of her, the way they speak of their MC's own relationship with Drake in association with her (eg. the number of posts rejoicing at the thought of showing off their "engaged to Drake" status at Kiara's estate), the way they're allowed to dehumanize her and villify her (eg. The edit I mentioned at the beginning). This is often encouraged by their friends who are fans of other characters, and you can see that in sharp contrast, Olivia - despite her actions in Book 1 and her resentment of Liam for not loving her back in other books - is still often viewed with sympathy and respect. Her feelings - still viewed as genuine, even pure. To the point where PB eventually allows Olivia to constantly address her feelings about the MC's and Liam's relationship, while forcing Kiara to not even utter Drake's name in his playthrough.

But you see this with other characters, and in other contexts too. Particularly how Madeleine can be duplicitous, hypocritical, and power-hungry, and it's Kiara who is called these things despite her actual honesty in canon. Madeleine can get away with actually helping Bartie Sr kidnap the MC's daughter in TRH3 without a murmur, in the same fandom where people can curse Kiara for voting for Bartie Sr "to take the child away" (despite her telling the MC and spouse that she was promised they would have custody of the child, therefore the claim that she "voted to take the child away from their parent" is inaccurate).

You saw some of these discrepancies in how Penelope and Kiara were spoken about too - Penelope's crime in TRR2 was considered easily forgiveable, while Kiara's innocence is constantly called into question. Kiara was often viewed negatively for what the fandom perceived as "meanness" to Penelope (when it was in fact Kiara worrying about how Penelope would fare when she wasn't around) while Penelope herself was never expected to be a good friend to Kiara. An interesting thing to note about the fandom response to Penelope and Kiara showed that often when posters wanted to hate on Penelope, she and Kiara would be clubbed together, almost as a unit. This was especially prevalent in TRH3. It was easy to express hatred for Kiara independently, but most posts that showed a dislike for Penelope (besides from specific Kiara stans) would often tie her with Kiara, as if there wasn't much to hate about her otherwise.

It is important to line up whatever hate Kiara gets with the responses to the other women - especially in the face of what the latter are allowed to get away with. In doing so, you get a better sense of what is allowed for a certain subset of women, and what isn't allowed or permitted for black women specifically.

Often, the fans who would not hesitate to call her alone fake, opportunistic and creepy were WOC, and there have been cases where some would use their identity as WOC to shield themselves from the criticism concerning their vitriol. It would often descend into "I don't hate her because she is black, I hate her because {insert inaccurate/false/convoluted justification here}". It didn't matter that much of this information wasn't based in fact, or had a heavy bias that they never applied to anyone else. It only mattered that because they were WOC, somehow that meant that they couldn't possibly be racist. That their unfounded hatred for Kiara had to be legitimate. As if there was no chance that someone who was WOC couldn't be antiblack too. I mean, the ultimate proof of this could be found in TRR itself - the two head writers of the TRR/H/F series' are Asian women - who have a pattern of liking mean (white) women, and who didn't mind throwing the black woman and her black family in their story repeatedly under the bus, who didn't mind minimizing and retconning the abuse and childhood trauma that the darker-skinned Asian woman in their story went through.

Overall, it is possible that the fandom did take some of their cues (for their impression of Kiara) from the inherent disdain found in canon itself. But many of them also misinterpreted several things about Kiara, then didn't bother to revisit those biases with a critical eye, or even try to see if they were wrong. And that baseless hatred fed the already-existing disdain that Kiara's own writers had towards her. Resulting in the kind of horrific, racist garbage that we got to see in TRR3, and the constant attempts in canon to pull her down in TRH.

Did Drake and Kiara Ever Have A Chance?

There have been various opinions - from both Kiara fans and haters - for why a Driara ship would never work. He hates nobles, she won't like his disdain for art and culture, he likes the simpler life, she's a snob...so on and so forth. Many people will agree it's not a great ship, but of course with differing opinions on why.

I, however, often wondered at possible scenarios where such a pairing could work. The magic of shipping is often that you can play around with personalities and pair almost anyone, and find enough reasons to explain why they would tick. And in Drake and Kiara's case, personally, I do feel like it's a complicated question to answer - primarily because I feel like the authorial intent at the beginning may have been very, very different to what finally happened in Drake's story.

A lot of Drake's early writing focused on the reasons behind his mistrust of the court and his tendency to view the people he loves who are part of it (eg. Liam and later the group) as anomalies. There are two ways you could take such a story in TRR2 - you could either get him to admit to the flaws in his own thinking (thereby providing a more nuanced insight) and allow him to grow from there, or you could just have him double down on his biases and never change beyond the superficial. The team of TRR - esp the head writers, Kara and Jen who were both v fond of him - definitely seemed to go in the latter direction.

Drake's prediction in Coney Island does indicate that he should let go of the past, and I honestly feel like the sequences where he learned about Maxwell straining House Beaumont's finances to help her, and Kiara and Savannah's friendship, could have been turning points for him if the writers weren't so obsessed with proving him right all the time - even when he was supposed to be wrong. Maxwell and Kiara, in their own ways, were proof that not every noble was the same, nor would every noble treat the commoners around them all the same way. However, the narrative trampled all over this possibility in TRR2 Ch 9, where Drake could optionally claim that the Beaumont brothers (among others) were "just looking out for themselves, no matter the consequences", or later when the narrative had Savannah be grateful to him for breaking her confidence to Bertrand, and have Maxwell try to earn his forgiveness in Ch 12 rather than the other way around. It allowed Drake to be selective about the nobles he admired or defended, while still free to treat certain others like garbage.

I could easily envision a Driara pairing for most of TRR2. I could even see it as potentially salvageable in certain parts of TRR3. But the moment they had Drake readily suspect her, the moment the team thought it would be okay for Drake to even suggest minimizing her trauma...that option was no longer worth seeing. Not for Drake, but for Kiara. Drake would have to be the worst possible guy I could find for her, in such a scenario.

But I could see potential in a storyline that had Drake understand that some of these people weren't the monsters he so desperately wanted them to be. In one where he could hear about Kiara's friendship with his sister, and learn about a whole new side of her. One where he maybe felt insecure ("I'm not her type") and could be reassured by a woman who had likely held a torch for him since they were teens/young adults. One where they could reach out to each other in their pain and trauma, and find solace. One where Drake knew that the family he may be marrying into would respect him, and his father too. There were possibilities there.

It would still take more work - his mean streak for one would need to be reduced by more than a half. A lot of it, of course, was kept for the Drake stans, but it really doesn't add much to Drake's character besides making him a mean-spirited, hypocritical bitch who only targets the lone black woman this way (and Olivia occasionally, if she goads him). If the narrative did want to keep a characterization where Drake acts weird around the girl he likes, they could - but that story would need a lot more work to be palatable.

All of this is to say that regardless of personal bias, there were possibilities there. There was a sliver of potential. And if they wanted to let go of that potential midway, they didn't have to go about that the way they finally did. They could have just worked on creating another love interest for her. They managed to create a brother for her overnight just so Penelope could have a boyfriend; they could have easily done the same for Kiara.

Multiple factors went down that explain why the Driara ship didn't take off. But many of them boil down to one specific root cause - the white women (whether they caused actual harm or not) needed to be protected, needed to be cherished. The black woman who dared to ask for the same things from their pet LI, would be viewed as a threat, a villain, a creep...just for breathing in his direction.

And her writers cared so little, that they took the fanon perception for her and stamped it onto their canon, like it was the truth.

They didn't do any of this for the woman who forced a kiss on a prominent LI. They didn't do this on the woman who betrayed the MC and set her up for assault. They didn't do this to the woman who bullied the lone female LI, and swore to continue doing so till she broke.

They did this for the one woman who was fairly innocent of most of these crimes, actually respected the LI and treated him well.

They did this because they could get away with it. Because they were confident that the fandom they wrote the story for, would let them get away with it. And tragically...they were right.

--

Resources I used to learn about the Jezebel stereotype:

The "Offending" Breast of Janet Jackson: Public Discourse Surrounding the Jackson/Timberlake Performance at Super Bowl XXXVIII by Dr Shannon Holland

Janet Jackson, Justin Timberlake, the Jezebel and white masculinity by Khadija Mbowe (I actually got the recommendation for the first paper from this video essay).

From Mammy to Jezebel: The Portrayal of Black Women in American Cinema from the BlackThen website

[shimmeringweeds]

This is completely unnecessary ( I'm really just sliding my Link Click rewatch notes into the tag), but for the fun it:

Hypocrisy is living a lie, but that doesn't make one a liar. So I got curious. Lu Guang's hypocrite label has been well earned, but does it cause him to lie? Is he a liar? I think fandom leans towards "no?," but let's find out anyway!

Provided below is a reference list of every last question Cheng Xiaoshi has ever asked Lu Guang in series (and I mean every question) + every answer Lu Guang gives. Color coded by response and explained when necessary. Season 2 opens the floor up to everyone.

Categories include Direct Answer, Non Answer, Half Truth, and Lie.

This post covers Season one. Season two is covered in a reblog below. The final tally is also in a reblog below for anyone who is just curious about that. Criteria below the cut.

Criteria notes: This list focuses solely on the act of lying to a trusted partner in response to a question asked. Keeping secrets does not, actually, count as lying, so long as you are honest about it. People are allowed a box of secrets and no one is entitled to the key. This compilation will also not dock points for the hypocrisy, or the uh..... questionable ability limitations. I will however, use the aforementioned knowledge as a basis for reasoning. This is far from scientific. Any conclusions I draw from the evidence can be challenged. Court is in session ⚖️

You will notice that there is no category for "truth." This is because all truths are covered by a "Direct Answer." "Direct Answer" indicates that Lu Guang is not hiding anything in direct relation to the question. In a "Direct Answer," he will answer Cheng Xiaoshi's exact question honestly. Nothing more required. Omission of extra knowledge is (frustratingly) allowed, because unless Cheng Xiaoshi has asked for that knowledge, it doesn't need to be given. So watch those closely.

Non Answer = an avoidance of the question with words or silence.

Half Truth = a partial, truthful answer to the question. The question asked for more/there is a second, hidden answer tied to the question.

Lie = an answer that denies a truth.

Color coding:

Present Question, Past Question, Future Question

Direct Answer, Non Answer, Half Truth, Lie

s1e1

Q. Any chances? A. Yes. But only one. (a non specific answer complements a non specific question. This sets the precedent for a direct answer. Keep an eye on how often it occurs.) Q. Now, should I finish this spring roll? A. Hold on. Q. Hold on for what? A. unanswered Q. How's it going? Are you satisfied now? A. *miserable sigh* Q. Do I have a boyfriend or not? A. No. Q. What is going on now? I did what you told me. What is the matter with him? A. Calm down. Repeat after me. Q. What should I do next? A. You forget his words? Prepare the material. Q. She just keeps doing this day by day? A. We said, linger no more around the past. (Every rule repeated will be counted as non answer if it avoids the question.) Q. You mean the meeting at 9 A.M. tomorrow? A. Mn. Q. It's midnight. Who? A. Leave it. Q. Will they come back? A. ................. All right, go to sleep. Q. When should we start? A. Take it easy. They're not all there yet. Q. Then tell me how long I need to wait? A. It's a secret. (note: This is the scene that inspired all this. I feel CXS's frustration here so much. LG stressed that there was only one opportunity and that this is it, only to deflect every question. He even checks his watch because he knows exactly how much more time. Yet, this is a direct, honest answer. "I will not answer," is an answer. I hate him lol. Q. In your opinion, if I really did something, will everything change because of it? A. You really didn't do something stupid, did you? Q. I really want to know. How is she doing now? A. I said, never ask about the future. Past Question(1) Present Question(6) Future Question(7) Direct Answer (7) Non Answer (7)

s1e2

Q. Do you have any questions? A. What are their names? Q. Why did they break off their friendship? A. Just do the job instead of caring about the whole story. Q. If we disagree with each other some day, shall we break up, too? A. It's almost time. (to be quite fair, CXS deflects his own question with tomfoolery before LG can respond.) Q. Is there really a secret recipe? It's just a pot of stew. A. Coming soon. (vague as hell, yet blissfully direct. wow.) Q. Do we have any other chance? A. None. She's crying all night at home, not going anywhere. Q. Can I go eat that for the last time? A. No! Q. What should I say? A..................... Q. What does it taste like? A If you dare change the photo shop into a noodle shop, I'll leave right now. Past Question (1) Present Question(5) Future Question (2) Direct Answer (4) Non answer (4)

s1e3

Q. A few words? That may affect the past. You sure about this? A. It will be fine. Nothing will be changed. Q. Can I get rid of them? (regarding the glasses) A. There is nothing you can help with in the match. Just sit there till the end. (eeeeh. It's very long winded way of saying "no.") Q. I can take photos right? A. Void. No time to answer. But it's telling that CXS was just advised twice to stay put and chill, but the moment he adjusts the script....? oof. not a good start to this arc. Q. Did I just affect the historical track? A. Yes, you did. But the results have not changed. Q. Is it in the plan? Should I play or not? A. The past has been disrupted by you. I can't foretell what would happen before they lost the game. ( ie. your call) Present Question (5) Direct answer (4) Void (1) This is such nice episode with such a clean tally. THE TRUST.

s1 e4 - The formatting on this one doesn't want to stick. If it still doesn't work... I'm sorry.

Q. What exception? A. At some point in time, there is an important node. Q. Lu Guang, where are you? x2 A. silence <counted as 1 Q. You asshole. Where have you been? A. The client's words were written on the note. I didn't know where Qiao Ling placed it. (I'm calling bullsh*t on the silent treatment but you can read it as DA. So we will excuse the friendly, "you were deliberately tricking me"/"I'm not you" banter that follows (was it a question? subs say no.)) Q. Why? (in regards to the major node being unaffected.) A. Void. The chemistry teacher conveniently interrupts and gives his own answer… sure dodged that knife!) Q. Liu Meng puts everything on her face, how could he miss that? A. Let the past be. We just need to deliver the words. Nothing else. Q. She makes her steps first. What should I do? What should I say? A. Instructions given. Q. Is that really okay to say so? Q. Will they eventually miss each other? A. Yeah. A. The result will not change as long as the node does not change. (1. I'm calling the second answer a half truth, because you can draw a yes/no conclusion about them missing one another. So it's not a non answer, nor is it direct. 2. CXS doesn't ask about the node again. He just says "okay. you're always right." like the angel he is.) Q. Are you sure it's okay if I just repeat after you? A. Don't worry, the result will not change, even without any quarrel. (at this point CXS does question to himself why this mission is so weird. He does not question LG.) Q. No matter how the process changes, they are all doomed in the end. Am I right? A. …..Past Question(1) Present Question(7) Future Question(2) Direct Answer(4) Non answer (3) Half Truth(2)

s1e5 (where your tally might differ from mine)

Q. Can you save my mum? Can you please let me save her only? A. All right. I'll tell you what you should do. (okay. okay. Let's chat. We can and should analyze this answer to hell and back. Originally I had this labelled as a direct answer, but if so....then this is a direct answer that CXS later sees as a lie. CXS was not in the wrong for that. This statement is a conceding and LG does follow through on this. However, LG at least partially believed that CXS's actions wouldn't matter in the face of a death node (the next question is my evidence, as is Emma in ep 11.) As much as I want to believe he had hope, I think the fear of changing things prevented true action. They hide under the table, the place where Chen Xiao survived. But then Chen Xiao's mom mentions the camera, and Cheng Xiaoshi goes to get it. LG is silent. They need that camera/photograph. He knows what will happen. Chen Xiao cannot die. His mom dies because she covered him. LG gave up before CXS did (and god, CXS stayed until her last breath.) This wasn't true teamwork. LG deserved the punch. Yet it's not a lie. He never said he would save her. So I'm labeling this as a half truth, for half sincerity. Q. Will the earthquake never happen? A. *No answer and continued silence as CXS goes to get the camera; the earthquake happens. CXS is again asked to exit the photo.* (I do believe that silence betrayed CXS more than the conceding to help. It just sends the point home. I've got a lot of sympathy for both of their perspectives though.) Q. Why do you lie to me? Why do you still want her dead? A. In order to make everything stay the same. (another answer you can analyze to hell and back, but I read it as complete and brutal honesty.) Q. If I can't save them, then what's the point of delivering the words? A. Fool. I have said, past or future. Because we can't change the past. Don't question the future, as the future will be changed because of us. (This is the first time I think the rules really do serve as an answer if you read into it. LG also clarifies this statement as a proper, unprompted answer in e6. Present Question: (4) Direct Answer: (2) Non Answer (1) Half Truth (1)

s1e5.5

Q. Isn't this what you figured out at a glance? A. It's impossible. Q. Can't you just figure out the old master's tricks by foreseeing the events that happened 12 hours after the picture was taken? A. That's such an intuitive detail. I still need you to visit the scene in person and become my eyes. (giggle snort at that face saving answer tbh, I kind of want to label it a half truth.) Q. Where the hell did you go? A. *yaaaaawn* where are you? (the yawn is a direct answer /ᐠ - ˕ -マ Ⳋ ) Q. What now? A. Stop. You're too early. Q. Is this where it ends? A. It's not over yet. Q. How is he still fighting? A. But what I'm seeing is what happened back then. (a polite way to say "I have no f*cking clue") Q. I thought you always said never ask about the future? A. I'm here to keep an eye on you. (the áojiāo answer lol) Present Question(7) Direct Answer(6) Half-Truth(1)

s1e6

Q. If you use your predictive ability to see from the surveillance video, how will it be like? A. Within 12 hours, all surveillance images within one kilometer, I can have a panoramic view of them. etc. Q. Can you see Dou Dou? Who took him away? A. The one who took Dou Dou must have surveyed this area long ago. He used the surveillance camera blind spots perfectly. Q. This time will I become a CCTV? A. Stupid. What are you thinking about? Just follow my instructions. (LG probably thinks that was a direct answer. CXS's face said it was not.) Q. Where did they go? A. The second alley on the right. Present question(3) Future Question(1) Direct answer (3) Non Answer(1)

s1e7

Q. Look at this. Can we find some new clues? A. It's possible. Q. Where am I? A. I don't know. I couldn't perceive anything when you were unconscious. ( I am assuming that is truth. There is no reason for it to not be, unless secrets run deeper than we think.) (and yeah, that's it for e7. CXS does make comments, but they aren't questions directed at LG. CXS is too busy being unconscious/ doing his best and LG is too busy being stressed/proud. Have I mentioned how much I love this episode?) Future Question(1) Present Question(1) Direct Answer(2)

s1e8

Q. What do you think? Can we help? A. (to Xiao Li) I've looked at the general situation. I’m sorry, but this time, there's nothing we can do. (First Lie! First Lie! Though technically it was answering XL not CXS.....) Q. Lu Guang, that's it? Did you see it clearly? A. ....... (QL shushes CXS for him.) Q. Are you sure you saw it clearly? You rarely ever say no. A. Who was the one who wanted to take a break? Q. What? You agree, just like that? Hey, wait a minute did you say help? This is clearly a deal, why should we do it for free? A..... (again, QL shuts up CXS first.) Q. Is there no justice in this world? How could you beat up the person who's going to help you? (this isn't a valid question, CXS is just rambling aloud but uh.......... honorable mention. This is a line LTC and QJ really needed to hear lol) Q. Then what am I supposed to do now? A. Try to create a situation where he wouldn't be able to attack. Q. I forgot you had this ability. So, what exactly did Dong Yi say back then? A. I've already passed the message to Xu Shanshan.... *he reads the message* (that first line is what makes me question events in Dou Dou's photograph, but that's not the focus...) Past Question(1) Present Question(5) Direct Answer(2) Non answer(3) Lie(1)

s1e9

Q. Then isn't this because I....? A. Now is not the time to let your thoughts run wild. Q. Eh, is there no other way? A. Unfortunately, that's the only way. Q. Then what if I high-five myself and enter the photo...? A. You'll loose contact with me. If that happens, you won't know anything about what will happen in the photos. Q. How is it? Did they catch that bastard? A. No. Lack of evidence. Present Question(4) Direct Answer(3) Non answer (1) 2/4 questions are a flashback. Since the two act mostly separate in this episode.

s1e10

Q. How is it? Did you find a clue? A. Last night around half past one, a masked man broke into Xu Shanshan's house and attacked her. (with some intense speculation, this is a half truth, but I'm not going there.) Q. Am I supposed to yell at myself? A. You accepted the arrangement, go on. Q. This time can you let me take the lead? A. You? What do you mean? (this is not a non answer, because it directly asks for clarification of the question.) Present Question(3) Direct Answer(3)

s1e11

Q Do you remember the message the murderer left when Qiao Ling last called Xu Shanshan? A. Yes. Q. What if I'm the person who made an appointment with him? A. Are you saying that because of us diving back into the photo, we have created an alternate timeline? - CXS A. That's right. Honorable mention 1: Q. Didn't you say nothing in this world is an absolute? A. *too busy being in shock/getting stabbed* Honorable mention 2: Chen Bin: Even though you guys caught him, methods like this aren't encouraged. In the future, you have to let us know as soon as possible. LG: Oh, I'm sorry. We only just realized that he might come and cause trouble, so we took some temporary measures. (for the look CXS gives him at the easy dishonesty in this statement. It's almost a shocked Pikachu face lol. I kind of want to add that to the lie tally...... but it wasn't a question (and does lying to police count, let's be honest.) I'm adding it. Past Question(1) Present Question(1) Direct Answer(2)

Final Tally:

Past Questions (5) Present Questions (50) Future Questions (14)

Direct Answers (42) Non Answers (19) Half Truths (4) Lies (1) +1 honorable mention

Not bad, eh? 42 direct and honest answers and 24 other. Honestly, that's impressive considering the circumstances. Of course, you can view these answers from different perspectives, or you can break them down further to nudge a half truth closer to a lie or a direct answer, for example.

It should also be noted that, in regards to Qiao Ling, Lu Guang also does not lie. He is very honest with her too. There is potentially one half truth regarding Xu ShanShan's photograph, but that is only speculation. (I wonder who proposed keeping her out of the ability loop? Even so, they probably just told her they preferred to work in secret. Not a lie.)

[drbased]

i've been reading your symbolic states tag and i'm both fascinated and relieved. i too am trying to live more in the real world and less in my head. a spark was struck when i read that i should be looking forward to the work of living, rather than dreaming of the symbolic sense of achievement i want.

do you have any tips/advice on getting out of that state? i find myself slipping back to it after a few days/weeks. how did you get out of it permanently?

i also want to hear your thoughts on social media's impact on us with regards to the symbolic state. social media is a literal continuous symbolic state that we are now all expected to participate in. how might we do it without succumbing to living/thinking symbolically?

actually, i would go so far as to state that social media has contributed directly to the current boom and celebration of unreal/symbolic ideals.

thanks for sharing your thoughts on this.

Thank you so much for this message 💖

This is, in short, my process:

learn to recognise what makes you feel uncomfortable. mentally trace back to recognise what has made you feel sad, angry etc. The more specific and granular and embarrassing you can recognise as the source of your negative emotional response, the more you're learning about your actual self and not some idealised version of you.

from that, start getting to know yourself. once again, the more granular and specific you can get, the better. instead of thinking 'I am smart', recognise 'I have good analytical skills that I developed during childhood because of x experience' etc. this will help you to stop categorising yourself as a certain type of person and instead will help you to have a healthier relationship with the traits that make up who you are.

before doing an activity, is your mental picture of yourself in the first or third person? because if it's the latter, try imagining yourself in the first person. if this feels humiliating and embarrassing, and the activity seems boring, you've learned something about what you actually like doing. get used to recognising that picturing yourself in the third person is a warning sign. the more you recognise the warning signs, the more you learn about yourself, and the more you can act authentically.

with a better picture of who you are, you're better at recognising what you actually want in the moment. I specify in the moment, because it's very easy to categorise yourself - I spent over a decade doing things because 'drbased would like this activity', as if I'm forced to behave according to someone's OC character sheet of myself. For example, when doing art projects, I feel as if I'm supposed to do a specific design because 'that's the kind of design drbased likes' - which actually makes the activity the opposite of creativity because I leave myself no room for the spontaneity of the human spirit; everything I do has to fit into a category. Recognising that I can just exist in the moment and not as part of some wider narrative has helped me immensely

learn to trust yourself - or, at least, humour yourself until you trust yourself. learning to humour myself is where this all started. I took myself and my point of view seriously, and as such was finally able to stop being embarrassed at being a human being. I approach everything from my own point of view now, and it's wild that I finally understand that that's what being human, being alive, existing is all about.

and here's the big one - or, rather, one continuous and contiguous chain of small ones - I have to actually do what I want, moment to moment. Since I lost the ability to recognise myself as a human being existing in the chain of cause-and-effect, I have to re-establish my relationship with said cause-and-effect. I have to re-attach some neurons, and the best way to do that is with consistent behaviour. I feel something I want to do, I have to do it instantly. The more of a gap I leave, the harder I make it in the long run. I still feel the tug of obligation stopping me from doing what I want to do instantaneously, so this is a long, perhaps a life-long journey for me. but I want that, no matter how exhausting it can get, because every moment I get to show myself love and prove just how serious I am about mending my relationship with myself. One very existentially terrifying thing I've learned is that the medium is the message - the very fact that you're making these gestures to yourself is something that your brain registers. And the simple fact, is, reality feels a lot better when you're directly engaging with it. It's tough, but it's incredibly rewarding and makes life better - remember, you only ever exist in the moment - so thinking of yourself as anything other than in the moment is a form of death of the self. Reinforcing yourself as part of the chain of causality is telling yourself you're alive and want to live.

Make no mistake: I am not completely out of it. I seriously damaged my relationship with my own self-hood and I am sure that I will always be struggling with this for the rest of my life. But how I frame my response to life's struggles is entirely different now - I am making this decision to engage with what I once percieved as the humiliation of mundane life because I can now recognise that for better or for worse, I'm the one living it. I'm the one feeling the feelings and thinking the thoughts and doing the actions. I am the center of my entire perception of the universe, this life is literally my own. I used to think of myself as having some obligation/responsibility to other people and the universe itself - but now I recognise that responsibility is, like, an actual real thing, instead of just getting marks on a test. If I do something bad, that actually hurts real people; and likewise, doing something nice is good because real people benefit. The 'responsibility' comes once again from the equally comfortable and terrifying realisation of my place in the chain of cause-and-effect. As part of that chain, I may have caused irreparable damage to my psyche, but I'm not part of a narrative where I must seek to 'fix myself' - I'm just a human being, and I want to live the best life I can because feeling good feels good, and that's what I want for myself because I care about myself. If I have to spend the rest of my life constantly asking 'what do I actually want right now?' then so fucking be it - because the alternative is a low-level hell of depression and PDA.

I will talk about social media and symbolic states in a reblog of this another time. But I hope this helps - I'm getting better at writing down the stages of what I did to help myself, and it's incredibly gratifying, and the responses I get are validating.

[writer-in-theory]

the 'magic, madness, heaven, sin' collection

summary: 16 oneshots, each based on songs from '1989' in anticipation of 1989 (taylor's version). pairing: spencer reid x reader AND steve harrington x reader category: fluff, smut, angst, hurt/comfort a/n: we're back at it again, folks! first we celebrated red (taylor's version), and now it's 1989's turn. i will be releasing one oneshot every week until release day. this was really fun, as 1989 has quickly become a favorite of mine. important taglist update: due to this including an update every day, i don't want to spam my normal taglist. so, i made a new taglist specifically for this collection. if you want to me tagged in the fics for this, please fill out the taglist form here.

masterlist

➼ welcome to new york (steve harrington x gn!reader, fluff) “everybody here was someone else before and you can want who you want...”

when native new yorker reader finds out their partner has never seen new york, they’re determined to show him only the best.

➼ we never go out of style (spencer reid x fem!reader, smut) “and i should just tell you to leave 'cause i know exactly where it leads...”

in which spencer has the same stop each time they have a case in los angeles.

➼ are we out of the woods? (spencer reid x fem!reader, smut, angst no happy ending) “the rest of the world was black and white but we were in screaming color...”

they know their relationship was meant to crash and burn, but they keep falling back together.

➼ i know places (we won’t be found) (steve harrington x fem!reader, hurt/comfort) “they take their shots, but we're bulletproof...”

in which reader and steve are scrutinized by his parents and hawkins for dating, and they risk losing it all.

➼ all you had to do was stay (spencer reid x gn!reader, angst with happy ending) “why'd you have to go and lock me out when I let you in?”

spencer has a habit of pushing people away when things get tough—reader won’t make it easy for him.

➼ shake it off (spencer reid x gn!reader, hurt/comfort) “it's like i got this music in my mind saying it's gonna be alright...”

spencer can’t stand when reporters spreads rumors about his partner in the news—they prove to him it doesn’t matter.

➼ i wish you would (steve harrington x gn!reader, angst with happy ending) “wish you knew that i miss you too much to be mad anymore...”

years after the breakup, reader realizes everything they missed.

➼ you are in love (spencer reid x gn!reader, fluff) “and for once, you let go of your fears and your ghosts...”

everyone knows that spencer and reader are best friends—everyone but them knows they both want something more.

➼ bad blood (spencer reid x gn!reader, angst with happy ending) “did you think we'd be fine? still got scars on my back from your knife...”

spencer immediately said he had no feelings for cat adams, so why was he kissing her outside of your shared apartment?

➼ wildest dreams (spencer reid x fem!reader, smut, angst with hopeful ending) “say you'll see me again even if it's just pretend...”

retired fbi agent spencer meet actress reader, who he’s been assigned to protect after threats were made against her.

➼ we found wonderland (spencer reid x gn!reader, hurt/comfort) “all alone, or so it seemed but there were strangers watching, and whispers turned to talking and talking turned to screams...”

a story of an fbi agent falling in love with a senator: it’s as messy as it seems.

➼ this love is good(bad) (spencer reid x fem!reader, angst with happy ending) “these hands had to let it go free, and this love came back to me...”

a sequel to ‘wildest dreams’, reader comes to terms with losing spencer and he realizes he never should have left.

➼ new romantics (steve harrington x fem!reader, smut) “every day is like a battle but every night with us is like a dream...”

she was the last person steve thought he would fall for.

➼ finally clean (steve harrington x gn!reader, hurt/comfort) “just because you're clean, don't mean you don't miss it...”

after the upside down is finished, you help steve heal.

➼ and i’ll write your name (spencer reid x fem!reader, smut) “it'll leave you breathless or with a nasty scar...”

to him, she’s the agent everyone told him to stay away from. to her, he’s the bad boy agent whose team has never had to follow the rules.

➼ how you get the girl (steve harrington x fem!reader, fluff) “and now you say i want you for worse or for better...”

in which the party takes matters into their own hands when you and steve won't confess your feelings for each other.

[cipheramnesia]

Hey, just say your tags about TME/TMA language being problematic. Genuine question: what is the issue with them? Is it that transmisogyny can be directed at people who aren't considered "TMA"?

I've talked about it here and there, but maybe this will be the time my thoughts are organized.

Up front, let me note there could be more elements involved the TME/TMA than I'm familiar with. I also feel it could be a useful tool in the right circumstances (for example, if you pursued research specifically focused on transmisogyny). My subjective experience is that TME/TMA are not used in this way, and the functional use of them isn't beneficial in general to trans people.

For those unfamiliar, TME means "transmisogyny exempt" and TMA means "transmisogyny affected." Now, as a thing that happens, these make sense. However, as commonly used, TME/TMA describes innate traits, which is where they stop being useful for me.

To start at the broadest scale, TME/A is often used reductively, with the principle that general bigotry against trans folx is in effect all derived from transmisogyny. I'm simplifying a little bit, but if we cut through some of the theory mechanics, we end up left with a broad generalization of transmisogyny as the primary and defining feature of the effort for trans rights, transphobia, and such. And, not to undermine the substantial effect transmisogyny has on the whole community, but this is not completely different from treating misogyny in general as the defining characteristic of all inequality. Misogyny is a significant form of inequality, but reducing all inequality to misogyny is kinda radical feminist territory. What with radfems generally wanting to wipe trans people off the map, I'm not comfortable standing on an ideological platform that close to theirs.

Related to this, there's no terms like "Transandrophobia Exempt," nothing at all addressing what kind of exemption / effect would apply to anyone off the gender binary - if it's going to be used to examine different kinds of bias against different kinds of trans people, or if it's meant to represent a state of being for trans people, there should be versions of it which apply to other people affected by bigotry who aren't trans femme. I suppose it can be argued that it's only to define one category of people (TMA) versus any other people (TME), which is true but again defines away the experiences of a large number of different trans people, or necessitates other trans people's experiences being defined through transmisogyny. To me that's not useful, because it excludes a significant amount of the complexity of the trans experience for the sake of only understanding a narrow band of it.

This leads into some further difficulties with the term. As a group, trans people have a great deal of insight to share with one another about our positive and negative experiences. The great variety and range of experiences in our community is fantastic, because I can find the experience of people who are trans men, agender, genderqueer, nonbinary, or anything else very relatable. I don't need to limit my understanding of gender via my specific experience as a trans woman either to share in how other trans folx view gender, nor to share my experience with the trans community at large.

We're getting deep down into it now, but related to the above and your note, I see TMA/E used as interchangeable with AFAB/AMAB, while being affected by transmisogyny isn't particularly limited to your assigned gender at birth. Bigotry expressed against trans people is not complex - it's a matter of a person or person who thinks any expression of gender they perceive as out of sync with what they assume is an intuitive understanding of innate gender characteristic should be must be resisted in the strongest possible way.

Or, more succinctly, transphobes do not care your agab, where you fall under the trans umbrella, or if you're trans at all. If a transphobe sees a cis woman and thinks she looks like a trans woman, they'll be transmisogynistic. If they see a trans woman and thinks she looks like a trans man, it's transandrophobia for them. They don't believe they ever have or ever will encounter anyone intersex, because they're really bad a statistics (fun fact, a small percentage is still a huge amount in any kind of city or town population). Bigots do not slow down to decide what kind of specific form of hate they're expressing, because the only thing important to them is that they're seeing someone who deviates from their internal belief system, and that person must be penalized for deviation.

We can certainly dissect how bigotry affects us all after the fact, the particular and (importantly) varying social lenses people are experiencing when they direct prejudice based on gender. I think that's a very complex and interesting question but it can't be examined via transmisogyny alone, because it's not limited to trans feminine people. Gender is one component of the many facets of how society can exert controls over disenfranchised groups, and it's tied into race, income, religion, nationality, and so forth. It's not impossible to examine one facet, it's just important to recognize that one facet is neither universal nor exclusive.

So far, the issue I have with TMA/E is that in a broad sense it seems to be used in an exclusionary way, as well as used in a way that re-creates a gender binary, and limits understanding bias towards trans people clearly. But all of this overlooks one very important issue.

We don't define who we are by how we are hated. I don't want to define myself as TMA. I'm a trans woman, I'm awesome. My gender isn't defined by someone who hates me for my genitals, my gender is defined by how much I love who I am, how much better my life is for being a trans woman. I do not find it useful to define myself by whether some specific kind of hatefulness is directed at me. To me, that's the component of TMA/E I cannot find a way around.

I am a depressed lady with massive anxiety, sometimes to the point I can't function, okay? I don't want to designate myself by another reason to be unhappy. So I don't find it useful, I kinda get why it's used, because it feels like a more inclusive way to talk about being trans and being expected to conform to an idea of femininity but not doing so. I do not think it succeeds in that capacity, and my overall experience with the term is that it does not usefully serve the trans community. My personal feeling is that it makes me uncomfortable. Despite being TMA by technicality, I haven't experienced much in the way of transmisogyny, and I would rather use a positive term to describe who I am.

(i haven't checked this for typos or spelling or inconsistencies)

[blitz0hno]

Why I'm Voting Inno Mikoto even tho He Definitely Did It

or should I say DID i-*🏏smacked*

TL;DR like many I do not believe a word John says, but I also don't think he has the entire truth. Meanwhile Mikoto's amnesia is near undoubtable. With two unreliable narrators and solid evidence of self-defense, I think we need more before declaring him guilty.

I'm here to be Mikoto's lawyer cuz John ily but you suck at it 😭

Now onto why I'm voting Inno:

Mikoto isn't lying when he says he doesn't remember murdering those people, at least not entirely. The memory is in his subconscious, but he can't even remember the faces of his victims because they were both so out of it.

I believe what we see in MeMe is safe to assume to be his first. The first mannequin smashed onscreen is this one:

That looks like a damn FNAF jumpscare lmao this tells me that his baseball hobby probably saved him from getting jumped at that train station, but it came at a heavy price.

That's where John comes in. To handle the feelings that undoubtedly came with taking a life and having to hide the evidence.

Generally in DID alter's memories fall into one of 3 categories (my observations of myself and other systems):

That event happened. These are all the details. I feel nothing about it.

That event happened and I remember everything I felt like it was seconds ago, but I couldn't tell you specifics

That event happened??

The latter two can safely be assigned to John and Bokukoto. The first one is what we're missing.

I saw someone point out how the train could symbolize that he can never go back (credit urself in the tags if u see this it was a good one) to before he killed.

That brings me to our final scene.

Remember how John split to handle the feelings of that stressor? The feeling of unsafety, pure adrenaline, and righteous anger at the attacker is a horrific thing, but once you experience it you change. In order for an alter to handle the reality of something, it must be accepted somehow. John's way of accepting it is not remembering their faces, only his expressions and actions. That's probably why he's so aggressive; constant fight-or-flight mode.

Mikoto (Bokukoto), like with whatever happened to him in early childhood to cause DID, is unable to accept these realities because doing so would shatter his world (it turns out constant fight-or-flight isn't great for your social life).

So about John's statement that he didn't know any of the victims even though he totally did, at least a little;

John is reading the room and there it is: unsafety, pure adrenaline, and righteous anger at the attacker. That's all he needs to feel to know that it's time to protect Mikoto.

That's not the face and mannerisms of a man who bashes skulls in for kicks. This shit was personal.

I can't tell if it's one or two victims in the second clip here, but I strongly believe they had something to do with his work. His subconscious is really harping on how much his boss got on him and how stressed it made him. Something happened that pushed them over the edge. You don't call your mom after you kill for fun (or maybe you do idk). You call your mom when you know you're fucked.

John initiated the second killing but I don't think he was the only one making a conscious decision. That said, I don't have enough details to condemn Mikoto to another unforgiven verdict.

So, where will we find that info? Well remember RGB Mikoto/Trikoto theory (kudos to whoever coined those too)? Well when I broke down the compartmentalization earlier I hinted that there's a strong chance that SOMEONE remembers every detail, but feels nothing and lays dormant.

Good old green Mikoto, the only one we haven't seen speak yet the one who's given us the most detail so far (via MeMe).

Even if not and Bokukoto remembers more than he's letting on/gets in contact with John, the crime itself isn't unforgivable beyond a shadow of a doubt yet even with multiple victims. His reasons are still cloudy.

Also I like him

[2af-afterdark]

Brothers + Datables Reactions to MC Begging them to make them Cum

Rating: Mature

Archive Warning: No Archive Warnings Apply

Category: GN/M

Fandom: Shall We Date?: Obey Me!

Characters: Lucifer, Mammon, Leviathan, Satan, Asmodeus, Beelzebub, Belphegor, Diavolo, Barbatos, Solomon, Simeon, Main Character

Additional Tags: begging, GN!MC, flowery language,

A/N: I hope this works. Some gave me complete brainrot and others were a tad harder. I, uhhh, I was in a mood for some of these.

Lucifer

Why should he be surprised? Making you beg is half the fun of enjoying his time with you. The real trick is how much he can make you beg and how depraved those pleas can become. It isn’t enough to beg him, you have to be very specific with what you want and how he can help you get there. It may be hard to think with him filling you up, but do remember to keep your dignity when you ask. He asked for a lover, not a whore.

Mammon

He loves you. He loves you so much that he can’t think of anything else but you when he is joined with you. The second you beg him to make you cum, his brain is no longer functioning. All he can do is hold you close to feel the heat of your skin against him and continue the pace that is making you cry for him. At some point, he starts telling you to be good and cum for him. Hearing you beg over and over for him is pushing him close to his own finish, but he refuses to cum before he gets to see you completely unravel.

Leviathan

The elation he feels when you beg for him and only him as he brings you higher and higher satisfies a primal need deep inside of him. It’s a plea that only he can fulfill, a question you only ask him. He is more than happy to bring you the pleasure you seek… though he may not be happy with only hearing that question once.

Beg. Him. More. Over and over, until your voice goes hoarse.

Satan

When you beg for him to make you cum, he is flooded from head to toe with the need for you. Even if you two are already intertwined, hands and fingers laced together, he wants more of you. As much as you beg for him, he returns each word. He wants to cum with you, because of you, listening to your sweet voice echo in his head. He kisses you deeply to connect on every level, both of your moans drowned out in one another.

Asmodeus

The way you beg sets fire to his soul. He’s heard many beautiful cries over the years, each pleading for the same thing. You though? You are different. When you cry, it is not so simple as crying to cum. You are crying for him; voicing your desire to be with him and reach the pinnacle of bliss in his arms. His heart could not be more glad to have a wonderful human such as you. He will ensure that you feel his love and admiration in each kiss laid upon your skin as he gives you everything you beg for.

Beelzebub

Beg all you want, Beel can’t hear you. Or rather, if he can he doesn’t seem to care. He’s already doing everything you need him to and you are quickly approaching your zenith. He’s enjoying indulging in you a little too much and the world has faded out around him. The only things left are your and his body, connected and drowning in one another. He cannot hear his panting or your voice, but he knows each time you twitch around him. Your words do not serve you here, but your body is begging all the same.

Belphegor

Oh? Please do beg him more. He’s always found it more entertaining to tease you than anything else, but listening to you sink so low as to beg for him? For once you are doing something amusing and he feels a fire stirring within him as he thinks of the other ways he can make you continue. Since you managed to get his attention, he will make sure to give you exactly what you asked for. He will give it to you until it aches and your brain turns into jelly in your head.

Diavolo

You mean so much to the prince of the Devildom. You are a promise of a brighter future for all the realms, and when he is connected with you he can think of nothing other than his pure devotion to the human who stole his heart. If you beg him, he will do anything and everything to make you cum while whispering words on eternal love to you. You’ll be seeing stars long before he is finished and you will know how devoted he is to you in several languages.

Barbatos

Barbatos walked in on you taking care of yourself and decided it was best to leave you to your business before you could realize he was even there. That was, until he heard his name on your lips mixed with a series of pleas to cum. Your voice sounded so broken and pitiful as you lived out some kind of fantasy in your head; a fantasy he would much rather be a part of than not.

He came into the room you were borrowing, ignoring your shock and surprise at being caught, and quickly replaced your hand with his own. You had begged for him in such a lovely voice before. Surely, you could do it again now that he was here to help you.

Simeon

Simeon is embarrassed beyond reason when he hears you begin to beg. He loves you, is very open with his love and affections, but… those words that leave your mouth! It should be a form of heresy to sound so lovely. It sounds more like you are praying to him as a god than speaking to your lover and he feels sinful. Even more so because he enjoys each word that leaves your mouth and is more than willing to grant your wish.

Perhaps, should his thoughts wander somewhere they shouldn’t dare, he would not mind being your God for just this moment.

Solomon

Solomon doesn’t have to touch you to make you desperate for him. He has all the magic he could ever want and is more than happy to use it on you any time he gets bored. He’s the kind of man who likes pushing your limits and trying to watch you hold back in front of others, but will not finish the job. Although, when you pull him aside and beg for him to finally let you cum after his constant assault, he finds that he is more than happy to use his own hands (and some other things) rather than a spell.

[cheapshrimpysheep]

Hiiiii, congrats on the milestone!! I REALLY like your writing and I've been going through your works for some time, but it's my first time actually requesting SKSNKXAK I'm sorry if this sounds pushy or smth. If it's alright with you, can I request a platonic scenario with reader and Malleus where reader is aromantic/aroace and trying to explain to Malleus that just cuz they don't like him romantically doesn't mean they like him less. Like yk something like "I don't wanna kiss you or get married and have kids and live happily ever after, but that doesn't mean you're not the most important person in my life and I wouldn't do anything for you". This probably implies unrequited crush on Mal's side, but he gotta get over it yk yk. Once again CONGRATULATIONS you'll be celebrating 1000 followers before you know it!❤

🚫 NO Angst UNLESS it ends with fluff/comfort 

Unrequited crush falls under the category of angst, since one of the sides gets emotionally hurt. And I feel bad writing about Malleus getting hurt/sad by us (MC/Reader).

However, you didn't specifically ask for the unrequited crush. You asked for an aromantic/aroace reader. I happen to be on the asexual spectrum myself, but I'm not aromantic. So, I wondered in what scenario he would like you but not be hurt/sad by the news. And the idea that crossed my mind was: "What if he found himself also aromantic/aroace with your explanation?" So this is what I wrote. I hope I portrayed it well.

And thank you so much! 😊 I'm glad you like my writing, and I hope you keep enjoying it.

I hope you and all enjoy this one

CHARACTERS: Malleus Draconia

TAGS: GN Reader; Aromantic Reader

WORD COUNT: 560 words

You and Malleus are getting closer. And that starts to worry you. You need to tell him as soon as possible, before his feelings get too strong. You don't want to hurt him.

It's not you who finds him. It's never you who finds him. He is the one who comes to you, always. And that is what happens. You see him in front of the Ramshackle Dorm through your window. And he is smiling at you. You just hope you don't turn that smile on your sad face.

You get outside, and head over to him. He greets you with "Good night, Child of Man" and a smile. You greet him back and ask him what is he doing there? Another one of his nocturnal walks?

He confirms, and starts talking about the stars and how beautiful they are that night, making you look at them too.

You decide to start by checking if he likes you that way. “Tsunotarou, do you like me? You know... more than... a mere friend?”

He chuckles “Do you genuinely believe that I would aloud anyone call me by a name like Tsunotarou, if I dislike them? Everyone but you would suffer serious consequences if they ever addressed me in such a way. I hope this is enough to show how special you are.”

You take a deep breath “I need to tell you something.” And you explain in your own way that you really like him too. Just as you are special to him, he is special to you. But you won't be able to express it the same way as others express it. But that doesn't mean that your feelings for him are less strong than the feelings of others. You try to explain it to him as best you can.

Malleus looks pensive, hand on chin and staring at nothing. You worry about his silence. “I don't understand. I mean, I understand the concept you explained to me, but I don't understand why you felt the need to tell me this.”

You explain to him that these kinds of things should be said before the other person's feelings get too strong to hurt them. And the last thing you want is to hurt him.

He smiles. “I certainly appreciate it. But you have no need to worry about that. The truth is that what you just described is the same as I feel for you. I understand that others can show their affection in different ways. But I also don't feel the desire to demonstrate mine in the same way as others. Do people think that that makes our feelings less... valid, perhaps?”

You tell him yes, and try to explain that because most other people feel the need for these types of displays of affection, they come to believe that if you don't show them, then you don't really love them.

He goes back to looking pensive, and a little sad. He sighs “How troublesome. But fascinating. Looks like I truly still have a lot to learn. Perhaps even about myself.” he looks at you, smiling “Worry not, Child of Man. My deepest feelings are the same as yours. And if any being dares to insinuate that they are not strong enough” he raises his hand in that menacing way. “I'll show them how strong pain can feel.”

If you dropped in here out of the blue and want to read more from me, you can find it in my pinned post: INDEX