#but also!!! the best part about self-insert fiction is you can kind of imagine it however you want to

[inkykeiji]

I gotta share the silliest thought I have whenever I see Tnii - because I'm older than what you have him placed at, so whenever I see any content of him, the brat in me is like "that's ONEE-sama to you!!!" And then I die inside a little every single time because it's a become a knee-jerk reaction at this point 🤣🤣 (older, but TINY, everyone who sees me thinks I'm at least 5 years younger than I actually am LMAO).

HAHAHA awww that’s so cute hehe (*/ω＼) he’d fight you so hard on that though, would vehemently refuse to use such respectful honorifics with you + would punish you for even attempting to insist that he does—how unbelievably rude of you to even suggest it! touya-nii absolutely is the type to make/force you address him with honorifics, even if you are older than him—some sort of misplaced, misguided ‘respect’ thing; age means nothing here, he is the boss, and you will address him as such! and all that stuff (especially if you are physically smaller than him!!!).

[phoenixtakaramono]

The Boys, choose violence 10, 22, 24 if you please. :D

From the 🔥Choose Violence Ask Game🔥

Thank you, @kosmochlor, for the Ask! Ahh, and I see we’re going straight for the jugular!! 🔪(⊙v⊙✿) These are just a few personal honest opinions written at 1:40AM. What I think does not apply to everyone. ♥️

10. worst part of fanon

Keyboard warriors. The morality police clutching their pearls. You know who I’m referring to; we always have them in every fandom. The ones who police who/ what you like and are obnoxiously loud about it and about how the characters or ships you find interesting are problematic and, lookie here, my [insert character they’d fixated on] never did anything wrong compared to your rancid skrunkly blorbo and I wish more fans liked my favorite character than [insert popularly liked character]. On the converse of that, I’m on two fences when it comes to Homelander stans. Thankfully most people are rational and like him because he’s an interesting villain (and, let’s be real, it’s powered by a side of fan thirst for the actor who plays him; it’s the typical parasocial relationship that fans develop with the celebs who play our favs/ or it’s just plain interest in the fictional character itself or the fun thought of that fictional fav being railed or doing the railing)—but I do have to raise an eyebrow when he is being stanned for all the wrong reasons (coughfascistallegorycough coughMAGAallegorycough coughSigmamalecough).

It’s a very interesting outlook to have as someone who isn’t as into Homelander as other people but still goes out of my way to read and write stories of him being shipped with his enemy Billy Butcher (listen, I’m your average law-abiding 28 y/o woman who works M-Sat 9AM-5:30PM and sometimes even Sundays and even overtime; sometimes on my limited free time I just wanna indulge and imagine about what it’d take to save the metaphorical world in this fictional universe—aka by having the two toxic old men f*ck each other and they can be two co-dependent psychos in love terrorizing the world together as a shameless power couple in a perpetual Ouroboros cycle of love and hate and self-punishment; obviously I do not condone this kind of relationship irl but within the safety of my imagination, we writers be playing god. It’s fairly obvious both characters are fated to have a bad ending in the show, especially if they follow in the footsteps of comic canon for a bittersweet ending, so let me have fun on my very limited free time writing my alternative Butchlander takes about these manipulative assh0les obsessing over each other and the fate of the world depending on how successful they are at gaslighting each other into playing a permanent happy couple).

22. your favorite part of canon that everyone else ignores

Homelander is canonically bi in the comics. No, I’m serious.

(Spoiler alert: for those without context, in the comics, Soldier Boy was not Homelander’s father. In the comics, male Stormfront was one of the Supes whose DNA was reused by Vought to create new and stronger versions of the source material, so his DNA resulted in baby!HL’s creation no, comic HL did not f*ck male Stormfront; in a way, HL is kinda a partial clone of comic!SF. Whereas in the show, Soldier Boy was changed to be a super straight (?) alpha male granny f*cker who was later revealed in the season to be the sperm donor for Homelander. And Stormfront, as we know, was genderswapped in the show and changed to be Homelander’s girlfriend in S3. …There’s no confirmed Sweet Home Alabama vibes yet as of 2023 but there is understandably fan speculation for a reason.)

I believe the best way to put it: Homelander is generally attracted to women, but in later issues he reveals that he has a secret liking to men. Because he’s The Homelander; he can do whatever the f*ck he wants.

And let’s not forget this beautiful iconic scene the TV adaptation gifted to us:

Now some personal opinion time: I also like the idea of him being a narcissist so he only truly loves himself. And others can come close (especially if he sees aspects of himself in them) but his One True Love will always be himself. It’s the classic Narcissus looking at his mirror reflection allegory—but now you mix it in with some complicated cocktail of a God complex, inferiority complex, imposter syndrome, self-hatred, and sociopathy or psychopathy and a hidden desire of wanting to fit in with the banal societal human norms of being accepted but always feeling left out on the other side of the glass wall looking in. Now you tie it in with him never finding anyone who’s “genuinely loved him” (by his own criteria) and has not regarded him as a monster to be feared. He’s desperate for that human connection, for that elusive “perfect companion” who will understand him and cater to him and put his needs above their own—and to him, finding that proves he’s not a freak of nature. He’s not a monster. He’s not a failed product. He’s not a pathetic excuse of a man that even Soldier Boy didn’t even want as a son. Vogelbaum—and everyone else just doesn’t understand. People love him, right? Vought and Madelyn have indoctrinated him into believing he’s the people’s hero—and how they adore and worship him and want to be him or want to f*ck him. How can he, The Homelander, a superior being with his perfect genetics who’s better, stronger, smarter and more attractive than anyone else (I hope you can tell I’m being heavily sarcastic here), go out on a limb and fail at finding this one intangible thing that ordinary mudpeople or his inferiors can find but he somehow can’t?

24. topic that brings up the most rancid discourse

It’s almost always political discourse particularly from extremely delusional right-wingers people who have terrible media literacy of what they’re watching versus what might be clear-cut to the rest of us—and discourse of whether or not The Boys (TV) is an objectively good show. All of these tend to go hand-in-hand together. I think what those people fail to realize is: the script is written by Eric Kripke, the showrunner behind the first five seasons of Supernatural—and then you have Stephen Fleet, lead VFX supervisor and show producer, who came out at the age of 43 (🏳️‍🌈). They’re adapting it from an edgy, dark, intentionally offensive-just-for-shock-value comic series written by Garth Ennis, the person behind Preacher and even a bit of the Punisher. The eight-volume comic series, which ran from 2006-2012, is full of racist, sexist, misogynistic, and homophobic elements (to be fair, GE wrote this as an intentionally darker satirical take on the superhero culture—and edgy shock factor is a writer’s strategy to make your work stand out). It was meant as a “dark, satirical commentary about the fictional superheroes—and, to an extent, the real life celebrities—we idolize, and how easily people with such power can abuse their responsibility” (source).

With what the TV showrunners had to work with, with the actual source material being a slog kinda to go through (the comics does have its share of good moments admittedly), as a whole I think it’s pretty impressive they’re able to update things to make modern social commentary which are relevant to us today (now, they can be admittedly a bit on the nose about it; one thing that stuck with me till now is how a writer friend I was watching the show with remarked how they’d thought BnHA did the superhero genre commentary much better) and somehow they were able to make a far superior TV adaptation just by paring down and changing a few things from the comics for the better so far (*knocks on wood 3x*). I will however always side-eye anyone who insist the comics is superior than the TV adaptation and loudly proclaim they won’t watch the show because “look how they massacred [insert comic character]” (now, to be fair, normally I would agree with this take but we’ve established The Boys (TV) is a special case; I would also understand if the comics had been the person’s first exposure and, hence, had become their fixation—but considering its intentionally offensive contents I am quietly side-eyeing them from the sidelines and keeping my mouth shut).

[honeyhotteoks]

to add to🪐''s anon revie, ithink i've said this before (maybe in aurora) but it's truly amazing how you capture seonghwa's loving and caring nature.

sometimes there's this misconception that hwa's rough and kind of this hard dominant/edgy persona that he puts for a performance, and people mostly tend to center into that when they write their fanfictions which is totally okay! it's fiction for a reason but there's just something so comforting about reading a portrayal of seonghwa that closely resembles his actual persona?

wether in tnt or in aurora or any of your fics for that matter, i feel like it's him, and it's so nice to feel like you can read a person like that and put it into a character that's so well thought and crafted.

husbands hwa is also another great example, even tho he's the "harder" dom and the one to guide and command the scenes, he's by heart the one who's into every detail to make his partners feel as safe as possible.

✨anon

oh thank you so much 😭 to be honest with you.... i thought real-person fiction was really weird for a long time and the same with self insert. it really took ateez pulling me in as deep as they did for me to just want to know them better and change that perspective.

and while i never will get to know them personally, i'll only know the parts of themselves they share (their characters per se), i want to try my best to be as honest and thoughtful as i can.

for example, i've gotten requests in the past to write infidelity/cheating storylines.... and while i think those can be fun, i physically cannot imagine that scenario with any of them. so i don't know that i'll ever be able to write something like that, even when it's fiction.

seonghwa is one of the most flexible members in my mind for different stories and scenarios, but i don't think i could ever write him in a way that wasn't true to that core character that i've developed in my mind, which is ultimately a kind and caring man.

thank you so much as always 💞

[jesseisreading]

~~Long book post!~~

2022 Reading!

Hello! I usually make this post in the New Year, but I don’t think I’ll finish Hyperion by Dan Simmons or The Historian by Elizabeth Kostova in the next couple days so I’ll go ahead. Plus, I hope it helps folks find some ideas for their 2023 reading.

Usually I just post the list in chronological order (and I’ll still have that below, so you can see the arc of my reading for the year), but I’ll try to put a little more order and commentary for some of the titles. Feel free to discuss, give recommendations, debate, etc!

Visual Fiction

Dracula, Motherf*cker!

This one was really vibrant with gorgeous art and a fun take that felt fresh, but it was just too short to really be enjoyable. Quick pulpy fun, I guess.

All of the initial run of The Sandman:

I’d need a separate post for to really talk about this story, but yes. Some of the best fiction I’ve ever read. The whole of Dream’s arc (or at least what we get to see 😉) always felt both epic and microscopic at the same time. All the steps of such a grand journey to such a powerful panel. It, and the results thereof, brought me to tears. I had to sit with it for awhile, and it’s a weight I still feel. Like Dune, it might become yearly reading for me.

Saga volumes 1-4

Also a really fantastic story. Bright, cohesive, and brilliantly imagined. Royal TVs. Brutal war. Romance novelists. Wrestling moms and magic father-in-laws! Saga’s creators Brian K. Vaughan and Fiona Staples have created something really special. It’s one of my favorites, and I can’t wait to dive back in. It’s also really exciting that their hiatus is over, and the story will continue.

The Sandman: Endless Nights

Yes, a brilliant but at times intense anthology with seven different artists giving life to separate pieces about each of the Endless (Delirium and Despair were hard to process with the former kind of sending me into a spiral). Won’t say much more other than that reading it at the sorta half way point was a happy accident. I had enough of a grasp on the world and the Endless to appreciate it, but there was still so much I didn’t know. Does show big spoiler without clarity though.

The Sandman: Overture

Once again, obscenely beautiful and a little tragic and I don’t fully know what to say. If someone reads this first (it was published 2014, long after the original run), I’d love to hear your perspective after finishing the main run.

Science Fiction

Foundation

More interesting than engrossing, this was still a neat read. I enjoyed the short story structure and all the world building, but it mostly felt like the beginning moves of a chess or MTG game where it all gets set up. Will eventually get back to this series so I can see where it goes.

All Systems Red & Artificial Condition (books one and two of The Murderbot Diaries)

These were both fantastic! Main character is a quick wit and immediately likable (and powerfully relatable for some). I think my favorite part of these books is that not only are they great for long time sci-fi fans, but they are also great for those don’t typically dive into sci fi. They are quick reads (I read them in 2-3 hours each), and the first book sets up a great mystery. I also feel like these books are great way to step outside of ourselves and get a third person perspective on our humanselves.

The Iron Widow

A really fun romp that blends Chinese history and folklore with big mech beat ‘em up science fiction. On one level, it’s a story about gender dynamics, oppression, and the nature of power. On another, it’s dragon ball z fighter furry self insert gundam fan fiction. High key recommended as a fun vacation/beach read.

‘Youth’ Literature

The Small Spaces Quartet

Nominally aimed at middle schoolers, this four part ghost story is just as brilliant as the author’s Winternight Trilogy and can be enjoyed just as much by adults (especially those who can still remember the trial and tribulations that come with that strange transitional period we like to call ‘Middle School’)

When You Reach Me

Another book that is nominally aimed at kids but *needs* to be read by adults, it had a profundity to it that I will be occasionally revisiting in the years to come. I guess, if it’s about anything, it’s about consequence and quantum mechanics and all these beautiful concurrent moments that our lives stretch across. Beautiful story and structure.

A Wrinkle in Time, A Wind in the Door, and A Swiftly Tilting Planet (1-3 of the Time Quartet, or as I like to call it: the Charles Wallace Cycle)

I’m not smart enough or articulate enough to quickly breakdown for this post why I love these books or how important they or why you should read them. These books touched my core and reminded me of some lessons that are particularly relevant after the last few years. It’s never easy, and a lot of times it may be downright scary, but as long we try and don’t give in, maybe good really does triumph in the end.

Fantasy

The Divine Cities Trilogy and The Founders Trilogy by Robert Jackson Bennett

More selections that I just really can’t say enough good things about. I don’t know if I’m just getting softer as I near my 30s or if professionally doing theatre for young audiences has changed/expanded my capacities to feel, but these books (like a lot of titles this year) really touched. They cover a lot of ground without ever feeling dense or preachy. If I had to be concise, the books are about the effects of power on the large and small with Divine Cities focusing on the legacies of war and imperial oppression and Founders on capitalism and the results of an extreme klepto/plutocratic system. They can be tough reads, especially City of Blades with it’s exploration of trauma, but they’re important. RBJ’s worldbuilding and sense of increasing stakes are top notch. The end of The Founder’s Trilogy had me quietly weeping in public.

The Wee Free Men

Only my third exposure to Pratchett’s prose, and he really is one of the funniest and smartest writers this language has ever been blessed with.

Gallant

Another swing and a home run from V. E. Schwab. This was a beautiful ghost story with a fascinating protagonist and probably a good starting place for Schwab’s older aimed works before visiting something a little darker like Shades of Magic or Villains (really dark)

Etc.

Circe

Revisited this one, because the first time around it really didn’t strike any cords for me. I originally meant to do a deep/slow dive into the text but then had to speed up so I could get to When You Reach Me. This time around it had a much stronger impact, and I was able to see the world anew through a set of eyes that were very different than my own.

Authority

Book two of The Southern Reach Trilogy, I’m still having weird dreams because of this one and the preceding text (Annihilation). Reading it quite literally gave me headaches. Not for the faint of heart. Very good but read at your own risk. Still haven’t been able to finish the final book, Acceptance, and I will unfortunately probably have to start back at book one to finish the series.

Smoke and Mirrors

Not my top favorite of Gaiman’s short fiction collections, but it does have some of my favorite stories if his. I hadn’t visited this collection since I first experienced Neil Gaiman right after my high school graduation, nearly a decade ago. Charming and horrifying, it begs the question: what are we hiding and what illusions are we presenting?

The Maidens

A promising set up with an ultimately disappointing execution and ending. Finished but did not enjoy. 2/10, will probably get rid of my copy to have more room on my fiction shelves.

Things Read in 2022:

*indicates first time

1. *The Maidens by Alex Michaelides

2. *Dracula, Motherf*cker! by Campi and Henderson

3. A Wrinkle in Time by Madeline L’Engle

4. *Gallant by V. E. Schwab

5. *Authority by Jeff Vandermeer

6. SAGA volume one

7. SAGA Volume Two

8. *Saga volume Three

9. *Saga volume Four

10. Ranger Musky and the Mysterious Beast

11. *The Sandman: Book 2 by Neil Gaiman and co.

12. City of Stairs by Robert Jackson Bennet

13. *City of Blades by Robert Jackson Bennet

14. *City of Miracles by Robert Jackson Bennet

15. *Amelia Earhart by Katherine Mills Schultz

16. *The Sandman: Endless Nights by Neil Gaiman and co.

17. The Sandman: Book 1

18. The Sandman: Book 2

19. *The Sandman: Book 3

20. *Goldilocks and the Three Bears by Jean Pierce

21. *Inside Out by Kathryn Chase Bryer & Natasha Holmes

22. Miss Fancy by G. Riley Mills

23. *The Sandman: Book 4 by Neil Gaiman

24. *The Foundation by Isaac Asimov

25. Small Spaces by Katherine Arden

26. *Dead Voices by Katherine Arden

27. *Dark Waters by Katherine Arden

28. *Empty Smiles by Katherine Arden

29. Smoke and Mirrors by Neil Gaiman

30. *Iron Widow by Xiran Jay Zhao

31. *The Wee Free Men by Terry Pratchett

32. *All Systems Red by Martha Wells

33. Circe by Madeline Miller

34. *When You Reach Me by Rebecca Stead

35. A Wind in the Door by Madeline L’Engle

36. *A Swiftly Tilting Planet by Madeline L’Engle

37. *Sandman: Overtures by Neil Gaiman and co.

38. Foundryside by Robert Jackson Bennet

39. *Shorefall by Robert Jackson Bennet

40. *Locklands by Robert Jackson Bennett

41. *The Children on the Hill by Jennifer McMahon

42. *Artificial Condition by Martha Wells

[princeescaluswords]

One of the things that I will probably never get over is not only how many people take joy in writing (and by those stories' kudo count, in reading) AUs where Stiles plots against, maims, or even kills Scott and/or Deaton, but also how so many of these authors and readers act like it is therapeutic for them as individuals to have Stiles, as their self-insert, plot against, maim, or even kill Scott and/or Deaton.

There's a story in my daily search for Scott McCall fiction -- the same one I do every day because I'm a fan of Scott McCall -- where a post-nogitsune Stiles is in a three way relationship with Peter and Chris. In this not-very-subtle story, Alan Deaton is clearly pushing a clueless Scott to expand his territory by allying himself with Satomi Ito, while Theo works for Stiles. Now, Stiles is described as "dark" but they still make it clear that Deaton is the only person truly sinister and power-hungry. What Deaton plans to do with this power is never explained because it's not important -- it never really is. What is important is that Stiles will have to destroy them because apparently only white people can believe that they know what's best for everyone else.

In other words, same shit, different day. I might be interested in stories like this if the author ever bothered to explore why Deaton and/or Scott having more power is bad thing, rather than relying on begging the question.

But the truly sad part is in the author's notes, where the author talks about promising their readers a happy ending, because the world is horrible and terrible, and this is the only control that the author has over it.

Can you imagine anything more pathetic? I can sympathize with them believing that this is the only control they think they have, but I can't help but believe it racist that they think that the best way to express that control is to write stories where white villains murder brown and black people. Again and again and again. In writing this, I encountered another story by the same writer with another author's note giggling that they hadn't killed Scott in a while so they have to get back on top of that. Ha, ha, ha.

As usual, it's only Scott and Deaton that deserve to get murdered by Stiles and whichever Hale he's banging at the time.

Why Scott? Did Scott do more to Derek than Peter did? Than Isaac did? Did Scott do more to Peter than Derek did? Than Christopher Argent did? Did Scott's conjured neglect hurt Stiles more than Isaac's sneers, Peter's jibes, or Derek's fists?

Why Deaton? Did Deaton insult Derek more than Stiles did? Did he interfere with Peter's plots more the Sheriff or any Argent? Did he not help Derek in the right way? He certainly didn't do anything to Peter except warn Derek not to trust him. As if Stiles didn't do that, too.

But this is horror writing! I can hear people cry in defense. But it's horror writing where the killers always seem to be white men and the victims always seem to be not-white (with sometimes a woman thrown in). It's horror writing where the white men always seem to be competent and unstoppable while still being considered victims, and these same white men are all bloodthirsty and vindictive but also still seem capable of great love, while the minority victims are all ... kind of lame, really. (One of these days, one of these people is going to write a story where Deaton and/or Scott are actually competent villains, and the world will end.)

But this is fiction! I can hear people cry in defense. It's not real! But the time this author spent writing these stories is real. The time the readers spend on reading these stories is real. The emotions they feel while they get their jollies with white men murdering minorities are real, and the emotions some people experience when they're shocked by this racist garbage is also real.

Yeah, still not getting over it.

[writingonesdreams]

Happy STS! Sending a similar question back to you. What is your favorite way to develop your characters? And how did your current cast of characters come to you?

Favourite way to develop characters

I'm a very character driven writer and reader. I get invested in a character for a very long time, so when I get OCs, I get them for a few years, and keep throwing them into wips and plots until something sticks for them.

They are usually inspired by another fictional character, or developed from an interesting pair of contradicting traits. How would a character that is kind but cold make friends? How would someone insecure but arrogant look like? What about someone aware of their flaws, but not being able to change them? What would break the perfect selfless heroic character? Stories usually start from that.

Then I take the OCs and throw them into AUs of anything I'm currently watching. A random movie, the last anime show I liked, books. I love imagining how the OCs would react, get along with the canon characters. Sometimes OCs are created specifically for a favourite story, to fill the roles I was missing.

The heart stories, meaning my favourite stories that did everything right and better than I could have imagined becom the base for my own characters and conflicts. I'm a collection of the things I liked best (and self-inserts and conflicts from real life).

My go to method are also personality tests, like MBTI and Enneagram. My fave is sortinghatschats system though. I I have the sorting, I feel like I know the character well enough

Creating my current cast

Since I usually have a inspirational character to base my OCs on, I usually have a source material to support myself with and then twist and play with to make my own.

Zephyr, interestingly, doesn't have a base character, which makes him rare (and hard to unstuck when he makes trouble). He is the kind of protagonist I missed seeing, someone just obviously good and heroic, not morally gray or ambiguous.

Skye is a certain collection of my own traits, things I was or wish to be. These main girl characters are the easiest to create, cause some part of me is their base. Usually the most recent ones. I can track my growth and life phases in my main girls.

Leander and Hal are variations of fave charcter types I have, adding some of their own twists and issues.

I missed an obviously troubled anger drive character, which is why and how Kieran was created.

Hope that's understanble XD. Thanks for the question^^

[autumnslance]

I've got a writing question that's been on my mind for a while: how do you keep your OCs from becoming self inserts? Every time I think of developing an OC I realize that it's attributes that I

Oops, you got cut off! But in general: all your OCs are going to have traits of yours; it’s inevitable. Sometimes big things, sometimes small things. It’s how we relate to them, and also just natural, I promise. We write what we know, and we know how we interact with ourselves and the world.

But there is a difference between sharing some traits with a character and making them a self-insert. It’s letting their life, their community and culture, their experiences, also influence their traits and thinking, in ways that might be different from how you would respond in a similar situation. Even if you share those attributes.

This is me so let’s go behind a cut shall we?

Dark Autumn is as introverted and solitary by nature as I am; she can and does interact in professional and friendly ways with people (as I try to do), but needs alone time to recharge. However, Dark also has a very different outlook and relationship with her family than I, since her family is large and supportive, very close knit. If family is a lottery, I got the $50 scratch off prize while she hit the Mega-Millions. So I take that into account when thinking of her relationships not just with family, but with friends and potential romantic interests; Dark sees things through a lens of positive, low-drama familial relationships that I can barely fathom. This also means she has a support network and resources myself and other characters don’t, so gets some wish fulfillment of working through issues with care and grace instead of remaining in unhealthy places. She is my “comfort OC” so gets a lot of good things I wish I had—which shapes how she responds to others, like taking care of a FCmate and becoming something of a big sister figure for him, or the responsible older sister figure of my group of OCs. Which is me, really, idealizing my own older sister tendencies into this giant woman who’s better at it.

Aeryn was written to be on the ace scale; not my first character to be so, but the first written that way as I began to realize where my own orientations lie and wanting to examine that through fiction. That she fell for a certain rogue in the process of playing through MSQ again was not at all intentional. I like Thancred as a character—he hits a lot of tropes I enjoy—but in my own mindset, he’s a frustrating younger brother. I didn’t think I’d do NPC x WoL shipping. But there it is, because in determining Aeryn’s own experiences and how those shaped her, it ended up working out that way (and I spent the better part of 2 years writing the characters separately to figure that out and if it could work before writing them together because it’s not something that comes naturally to me).

Aeryn’s internal anger is something I have a difficult time with; it’s outside my own nature to carry things like that. I have my angers, certainly, but they are different from hers. I tend to need a lot to set me off and then it burns out hot and quick. Aeryn’s more of a long boil she keeps bottled up. I’ve gotten a few things through various fics, I think, but it’s why I do things like reference arguments but rarely depict them. Being non-confrontational myself (I’m meek and have hangups thanks to my own life) it’s a challenge. Aeryn responded to childhood traumas (that I never dealt with), bullying (that I did), losses (that I haven’t yet), and the responsibility she’s been given (thank goodness I don’t) far differently than I. Maybe I’d be more volatile, too, if I had her life. But I understand where her anger comes from sharing some of the reasons, I just shape it differently than my own.

There’s a lot of things about Dark and Aeryn that are accidentally similar, just due to the timing of their character generation and other RP OCs made for other games along the way; “Oh I haven’t done X or Y in a character in awhile” sort of thing, but how each approaches those similarities and why—their quietness, their issues with using magic, their tendency to “adopt” others as family—all come from different places and resolve differently, too.

C’oretta comes from a part of me that doesn’t quite want to grow up. That wishes I had been more of the peppy, active, cheerful, risk-taking, live it up stereotypical party kid, that “popular girl” archetype I felt so often on the outside looking in about. As my second character, I wanted her to be different from Dark Autumn—visually, emotionally, mentally. Where Dark is steady, C’oretta is flighty. While Dark is people oriented, C’oretta’s a bit selfish (like I often feel). Dark’s introverted, C’oretta’s extroverted. Much of C’oretta’s attitude is a deflection against the hurts in her life, a way to fight back against some terrible things. It’s a way I could never react. But I also can’t get away from a character who loves to learn and wants to try new things—but where other characters gain the ability to stick with and see them through, C’oretta gets my easy frustration and boredom, and then the “ooh shiny” of a new interest. There’s a history of ADHD (or whatever the acronyms are now) and even autism and learning issues in my family; it’s possible I have some undiagnosed ND stuff going on, and people have noted these things in C’oretta that I’ve based on my own experiences and those of people very close to me.

Many of my characters have traits I wish I had, or were better at; patience, kindness, consideration, convictions, courage, thoughtfulness, and so on and etc. They’re good at skills I haven’t the knowledge in, or the ability to do. They’re certainly more active than I am, or could be! Because I can take the time to think and plan and research and write those things out better, and just maybe along the way not only learn something myself, but try to practice it better myself. I can even sometimes let them teach me what I can possibly do or be, not just imagine it as an ideal that’s out of reach.

I try to let my characters make mistakes I wouldn’t—or in some cases, have in my past, and that’s OK. Especially if I learned from them, but maybe the character does not. Maybe they do but it takes awhile, or repeated instances until it sinks in. Maybe I let them make errors I still make, as a way to puzzle out better solutions I should probably entertain for myself.

Character voice is something I’ve felt I struggled with in keeping my OCs distinct. Do characters ‘sound’ alike, in dialogue and prose? Having distinct ways of speaking helps; C’oretta’s breathless chatty run-ons are certainly different from Dark and Aeryn’s quieter tendencies. I have to remember to trim down Aeryn’s dialogue more often, say less aloud, add more gestures and facial expressions. I tend to be a talker, an over-explainer (if you can’t tell), while the only times she gets like that are specific. Dark’s somewhere in the middle of those two, like I am. A lot of the reason I like writing NPCs and try to keep them close to my interpretation of canon is to practice distinct character voice to get better at it in my OCs, so they don’t sound like me!

And something I’ve never admitted to before is that I think for me, it helps that from the time I was a kid watching various series of Star Trek, I always have had an in-my-own-head-only self-insert. She’s always a support character (that’s what I’m best at). She has cool and unusual abilities to help the actual heroes, cuz heck it’s my internal fantasy and that’s fun. She has traits I want to be better at or wish I had, developed over time with more energy and focus than I can actually muster in reality. As time’s gone on, she’s become more of a mentor and Mom Friend as I’m now older and see a lot of protagonist characters as “my kids” now. She appears in nearly every story I’ve loved over time, in one iteration or another. And because I have a headspace character where I can say “this is what I, ideally, would say and do and be capable of in this situation…” My other characters that I actually write about can vary between doing something similar (if it suits them) to doing something completely different (cuz darn kids never listen) as I can compare them to the self-insert and decide where to diverge.

So it’s a mix of myself and my traits and knowledge, but taking into account how each character would respond and use those same attributes differently than I do or would. Write what you know, write who you are—and then add in some wish fulfillment, some what ifs, some bad choices, some good choices, and shake things up. Give the characters tics and tricks different from yourself and let that shape them, too, by remembering to take those things into account (even if you have to tape a note to your monitor).

And finally, don’t be ashamed of your self-inserts; I’ve known some great characters that started as self-inserts and grew, through their experiences, into wholly different people than their writers over time. Heck, the epic romance my original WoW priest was part of was with a character that started as a self-insert; his player began the game knowing nothing of the lore or roleplaying, but as he learned the story and how to RP, and determined how his character fit into the world and how that shaped him, the character diverged over time, while still sharing some key traits (some endearing, some frustrating, as people are and all part of that friend). It’s not a bad starting point at all. The rest can come over time and practice, especially if you make a lot of OCs and try to make them different from each other while also being aspects of yourself.

[t-kiss]

FAQ

What is self-shipping?

Self-shipping is when a person ships a version of themself (their self-insert or S/I) with one or more fictional characters (their fictional other or F/O). The most common types of ships are romantic, but they can be platonic, alterous, familial, or any other relationship model.

For some people, it’s a fun hobby and a way to express themselves; for others, their F/Os are as important to them as their real-life partners are/would be. (Many people in the latter category also call themselves fictosexual/fictoromantic/fictophiles as a way to designate that they are mainly or exclusively attracted to fictional characters.)

What do you mean by “tummy kink”?

Some common kinks under the umbrella, in alphabetical order:

belly rubs

bloating

burping

hand feeding

hiccups

hunger

nausea/emeto

safe oral vore

stomachaches

stomach noises

stuffing

weight gain

You mean feedism?

Not everyone who has a tummy kink considers themselves a part of the feedist community. Feedists are welcome to submit to this blog, but this is not a feedist-specific space.

What kinds of posts can we submit to the blog?

Art, imagines, fics, reader inserts, moodboards, playlists, meta, memes … if you can make it t-kiss, go for it!

Is X kink okay to submit to the blog?

If it’s a tummy-related kink that isn’t a personal squick/trigger of mine (as outlined in the submission guidelines), then yes! You may also include “side kinks” (such as pregnancy or dom/sub dynamics) as long as the focus is on a tummy-related kink. Just make sure you include a list for tagging purposes!

I noticed a mistake in my fic after I submitted it/after it was posted. Can I send another ask/submission with the correction?

Yes, of course! I’ll do my best to make those changes soon after receiving them.

Can I ask for my posts to be deleted?

You may request deletion of your posts off anon by messaging this blog (or my main blog, if you know me from there); any messages sent to me will be kept completely confidential. I can’t accept deletion requests through anonymous asks due to the risk of someone submitting a false claim without the real poster’s permission as a way to bully them.

Will you reblog a t-kiss post I made?

If it fits the submission guidelines, sure! You can message me, send an ask, or tag me in the post or a reblog of the post. You can also send a link submission if you want to go about things a little differently.

[fanfiction-funtime]

Self insert oc: Alexander Vodka

AKA: Eis Cay'zar

Author of fate

A writer from Schneznaya who was driven from his home for his anti-Tsaritsa paper.

_____________________

Physical description:

A chubby fellow in a 1950's style noir trenchcoat and hat, some would even say he looks like he jumped right out of a noir comic book and into reality. He has brown hair and green eyes, a cowboy mustache, and a pointed beard like some kind of comic book supervillain genius.

He often acts confidently and even a bit egotistical when in places he's recognized and famous in, however in newer places he often seems distant and shys away from almost all contact.

Noone knows where his vision is, but they know he has one because of the cold aura that surrounds him.

At night he'll often trade his outfit for one more reminiscent of demons or vampires.

_____________________

Abilities:

Weapon type: Catalyst

Basic attack-truth: uses his catalyst to shoot a short burst of up to 3 ice shards, can attack in fast succession.

"Truth hurts, especially in bursts"

Charged attack-Bifrost: Alexander quickly makes an ice clone behind the enemy and fires 6 shots, this can increase to 3 clones if charged enough(times: 1 for 1 second, 2 for 2 seconds, and 3 for 2.5 seconds)

"I hate crowds, best company has always been myself"

Elemental ability-ice wall: creates an aura of sheer cold around himself that will damage enemies the more they stay in it, and apply the normal sheer cold to them. Does not affect party.

"My therapist said I put up walls because of trauma, but I couldn't hear them through the wall I had just built"

Elemental burst-a story to be told: Alexander takes out his book and opens to a random page, then randomly summons ice sculptures of one of 8 beings:

"Aster": this summon looks like the flatwoods monster, it surrounds the party in a swirl of ice blades that deal 2X damage as the character for 10 seconds.

"Who needs brawn, when you got brain"

"Ultimate foe": a demonic, pointy being of shadow. Will independently deal 25000 damage to three random foes.

"Meet my penultimate friend"

"Beethoven": a sculpture reminiscent of a ww1 zombie general, calls down a barrage of ice bombs that deal 5000 damage to enemies hit for 7 seconds.

"Good scifi doesn't predict, it prevents"

"Sorrows Joy": an angelic, faceless, robot like humanoid that spawns 25 angel shaped traps that freeze enemies around the character.

"With any luck, you're the only real one I've made"

"Death rider and the magic prince": two statues, one of a mummy like Schneznayan mystic of ancient barbarian times and the other an elven cavalry knight from the myths of mondstadt. The knight gives the party a 45% boost to speed and attack while moving, and the Schneznayan gives +10% damage bonus to elemental skills and +55% damage bonus to Catalyst.

"Feel the wrath of honor long passed"

"Zero point and Lion queen": a knightly man of spiked armor and a golden ottoman warrior woman whose golden chain completely obscures her head. Your enemies become inflicted with pyro and you are surrounded by thorn bushes that deal continuous damage of 1000 for 10 seconds.

"Walk down the way on a moonlit day"

The traveler: a child in a red straight jacket, his binds become undone after 4 seconds at which point all enemies take 10,000 X Alexander's level of damage.

"I uh,wont have to pay any copyrights will I?"

"Giota": a child in pyjamas who looks ready to sleep, this summon is very rare. It fully restores all party members and gives a 200% boost to both defense and damage of your characters.

"This fella's been with me since I was a kid"

"If it is a soldier's duty to escape the confines of a prison, is it not every person's duty to escape reality if even for a moment? A wise man said that, pray that I may one day be like him."

Passive-part the wasteland: Alexander is immune to sheer elements, and Grant's 50% resistance when in the party to all members.

_____________________

Story

Abandoning a dream

As a kid, Alexander was always put down when he said he wanted to write fiction, "there's no money in it" they all said.

He couldn't get into any art schools without support so he focused his mind elsewhere, a place he could hopefully use his writing to do just as much good: the first newspaper in Schneznaya.

Horrible truth

He didn't start as a trouble maker, but the more he sought out the truth the more he couldn't stand back and watch. He published numerous papers about the Tsarista's wrongdoings and the crimes of the fatui, how they would harass merchants in other nations, the unfair taxes many shipping businesses had to keep quiet about, all the way up to the war crimes the Tsarista had done in direct contradiction to her own laws.

Sadly, not many believed him even with evidence, but some got his message.

Those who fight

One day Alexander was approached by a man who claimed to have formed a resistance against the fatui. Alexander had inspired many people to disrupt the organization, and have even begun working with those outside Schneznaya.

With their help he didn't just publish some crimes, he published them all, he even got information that turned the general public against the fatui even if just a little.

In a way h had achieved his dream of helping others with his writing, even if it wasn't how he wanted.

Stop the presses

When the Tsarista started her big move of taking gnosis, she brought the hammer down on dissent like a boulder on a ten year old's wrist. One day a squad of thirty fatui stormed Alexander's home and business to silence him, and while they shut down his business they couldn't catch him.

Alexander fled into the wastelands of ice and snow and wasn't seen for several weeks.

Deus ex Vodka

One day Alexander showed up in Inazuma, a nation that had been oppressed for some time now and had recently reached it's height, yet no resistance had formed.

That was until Alexander came along.

Alexander published numerous books, spreading them throughout Inazuma. All of them spoke of freedom, of bravery, of rising up to achieve your ambitions.

And with those stories he inspired countless to take up arms, and in turn inspired countless to join the resistance.

And with mere fiction he had brought about hope,

And with mere fiction he shall do it again, in every form, and in every nation.

Vision: cold hearted

While wondering the waste Alexander fell down and looked to the skies.

He did not ask celestia why, he did not grieve or blame that he did not do more, instead Alexander did something he hadn't done in a long time:

He imagined.

And after he imagined he took out his notebook and wrote. In the freezing cold for seventeen days he wrote stories of hope and freedom.

For seventeen days the cold did not so much as cause him to flinch as he wrote tales of bravery.

For seventeen days Alexander Vodka lived how he wanted to live.

And at the end, he lied down to die.

Then a light shown, and when he opened his eyes to look he saw that the storm parted around him, and in his hand was an ice blue gem.

But Alexander was too paranoid from years of abuse from his peers as a child to wear it loosely, and far to extra to just get a lock. So instead Alexander shouted to celestia "if I shall have this Vision for my art, then it shall not kill me no matter what I do!"

He then shoved the vision into his heart and fell down.

Before he could bleed out however, a woman appeared.

"Hey Tsari, how ya doin." Alexander said as blood poured out his mouth.

"You dramatic fool," the Tsarista sighed as she put a hand on his chest, "you have my element, do you know how bad it'll look for me if you die by shoving your vision into your heart?"

"Why do you care? We hate eachother, in case you forgot."

The archon sighed, "you're just rebelling against what you see as unjust, just as I am. To be honest I feel a sort of rivalry with you, so it'd be a shame if you just died. Also," she painfully shoved the vision all the way in, painfully, "if your going to die it better be because of me, got it?"

Then Alexander sat up, and the god was gone. Along with the hole in his chest.

"Rival of a god eh?" He sat up, putting his gat back on his head, "I like the sound of that."

_____________________

How is this an insert?

Well his story can't be the exact same as mine, so I took my life and goals and made predictions, then fictionalized those predictions and expanded.

His appearance is pretty close to how I'll likely look based on my current appearance, and his dramatic attitude is exactly how I wanna act.

Him being shy in new places with strangers is me exactly as I am now really, however I do believe I'd act confidently if I were famous so he does as well.

Him being Catalyst is because I'm not athletic at all, and I figured a dps Catalyst would be cool. His main ability and resistance/immunity to sheer cold is based on how I wrap up in warm blankets when it's cold, and his ultimate is made up of characters I've made.

_____________________

Tagging: @genshin-obsessed, @golden-wingseos, @storytravelled, and @love-psxlm

[bondsmagii]

This is definitely one of the… wilder stories here, but as always, I suppose people will believe what they will. 

This will unfortunately require some backstory, but I guess you could say the long and the short of it is that I played at being God, and it. Well. Kind of sucked, actually.

So, the backstory. I’ll try to keep it brief. I grew up in a small country village about forty-five minutes away from Belfast, Ireland. There wasn’t much going on there, as you could imagine – just a standard rural Irish town, where the most exciting thing that might happen in a week was old Farmer Joe getting a new tractor or something. Anyway, I’m not sure how many of you know about Ireland’s rather troubled past, but for the most part I missed all that. I was born around the time things were finally settling down, and while my earlier memories are filled with bomb scares and low-flying helicopters and gunshots in the night, the distant sound of shouting and the acrid smell of smoke burning a little too close for comfort, by the time I hit my teenage years most of it had wrapped up. Of course, there was the occasional scare here and there, and I’m not saying my friends and I didn’t go out looking for trouble once we were old enough, but it wasn’t the same. I’m not saying that out of a sense of, I don’t know, regret or annoyance or anything. Now I’m older, I’m not so enamoured by the idea of that much violence. I’m just saying it wasn’t really a patch on the kind of violence that used to happened there – the kind of violence that fascinated my friends and I so much. It sounds bad, but really we were just kids being kids. Little boys everywhere play at war games. It just so happened that the war we were playing had happened in our own country. It’s difficult not to be obsessed, when you see the reflection of history on the faces of every generation around you. Even slightly older siblings would know all about it – it wasn’t something you asked your grandfather, distant war stories over some vague European country that you’ve only seen on a map in your Geography classroom. This was our street corners, our high streets, the road outside the house. Here the grass verge at the side of the road where the bodies were dumped; there the lay-by where over a dozen people were blown to pieces. It was awful, but we were children. We were enamoured.

Anyway. The only violence we got really involved in was the summer rioting that happened yearly, like clockwork. It sounds like a joke, but that’s how it goes. You don’t need to know the details, but suffice to say in mid-July every year, the city would light up like we were back in the 1970s. Localised, of course, and still nowhere near as drastic as it used to be, but enough to get a taste. Petrol bombs. Police lines. Armoured cars. Water cannons. Unrestrained summer fun, you could say. But that’s for a bit later.

I’m a writer. I have been since I was four years old. Generally speaking I’m a horror writer, but I’ve branched into historical fiction a fair bit over the years. Living in Ireland, growing up how I did, it was inevitable that I would develop a fascination for Irish history. I was always a very curious child, my head in books, chasing up stories that would keep me awake at night. I never knew any boundaries. I would go after answers with military precision, asking questions, going places I shouldn’t. Dangerous for anyone, of course, but in a country like mine, where crossing the road could quite literally lead to your murder? It was reckless. I was reckless. But that’s the thing about being that age. You think you’re invincible. You think you can do anything.

I was about fourteen or fifteen, at the height of this obsession. I believe I was fifteen when I wrote this particular story, but it’s difficult to say. It was part of a series, and I was going back and forth on it and other projects for many years. Here we finally get to the point of the whole story: I had developed an obsession with Irish history, as I said, and specifically the more “modern” history – from 1916 onwards, the Easter Rising, the War of Independence, all that. I was fascinated by the Irish struggle for freedom, and while age and hindsight has lessened my… enthusiasm for the violence, I do maintain a strong opinion towards the whole thing, which is not the point here so I won’t get into it. What I’m trying to say is that my stories reflected this enthusiasm, and were undoubtedly glorifying in nature, and also at that age I was more concerned with living the fantasy than doing the research, so it was all very self-indulgent. I’m sure anyone who wrote at that age knows what I mean.

My main character… well. I’m sure you know what to expect. He was—well. Me, really. In the way of all main characters at that age, and perhaps a little even as we get older, there’s a piece of us inside all our main characters. Sometimes a little piece, other times just a cooler and more badass version of yourself. Michael was that for me. I suppose that must is obvious; I wasn’t even trying to be subtle. My name is of course Miceál, which for those of you keeping track is the Irish form of Michael. I’m just grateful that I didn’t go as far as to give him my last name, too, but everything else was there. He looked like me, he held the same views and beliefs as me, he acted like me – or at least, he acted in the ways I liked to think I’d act, or how I imagined acting later that night in the shower, reliving the scenario again. He was the best kind of self-insert character, indulgent and fun and a good friend to me. I poured a lot of myself into him. I poured everything into him. He was a constant companion, something that became ever more important to me as my real life—well, went to shit. To put it mildly. I would sit in my room writing my stories, and Michael would go out there and fight the good fight, killing and bombing for good old Ireland, and then I’d shut my computer down and go to sleep feeling just a little better than otherwise.

I’m not afraid to say that I can be obsessive. I like to get into the heads of my characters; I like to know them as well as I know everything. Yes, Michael was me, but he was also a version of me who had done things I have never done. Sometimes I would try to imagine myself as him; wonder what it was like to see through his eyes. Wonder what a me who had done that would look like. Wonder what he would do in a situation. I asked myself that a few times; a lot of times. What would Michael do? I could have put that shit on a wristband. I didn’t think anything of it at the time. I’ve always been a bit of a method writer like that. It was normal, until it wasn’t.

I first saw Michael on a hot July day, in Belfast. What we call the rioting season had come around; my friends and I were there to take advantage. Just at the sidelines, mind you – nobody wants to get a face full of water cannon, even on the hottest of days. Michael was in the thick of it though. Of course he was. I’d written him to be that way.

I couldn’t take my eyes off of him. At first I thought I must be seeing things, but the more I looked the more I realised he looked exactly like me. Only he was a little taller, a little fitter, and his hair looked different. His clothing was different, too; perhaps a couple of decades out of date, but looking at him I saw his clothing didn’t remain consistent. The changes were subtle – material, tone – but I noticed. Looking back, I assume it’s because I never did give a specific date for his story to occur in. Well, wherever he was from he was there now, throwing rocks with the best of them, skipping from stone to stone and hurling them at police lines with an easy swing that could only come from years of practise. When we had all finally cleaned out the area – soldiers coming, a helicopter, the kind of trouble you don’t want to toy with – I managed to catch up with him. He was talking to my friends. They noticed we were both there, but didn’t seem to realise we were two different people. The whole time we were all talking, I couldn’t take my eyes off of Michael. I tried, because I knew how obvious I was being, but I just couldn’t. I couldn’t work him out. I couldn’t even trust that’s what I was seeing. And the whole time, Michael watched me back. I knew the look in his eyes. It was his smug little, I know something you don’t know look. Of course I knew it. I had made him like that. I had given him that look.

I didn’t see him for some time after that. Believe it or not, I put it out of my head. I mean, come on. It was probably some other guy that my friends knew. We were in Belfast enough, and Michael isn’t exactly an uncommon name. I put it out of my mind, but I was sure that sometimes, I saw him. I was sure I’d see him in Belfast, ducking down side streets or leaning in close conversation with someone I couldn’t make out. He was always watching me. Sometimes I’d feel eyes on me and know it was him, but when I looked around I wouldn’t spot him. On some occasions – and these were always the worst – I would feel his eyes behind my own. Like he was on the inside looking out, moving independently in there, a set of eyes swivelling around over my own. It happened most often when I was trying to write his story. As you can imagine, I was nervous to do so. The more I thought I saw him, the less I wanted to write, but I didn’t think that was a good idea either. I didn’t know what to do.

It was a sunny weekend just before school started back after summer that I finally resolved to do something about it. I didn’t even feel stupid as I booted up my old Windows 95 desktop and opened Word. Michael’s story was there, in 12-point font as I always wrote then, plenty of enthusiasm but a lot less technical skill. My fingers hovered over the keyboard for a moment, and then I typed.

Hello?

Nothing, of course. I deleted the word, wondering what I had expected. Feeling a little stupid now, I tried to think about where to go with the story. It was difficult to write now I had some kind of real person to assign to it all – what were the ethics here? How could I—

I won’t get into that. It would be a philosophical essay all of its own. I sat for a while wondering what to write, and then it hit me that the story had changed. The words Michael had spoken, in the paragraph that I had left off – they were no longer the words I had written. I forget what the original words were now, but they were something relatively simple; some response to another character, and I remember that another name was mentioned in it – the name of Michael’s in-universe best friend, Eamon. Now that name was gone, and the rest of the text had changed, too. Now the writing read something different entirely.

I thought you wanted to know?

I lied earlier. I said that age and experience and perhaps some more emotional maturity had led me to turn away from the kind of violence that fascinated me so much then, and I have no doubt that under normal circumstances it would have done. I had somewhat of a speed run, however; I turned my back on it because

I’m getting ahead of myself.

I had often wondered what it would be like to do what Michael did, of course. To kill and risk death for a cause, to face down prison, torture, exile. I had wondered what it would be like to commit those acts; how easy or difficult it would be to pull a trigger or push a detonator. I liked to think, in my foolish, idealistic teenage mind, that if it came down to it I could. Of course, I was in the very privileged position to not have to actually answer that question.

Michael, on the other hand, knew. And Michael was, if not me, than a product of me. Could it be possible that he could show me?

I ignored the message for several days. I didn’t know what to think. Truth be told I thought I was going mad. School started again and I got so busy that I almost, almost forgot about it – and then I opened the document by mistake one day, got into reading it over, laughing at my brilliant comebacks, you know how it is. And there it was again.

I thought you wanted to know?

Yes, I remember thinking. It stunned me – I remember that. I didn’t want to mess with this kind of stuff – I’ve always been a huge believer in the paranormal, always been cautious when it comes to fucking with that kind of stuff. I believe that magic like this, it requires intent. It needs you to be sure. It knows how you feel, true in your heart. So even when I ignored it again, even when I deleted the words and re-wrote whatever the original had been, even as I didn’t reply… I knew in my heart that my question had been heard by something. I could feel Michael’s eyes on me again, though now I wondered if it was Michael’s eyes, or something else entirely. It felt like a weight. Have you ever been in an old, old place, where you can practically feel the people who lived and died there; reach out and touch them? It felt like that. Like the weight of history was pressing down on me. I didn’t fall asleep easily that night, but when I did sleep was dark and endless.

I don’t know how long I spent in that state. In reality it was only seven hours; I woke up with my alarm. In that time period, wherever I was – because I was not living – I seemed to witness a hundred different lives. Over the course of Michael’s story I had him do all kinds of things; live all kinds of situations. I deleted things, changed others, added things in. I wrote what would now be called alternate universes. In that night I experienced them all. I know how it feels now. I know how it feels to pull a trigger; to watch the spray of someone’s life splatter a wall or a windscreen or the screaming backseat passengers of a car. I know how it feels to push the button, the one that sends a charge surging down a wire or flickering out over my head in an invisible wave of death, notifying the bomb, detonating the explosives. I know how it feels to sit in a hotel bar across a border, listening to the news, sipping a drink and feeling my heart beat in my chest as I add more numbers to the tally, more blood to my hands. I know how it feels to be shot, to be beaten, to watch a friend die, to kill someone who used to be – who still is, despite everything – a friend. I know how it feels to cough blood into my hands, onto the ground; to grip a wound that won’t stop bleeding; the blinding flash of an explosive detonating too soon and how the whole world seems to roar and how there’s a difference between the thud and slap of wet mud hitting the ground and the warmer, denser rain of something that used to be human. For days, weeks, years – I walked in Michael’s shoes, I lived his life, I committed every act.

I felt his pain. His fear. This hellish world that he lived in, created to kill and die and lose and fear, over and over. To meet his God and to finally, finally ask – why?

And what could I say? Because I wanted to know?

Well. Now I do.

[thoughtsofanexcitedspacechild]

Kataang: An In Depth Analysis

Hello again! I apologise for the inactivity. It’s been a busy month as far as school goes for me, so let’s just say I’m a lot busier solving chem equations and working on stuff for AP art. Don’t get me wrong though! These analysis and essay format posts are my favorite and I wish I could do them more often! Seriously, it’s the only thing that keeps me wanting to write! I’ve also decided that I’m going to make these little intro paragraphs separate to the actual essay, because while I’m at this, why not kill two birds with one stone and practice writing essays for my actual AP Lang. class? I mean I’m obviously not gonna turn them in or show them to my teacher, (unless this gets 1000 notes or more, in which case  I’ll show this to her ;)) but this is a good way for me to work on formatting a thesis and developing arguments, all while doing and talking about something I love! Speaking of which, let’s dive right on into today’s topic; the much debated, and thoroughly analyzed ship: Kataang. (Buckle your seatbelts hotmen, because this is gonna be one hell of a sky bison ride) I got inspired by a creator on Tik Tok that I follow, Amanda Castrillo, to write this. Her username is @theamanda2d and I highly recommend you go check her out and give her a follow. A lot of the arguments in this are my own, but I also sourced a lot of information and arguments for Kataang from her series “a case for Kataang”, which I highly recommend you go watch. I’ll insert her quotes directly so you know exactly where her points are coming from as well as mention where I elaborated on a point she made but didn’t directly quote her. I’ll also be sourcing a lot of information from the show and including exact episodes and scenes that support my case. So without further ado, here is my *unofficial* case for Kataang.

     In our lives, there’s usually one point at which most of us make a choice. That choice is to love someone. Yes, you heard me right. You make the choice to love someone. Of course, the feeling that most people know as love, but is really just sexual or romantic desires, tends to be confused with real love. Authentic love that comes from the choice to love someone. This kind of love persists through even through the darkest times. This kind of love truly does burn brightest in the dark. 

 It stems from a strong base of mutual understanding and friendship first, and doesn’t rely on a spark of passion to keep burning although it can fuel the flame that already burns strongly. There are many great examples of this kind of love, both in our own world and daily lives, but also in literature. One of the greatest examples of this, is the relationship explored between the fictional characters Aang and Katara from Avatar: the Last Airbender. (Oh, what? You don’t think Avatar is a legitimate form of literature? Pity, you must not have read my previous posts or even watched the show at all, because it IS.)

     From the time I first watched the show, I was rooting for them to end up together. Right off the bat, Aang and Katara have this instant connection. Within the first episode, they already become friends, and not only that, they act as if they’ve been friends for years, almost like they were meant to meet each other. Aang finally getting together with Katara just feels right, but there’s more to their relationship than the feelings that Katara and Aang both experience and the feelings that we the audience feel seeing them together. Throughout the series we see them both make the choice to love each other, not only as lovers, but as friends too. Their relationship thrives, and we’re able to see them both grow as people and better themselves because of each other.

Firstly I want to address the counterargument that many people bring up and that is that Kataang, in and of itself, is one sided. Fans (often Zutara shippers. More in depth analysis on why this ship DOESN’T work out realistically to come) will argue that Kataang is forced and one sided, and that Katara doesn’t share Aang’s feelings. Although I can see where this is coming from from a first time viewer’s perspective, this argument can be extinguished by looking deeper at Katara’s actions and intentions towards Aang. We see them bond as friends very early on in the series, but the earliest hint at a romantic relationship actually shows up in season one episode four, when they go to Kiyoshi Island. Katara acts snarky and jealous when Aang gathers quite a fan club of little girls. 

Nevertheless, when this fan club fails to stick around for Aang’s encounter with the unagi, Katara’s the one that’s there making sure he’s okay. (S1, Episode 4, The Warriors of Kiyoshi) This is ultimately foreshadowing for their relationship as a whole. Although his role as Avatar lands him many friends, and in this case fans, the only person that truly stays with him the whole time is Katara. She’s the one who shows up and has his best interests at heart. Most of her intentions are in fact platonic in this episode, but the hint of romance comes out when we see that Katara doesn’t like the idea of Aang with another girl.

     After half way through season one, specifically the Fortune Teller episode, we do see that Katara does in fact have feelings for Aang, albeit complex ones. In this episode we see her pester Aunt Wu for information about her future husband and she’s informed that he’s a very powerful bender. She doesn’t consider Aang until Sokka mentions that it freaks him out how powerful of a bender Aang is while Aang protects and saves the village from it’s demise by an erupting volcano. Her hopes were set high on a muscley, extremely strong looking bender, and I’d like to imagine that before her realization, Katara was probably picturing someone more like Haru or even post redemption Zuko as her future husband. For the first time, that image is replaced by Aang, and she doesn’t mind it. (S1, Episode 14, The Fortune Teller) We see these new found feelings develop further in the Secret Tunnel episode, when Katara is finally forced to confront the romantic feelings that she’s pushed down while trying to sort them out. At this moment, Katara finally acknowledges her romantic feelings and attraction to Aang. (S2, Episode 2, The Cave of Two Lovers) The creators intentionally showed us the story of the two lovers for a reason. “Avatar is a very smart show,” says Amada Castrillo, Avatar fanatic and creator of the Tik Tok and youtube series “A Case for Kataang,” “and we’re never told or shown anything for no reason...A war was keeping them apart maybe not physically, but romantically.”

     Later in the series during the season finale of season two we see her absolutely distraught when Aang nearly dies and she does everything in her power to save him. We see her almost break. Only when he wakes up does she feel better, and start to be happier again. She doesn’t care about anything else but making him feel better, and even when he does wake up, she still focuses mainly on healing him. Here we see Katara make the choice to love Aang both in sickness and in health. (S2, Episode 18, The Guru/The Crossroads of Destiny and S3, Episode 1, The Awakening) She of course would have done this for any member of team avatar, but the way in which she treats Aang when he’s nearly taken away from her points to the extreme love and affection that she carries for him every day. This happens multiple other times throughout the series, with many of the occurrences being in book three. When Zuko joins the Gaang, she flat out tells Zuko that if he were to hurt Aang, (not Sokka, not her, not Toph, but Aang specifically) she would personally see to his demise. (S3, Episode 11, The Western Air Temple, 23:30) (Some Points taken from, but not directly quoted from Amanda Castrillo’s “A case For Kataang Part Nine: Text and Subtext”) This is why the assumption that Kataang is one sided can be proven wrong.

     Two other arguments stem from the previous argument, one being that Aang is a simp, and/or that Katara is a trophy. First of all, the later argument is easily disproved by the fact that Katara is not a prize to be won. “Katara is, and was never a prize for Aang,” says Castrillo, “And to say that she was, grossly mischaracterizes and undermines her as a character.” (Amanda Castrillo, (@theamanda2d) “A Case for Kataang: Chapter 2, Katara the trophy) Katara is shown multiple times throughout the series being able to speak up and defend herself without Aang’s, or anyone else’s help. 

Aang, although viewed as a simp, is not. Yes he respects Katara, and all other women for that matter, but he doesn’t fawn over her. He allows her to defend and take care of herself. The definition of the word “simp” is the abbreviated term “simpleton”, meaning “a silly or foolish person.” Although Aang is silly at some points, he’s also not foolish. He’s a smart and capable individual that many fans fail to recognise as legitimate because of his innocence and softness. So no. Aang isn’t a simp that bases his entire self worth on his status with Katara.

     Another point that must be acknowledged is the fact that Aang and Katara are actually complementary characters. Although many people would bring up the argument that Air and Water aren’t opposite elements, the type of bender they are doesn’t necessarily tend to point to the exact type of person they are. The creators aren’t dumb, and the characters in this franchise are so well developed, that there are many sub personalities in each type of bending, and all of them can be analyzed further than the type of element they bend. Judging a character solely by the element they can bend is like judging a person on the color of their skin or a book by it’s cover, and when diving deep into each of their personalities, we can see that their personalities are actually complementary. Katara is high strung and anxious while Aang is usually calm and collected. Aang is very good at regulating his emotions while Katara is not. This aspect extends further than their personalities as well. Katara grew up in a very family oriented and close family while Aang only had one parental figure in the form of Gyatzo and occasionally a few friends. Katara is also more grounded and a home body while if he could, Aang would probably continue to explore whatever corner of the earth that he could. (Some points taken, but not directly quoted from Amanda Castrillo (@theamanda2d), “A Case for Kataang: Chapter 10, Balance”)

     Another thing that I found is that when looking at color theory, Aang’s signature orange toward the end of the series and Katara’s signature blue are actually complementary colors. I’d like to think that as Katara develops and explores her feelings for Aang, Aang’s color palette changes slightly. It goes from being red and yellow in the beginning when Katara didn’t know she had feelings quite yet, to eventually shifting to orange when we see her feelings start to fully become clear. I thought this was a super interesting detail and despite it being a bit far of a stretch, I think it must have been planned. If you consider the time when we see Katara start to develop feelings, it’s about the same time that Aang’s outfit choice shifts to orange. Of course, this piece of evidence is mostly based on my personal observation and knowledge of color theory, but it’s a detail that I personally found super compelling.

     Kataang also works because of the extremely well executed communication and dialogue that happens between them. There are multiple different examples throughout the series and as their character’s develop, we’re able to see a beautifully efficient and respectful form of communication between them. We see Aang clearly express his feelings of anxiety to Katara, and in return, Katara is able to help him and offer advice on what he’s feeling. Katara also is able to confide in Aang in return and oftentimes he’s the one that she’s most comfortable being vulnerable in front of. We see her almost mother Aang alongside Sokka in the first season, but her relationship with him changes and shifts to one where both her and Aang feel comfortable and contribute and receive equal care from each other.

     One issue in particular also comes to mind when talking about this ship, and that is the issue of boundaries. Counter arguments against Kataang often bring up one scene in particular, specifically in the Ember island players episode about halfway through when Katara confronts Aang on the balcony. (S3, episode 15, the Ember Island Players) Episode Aang is understandably upset with the way that he and specifically he and Katara’s relationship is portrayed in the play. He obviously has feelings for her and at that point we know that Katara also has feelings from a few episodes prior when they kiss before the invasion. That kiss was mutual, and she kissed him back, meaning that from that point on, both of their feelings towards each other are very clear. The night of the play on the balcony, Aang does cross a boundary that had been established. The kiss before the invasion made sense, and Katara didn’t do anything to stop him from doing it, and Aang had her consent in this case. Aang’s kiss on the balcony was a mistake, and in this case it was uncalled for, but many people misread Katara’s feelings of confusion. When Katara mentions being confused, she’s not saying she’s confused about her feelings for Aang. Since season one, we’ve seen her show multiple forms of affection towards Aang, and not only that, she was usually the one initiating the many hugs, cheek kisses, etc. 

She’s not confused about how she feels about Aang. She’s confused about the timing and if it’s a good idea or not. (Some points taken from, but not directly quoted from, Amanda Castrillo (@theamanda2d) “A Case for Kataang Part 7: The Camelephant in the room)

     Regarding the consent for the kiss, yes. That was Aang’s mistake. He’s human, and he did mess up there. But his intentions weren’t meant to harm anyone. He, like so many of us watching at home, read Katara’s confusion to be about him, and wanted to see what she really felt. Afterwards, he knows he messed up, and feels bad about it. “...[Aang’s] very self aware. He knows how he feels about Katara, and he’s said it multiple times...Aang is human. He f***s up. He says the wrong thing. He makes mistakes. And he was just as confused as Katara at this moment.” (Amanda Castrillo, (@theamanda2d) “A Case for Kataang Part Seven: The Camelephant in the room)

     Lasty, I want to acknowledge the visual and audio parallels portrayed in the show and how they can effectively work towards supporting Kataang. If you observe the angles at which characters are shown as well as the framing, it visually sets up and can represent how two characters feel about one another. First let’s consider the framing of a scene from the very first episode after Katara breaks Aang out from the ice. Aang is lying down and katara is directly positioned above him. When he wakes up from being trapped in an iceberg for 100 years, her face is the first that he sees. 

This positioning and framing is shown multiple more times throughout the series, establishing their strong connection. So is this one:

(For a better visual reference please see Amanda Castrillo’s video “A Case for Kataang Part Four: Parallels) “Its built up and set up for us time and time again. Their interactions aren’t framed like that for no reason. Scene framing matters.” (Amanda Castrillo, “A case for Kataang Part Four: Parallels.”

There’s also the fact of the score and what specific music points to what character or what mood the creators were trying to enforce with the music. Avatar’s score is genius and every song and note was hand crafted to set the tone for each scene and help explain what’s happening. (This is one of the many reasons Avatar would translate well to be a musical or even a ballet. Post/informal rant on this later to come.) There are many great examples, like how Azula is represented by a clash of chords, (To quote my previous post: “I love how Azula is just represented by a pair of clashing chords and when you hear it you know that she’s about to f*** s*** up.”) or that Aang has a lively flute melody that plays when he gets really happy/excited, but perhaps the best example of the use of music in the franchise is the use of the “Avatar’s Love Theme.” It’s my personal favorite song from the show, and it’s used extremely effectively and efficiently throughout the show to provide a very specific and recognisable feeling: romantic love. When you hear it play, Aang is ALWAYS with Katara. Go back and listen to the times where it plays, and it’s always when he and Katara share a special moment together. We only hear part of the melody for the majority of the series, but in the final episode, right towards the end when Aang and Katara are left alone on the balcony looking above the city by themselves, we hear it play again, and this time, we hear all of it. The kiss between them also happens right at the crescendo and peak of the music, emphasizing and establishing that Aang and Katara are officially canon. The music plays a huge part in this story, and all musical elements as well as visual point to Aang and Katara being a team, and not just that, but a romantic couple.

In conclusion, Aang and Katara are a couple that was meant to happen. Throughout the series, their love is shown through their undeniable chemistry, complementary characters and personality, and the visual and musical elements set up for us within the show. Aang and Katara love eachother very much, and although their feelings were often being confused by looming threats to their lives or tainted by the war they were both fighting, in the end they’re able to fully and completely allow themselves to love each other. Despite their romantic love, they are ultimately friends before they are lovers, and don’t rely on a spark of passion to be able to keep their love for one another burning. They love each other wholly and in so many different ways, and that my friends, is why Kataang works and will always work.

[legends-live-in-memories]

I Have Too Many Opinions. ep. 1

lmao. i got encouragement to post my opinions on fandom things and now i want to make a miniseries doing just that. so here i am. doing just that.

im putting it under the cut cuz this was 4 whole pages including the disclaimer. yes i put a disclaimer and i explain why.

Anyways, here is the first piece in what inevitably will become fandom info dump, this time on thomas astruc’s writing on miraculous ladybug. but only some of my opinions cuz we would be here all day otherwise.

So… a disclaimer before I begin… 

I do not hate Miraculous: Tales of Ladybug and Chat Noir (yes i'm using their government name). I am quite a fan of the show actually despite its faults. I am also older than the intended audience but was obviously younger when the show first aired which is how my interest was piqued (the fact that its been 6 years and only 3 seasons says more about the show than me being a fan for that amount of time but also i never want to rush content creators cuz they're doing their best) and due to my age, there will be inherent bias in my approach of what i'm about to say as there is in EVERY opinion. The fact that it is an opinion should imply the presence of bias but most people tend to lack the critical thinking skills required to draw that conclusion ANYWAYS…

If I did hate the show I would not have this blog nor would I be even writing this because i tend to not give more than 2 seconds of thought to things i actively dislike (some of yall should give this a try) and i'm allowed to like things that are designed for an audience that i was originally a part of but grew out of. (I don't suddenly stop liking things because I'm older despite what many younger fans seem to believe about older audiences. I also don't need to be ‘allowed’ to do anything cuz i wasn't asking for permission anyways.)

This will not be character bashing, astruc bashing nor fandom bashing cuz, again, that would imply i hate any of those elements and if i did, i would not dedicate brainpower to them. Analyses and criticisms of media are fun and engaging and required if you wish to produce good enjoyable content. Now most of this should be already assumed and self-explanatory but people on the internet like to play morality roulette roll dice on purity culture and I rather have documentation that I am in fact not bullying fictional 14 year olds or a grown man. But alas, people get trigger happy whenever someone has less than 1000000% positive opinions on something they like and will throw out words they can't define (gaslight, baiting, toxic, problematic, gatekeep etc) in an attempt to defend their blind devotion, 

which is not needed, if you like something you never have to defend it, even if i don't like it. If you respond to anything I post saying you disagree with me, I will not argue with you. I won't debate back and forth and try to convince you that the things you like are wrong. Unless you are being absolutely tone deaf to what i'm saying, you wont get a negative reaction from me. So don't try to fish for a fight. Please. I got metaphorical hands for days and I'm mean, you don't want me hurting your feelings on the internet. Do yourself the favour. Difference of opinion is how we get diversification in media and is inherently a good thing. Now that that's out of the way, please don't ever let me have to say that again. I beg.

Now onto the fun stuff

I didn't know what I wanted as a first topic so my trusty internet friend @moonlitceleste suggested astruc’s writing… 

AND BOI do i got some opinions on ole tommy boi. Again I don't hate the dude. In fact, he has worked on a few shows that had defined my childhood, including but not limited to W.I.T.C.H. (all eps available on youtube for those interested, 2 seasons, general fun time all around).

So I don't think he’s scum of the earth but I do think his approach to writing mlb specifically has more misses than hits.

The first big miss is that he has no idea how to write 14 year old girls. At all. Almost every girl he has ever written feels like some terrible archetype built entirely for marketability and childish projection and pubescent self-insert (kind of). He has never been a 14 year old girl. I have. In fact when the show first aired, I WAS around the (assumed) age of the mlb characters. The behaviour he passes off as quirky or awkward or just the character’s genuine personality tend to perpetuate harmful stereotypes of teen girls found in the media and are never actually addressed as harmful. they just get swept under the rug. Marinette’s exuberant collage of teen heart throb model boi Adrien Agreste and her very painful almost fan worship she has of him (which flip flops like a paper sandal in the rain) being portrayed as a cute school girl crush uwu, Chloe being the y7 Regina George, Alya being the token best friend of colour with her ‘sassy’ personality (i want y'all to imagine me eyerolling so hard i bust a vessel in my eye), Kagami being the very damaging Perfect Asian Child stereotype. And before y'all get on your dusty soap box and defend going on about “BUT IT'S FOR CHILDREN”,,,, know this.

 i don’t give a solid fuck. 

Not one. 

Children arent stupid. Children are always going to remember the richy bitchy blonde who bullies the art kid, and the big kid, and the shy kid, and the non white kids, and was only nice to her equally rich white friend who she probably had a crush on or was only ever civil to her equally white lapdog. They're going to remember the half asian girl who was never allowed to actually be asian or the only black girl who existed solely as a soundboard for enabling bad habits or chastising the main character for the same habits she enables in the first place (boi aint THAT a topic for later). Like do i really need to explain that alya chastising marinette for taking max’s spot in gamer just to play with adrien rings absolutely hollow when she actively encourages her to sabotage the contest she’s in just so Kagami doesn't win?? Like I don't have to explain that right?? Again kids arent stupid and its quite something that Mari gets chastised for proving herself the best video game player regardless of her intentions just cuz it comes at the expense of max’s feelings/ego but is actively encouraged to sabotage not only kagami but herself by extension cuz kagami is ‘competition.’ Adrien is not a trophy to be won. And no I don't expect 14 yrs old to be perfect and to always make good decisions but these decisions are never addressed as being bad decisions. they get swept under the rug cuz those decisions were necessary for the ‘plot’ but astruc can barely keep characterization consistent and his characters suffer for it and it's the same children you preach are watching it that suffer as well. Cuz guess what? I KNOW 14 yr olds aren't like that cuz i've been there done that (this is the last time i'm saying that i promise) so I know astruc is just metaphorically throwing darts to figure out who says and does what without consideration for pre established personalities to drive the stalemate plot along. The same kids you say are watching this don't know that that's not how preteens work and will absorb and internalize those dynamics like baking soda and vinegar. Cata-fucking-strophically. 

And I haven't even gotten to the boys yet. Which honestly doesn't require much explanation anyways cuz they suffer the same fate as the girls. Tired archetypes with nothing to give them life. Nino falls into Adrien’s person of colour token best friend who dates the female lead’s person of colour token best friend so they can have cute double dates uwu. Except the plot goes nowhere and we have no inclination of romantic development beyond moments that only act to actively convince me to anti ship the lovesquare (i don't want to do that so i self indulge in fanon that actually cares about the characters and plot. may i interest you in True Sight on AO3?). Max is the residential nerd but it doesn't matter (cuz he and everyone are dumbed down for the sake of ‘plot’), kim is the sports jock (which interestingly subverts the asian comedic relief stereotype but only barely) and luka is cute older guy ™ that wears black nail polish and is in a band. The point of all this is to say there is no depth in the characters. It's especially blatantly obvious with the characters astruc doesn't like (chloe). Again, it being a show for kids is not an excuse to be absolved of putting effort into the characters you make.

This is one of the biggest misses astruc has. I haven't even gone into all the nuances of this particular miss. And i havent gone into how that works against him in the plot either. Mostly because the plot itself hasn't gone anywhere and partially because I wanted to go into the plot (or lack thereof) separately as its own miss. 

AND BOI is it a miss. 

SO home boy astruc wanted to reap the benefits of a serial show with ‘engaging’ plot without putting in any of the work to make a linear storyline and relying on the episodic format for, again, marketability. You can't have the best of both worlds, you are not Avatar: The Last Airbender. Which btw has a lot less episodes and a desired end goal that didn't involve top dollar. Legend of Korra did but that's not the point and it had its failings with that too. I challenge you, tell me how many episodes actually contribute towards a plot point or introduce new thematic elements to the show? Can you name them? I can and I'm going to include the plot points that moved the story in some direction if only temporarily. Yes only temporarily for some of these and i will explain later. (if you're in the server you already saw this list *wink*)

25/26. Origins- self explanatory, the beginning of the story, 

24. Volpina- introduction of the grimoire and Master Fu (kind of) and no, Lila is not a plot point,

28. The Collector- proper introduction of Master Fu,

37. Sapotis- introduction of Rena Rouge,

41. Syren- introduction of new aquatic power ups,

44. Anansi- introduction of Carapace,

47. Frozer- introduction of new ice power ups,

48/49. Style Queen- introduction of Queen Bee,

51/52. Heroes’ Day- introduction of Mayura and mass akumatization,

66. Startrain- introduction of Pegasus,

67. Kwami Buster- Marinette wears multiple miraculouses,

68. Feast- backstory as to how the miraculouses were lost,

69. Ikari Gozen- introduction of Ryuko,

70. Timetagger- introduction of Bunnyx,

71. Party Crasher- introduction of Roi Singe and Viperion,

73. Chat Blanc- alternate timeline that essentially means nothing but got a reaction out of fans anyways (myself included)

 77/78. Love Eater/Battle of Miraculous- Marinette becomes guardian and other heroes lose their miraculous,

New York Special- other heroes exist and there is an American miraculous box,

That's 21 episodes. 21 out of a heaping 78 plus 2 specials. Everything else was just your typical akuma of the day episode and everything that happened outside that had no lasting consequences on the plot thanks to the miraculous status quo. Was it entertaining to watch Lila stir the plot of the class dynamic? Hell yeah. Too bad it meant nothing by the end of the episode cuz we were struck with miraculous status quo. She literally doesn't appear again until Heroes Day. that is from episodes 25 all the way to 51, she means nothing and yet she is treated with the severity of a b-villain/rival thing. She means nothing by the end of Volpina if I'm being honest. She is only relevant for 20 mins of episode time she’s in then it's back to magic status quo that undoes any shift in dynamics and relationships. It's like Spongebob who can't get his driver’s license. The worst part is I actually like Lila and I wish the story treated her with the seriousness we as an audience are expected to treat her with. Despite being painfully inconsequential by the end of each of the 3?? 4?? episodes she’s in, it's entertaining to watch a character create drama just because. 

Too bad it means nothing.

Astruc is constantly building up suspense to something ‘important’ only for it to not deliver and fans are constantly having the rug pulled out from under us. Oblivio teased us with a reveal only that gets undone cuz memory akuma. Chat Blanc teased us with romantic development but that gets undone cuz time travel bullshit. Feast introduced more miraculous lore and the history of the guardians but that means nothing by the next episode or ever (i'm not including any reference to the season 4 trailer cuz i've been around the block a few times and im familiar with this lil dancy dance). Heroes Day teased us with a possible future team of heroes but that gets undone in Battle of Miraculous cuz ????? why?? (here's why; astruc was having a jolly ole time letting us know how irredeemable Chloe is at the expense of shooting his own stagnant plot in the foot. Again, discussion for later.)

Too bad anything that slightly swerves off course from the akuma of the day gets undone or ignored. Too bad nothing has any lasting consequence. I mean, if anything did, the episodes would have had a consistent order and release schedule so im not scrambling to watch the leaked ep in Portuguese or something while the french dub is two episodes behind while the english version hasnt even been dubbed. I really wonder how he plans to conclude the show when he’s so afraid to step out of the corner he painted himself in.

Again, not going into nuances. If you want you can ask for more specifics (i doubt anyone would) but this is really just a slightly detailed general overview of my opinions on astruc’s writing. 

I was going to include another miss in his approach to this show but imma save that for another time. 

How’s that for a ‘first’ post?

[jcmorrigan]

001 - Tales of Zestiria?

Favorite character: It's a tough call between Maltran and Symonne, and Lunarre is trailing right behind both. I tend to call them the "Heldalf Squad," but make no mistake, Heldalf himself isn't part of it. I just like his swagalicious minions. The dry and sarcastic political manipulator, the sadistic and wordy theater nerd, and the flamboyant cannibal who hates everything. Yes. LOVE. But I have to give a shout to my boy Dezel on the hero side! Angsty/stoic characters are very hit-or-miss with me, but Dezel is the flavor I love - obvious soft spots and quirks, and slowly he builds from being antisocial to showing how big his heart is. When he stops the woman from leaping off the Guinevere tower...that's one of my favorite scenes in the entire game, because you can see when the switch flips, when he realizes that he CANNOT stay aloof any longer when there's a stranger's life on the line. He's still a grump about it but a compassionate grump.

Least Favorite character: Heldalf. His backstory is really clever, and I like the curse on him. But he himself just feels like Ganondorf but more boring. I kinda hate that he's so vanilla when his three lieutenants are in my arsenal of pet villains from the vastness of fiction. Also shout-out to Chancellor BART in the opening Ladylake act, because I distinctly remember liveblogging this to a friend, and I played Zestiria *after* Berseria (I'd loved Berseria and that's why I eventually sought out Zestiria) so here I am just comparing up the corrupt church in Ladylake to the Abbey's suave rogues gallery like "Yeah no BART has nothing on Lady Teresa Linares." Thankfully BART was never seen again.

5 Favorite ships (canon or non-canon): DezeRose, SorMik, Symonne x Coco Atarashi (The World Ends With You), Alisha Diphda x Sergei Strelka, and...I swear you have to bear with me here...Zaveid x Anna (Frozen). I also kinda wanna note a couple ships I'm on the fence about for my other favies - those being Maltran x Ebony Maw (Marvel Cinematic Universe or Marvel Ultimate Alliance) and Lunarre x Arkham (Devil May Cry).

Character I find most attractive: Dezel. It is a scientific fact that guys with pointy teeth are just hotter.

Character I would marry: Maybe Dezel, maybe Sergei. I wouldn't want to take them from those I see as their wifeys, but at the same time, they are husband goals, both of them.

Character I would be best friends with: Catch me clinging to Maltran's train and she drags me along annoyedly as I yell "PLEEEEAAASE LET ME HANG OUT WITH YOU GUYS" and Lunarre is losing it laughing while Symonne rolls her eyes

a random thought: So I toyed around with basically every accessory I picked up, and I decided to put the sideburns on Rose because fuck gender roles. Well then I just got used to seeing her with facial hair in every cutscene where her 3D model was used, and now I headcanon that she does get it. Maybe nonclassical CAH intersex? Like, I don't necessarily see her as trans (but I support everyone who hc's her as such) but moreso "a cis woman, but I grow this stupid damn facial hair like a dude and I don't get why." And this is why you shouldn't let me play with customizable accessories on RPG characters because I can and will abuse my privilege to headcanon.

An unpopular opinion: That this is actually a very good game. Listen, I think I get it - the initial marketing promised something far different. And that's disappointing. But coming back to it several years after its release, after the release of its PREQUEL, when I never had that hype building up...it actually exceeded my expectations. I held off from it for a while because I thought Eizen's fate would make me too sad, but that didn't end up the case at all. I actually had just come off playing a more recently-released triple-A game that was hyped up for years, and I completed it to my satisfaction in 20 hours. $80 for 20 hours. Zestiria gave me my money's worth in comparison; it took me about 60, and I loved just how MUCH story it had to offer me. I honestly like Rose better than Alisha anyway (Rose was one of the biggest aspects that interested me about playing it in the first place). I've also seen complaints that the characters weren't well-developed enough? Which I just kinda take to mean "They didn't angst enough." Listen. There are PLENTY of games out there if you want angst and sad stories. I don't really like sad stories in my games. I like adventures where the party is a goofy foundfam that jokes around with each other and helps each other work through shitty situations, and that's EXACTLY what I got. (And Berseria really worked on me too because it kinda started at the bottom of the angst barrel, then worked its way up through "The edgy and tortured protag has gained a party of idiots and oh noooooo she's learning friendship and happiness.") Dezel's death is one of the few game deaths that just made me SATISFIED to watch instead of depressed because of the closure he got and the themes tied into his final moments and sacrifice. I loved going on this adventure, I loved the idiots who I went on it with, and I loved seeing what Glenwood had to offer me in world design the further I explored.

my canon OTP: There's not much for canon romance in this game, come to think of it. Just subtext and some flirting. So I'm blanking on if there actually were any canon couples at all.

Non-canon OTP: DezeRose! Which maybe can be considered almost-canon based on the amount of subtext, but still. It's adorable. (And it's the exact same dynamic as EiRoku except M/F and a thousand years later. I need these four to double date...the dual-wielding goofs with their edgy, grumpy Reapers...)

most badass character: Rose! Not only able to wield the Shepherd's Armatization powers, but also to be a dang good assassin on her own, able to hold her own against Heldalf before she even had her eyes opened to seraphim! Though a shout-out goes to Edna because her armatization was my favorite to play with. There's something just satisfying about bashing the enemy in front of you with a pair of GIANT FISTS

pairing I am not a fan of: RoseAli. To be honest, it was at one point something I kinda enjoyed as a third-tier ship for Rose (Dezel first, then Lailah in second). But then...Alisha's Story. I didn't actually purchase it, thank goodness, just watched it on YouTube, and it was the most grating addition that anyone could've made to this game. First of all, I can sum up the issues with Alisha's Story by reminding everyone that it canonized a secret entrance to Camlann that was much easier to get to and wasn't protected by Muse's sacrifice. But the real thing that hurt to watch was how far down they had to knock Rose and Alisha's friendship to get them to rebuild from scratch. Rose claiming she was never Alisha's friend because she's grieving Sorey? The two of them getting into a PHYSICAL FISTFIGHT over it? Nope nope nope. That's not my Rose. Even less my Rose is that whole scene where she...you know...pounces on Alisha to dress her in the silly noblewoman's dress, and it's framed like...let's just say it's really uncomfortable to watch if you don't know the punchline is just a silly outfit. Even though Alisha's Story isn't canon in my head, it still really killed any buzz I had for RoseAli. I will also say I'm not a big fan of Eizavie - first of all, EiRoku or bust in this house, and second, I have a little bit of a hard time seeing Zaveid as mlm due to how much he goes on and on about The Ladies(TM). (Though I could see Eizen as having a tiny crush on him, though. Just like "Oh no he's hot but he's connected to Aifread's disappearance help")

character I feel the writers screwed up (in one way or another): Mostly just in Alisha's Story. I was mad about the aforementioned Rose stuff, but also...like...they undid Lunarre's original cathartic death, they did so to team him back up with Symonne and then do a whole fakeout that they had Maltran with them too, but Maltran is just an illusion and immediately after this, Lunarre and Symonne just decide "Yeah, we're not gonna work together anymore, have a nice life." Why does Maltran need to stay dead if LUNARRE somehow survived EXPLODING? And just...look to next question for more clarification:

favourite friendship: I just want to imagine that Maltran, Lunarre, and Symonne were weird evil friends. The kind who'd take artistic selfies and caption them "Murder and mayhem with my besties!". Maybe they even had a sibling dynamic. They were all pretty dang jaded, so I like to think they sat around sometimes talking about the things in this world that did them wrong. The reasons they were drawn to Heldalf. Heldalf himself wouldn't have cared, he would've kicked them around like disposable tools, but the three of them were too entrenched in his dogma to see it. Maybe if they met up again after he was off the board...then they'd sing a different tune. Realize they're all three better than this, and now they're gonna do things THEIR way, because remember when they made a three-point attack on Glenwood and Sorey was barely able to keep up with them wrecking Lastonbell AND Pendrago AND Glaivend? Remember when Lunarre and Symonne had each other's backs the night Dezel died? Now they can do what they want on their terms! And I just - I have many MANY feelings about these three.

character I want to adopt or be adopted by: Okay silly self-insert time but the thing is, Archibald Snatcher (The Boxtrolls) and Roman Torchwick (RWBY) are my two favorite parental f/o's (and also my OTP to end all OTPs), and I have this thing about how they'd be PERFECT crime dads to Symonne in particular because she's like a little, more theatrical Neopolitan. So there's a universe in my head where Symonne is basically already my little sister, and I look out for her - well, okay, she's a seraph with powerful Artes and I am a powerless mortal so really she looks out for me because "I suppose SOMEONE has to make sure you don't die" and I am grateful to her for it.

[egg-emperor]

You should try lucid dreaming, Julian! Then you could live out your dreams with Egg :)

It takes some time to find the differences between reality and dreams, but it’s worth it

Also, have you tried shifting?

I actually do have dreams where I can go to all kinds of places and do all kinds of things with tons of realistic detail. It seems to happen most often when I'm not trying/expecting it. The best part is that I have all my senses in them, it's so vivid and I can feel everything. Some feel like special life events as they involve real people I've been wishing to meet or those I miss.

But I also have ones in fictional settings, including the Sonic universe. I've had precious dreams of meeting Eggman where I spend time with him, hold his hands, hug and kiss him and more! I think about him so much that my mind even continues while I'm asleep. XD They feel so real and I have a really clear recollection of them. They've inspired fics and concepts of mine!

I've always had a vivid imagination that I take great advantage of, I can visualize things in great detail at will and have movie-like scenes play out in my mind, complete with animation and sound. I don't have to be asleep- I can do it at any time and writing, reading or listening to music can help make it even clearer! I also self insert into it to live out my dreams of him and I in my mind! :D 💜💕

Isn't that kind of close to what lucid dreaming ad shifting is supposed to be like, minus me actually acknowledging those terms and deciding to practice it? I'm not sure because I haven't looked into it much but I could when I find the time. Since I can already do all this then maybe I could actually try to practice those too! ^^

[droshawoluv]

Cloud Strife - FFVII. My favourite fictional character.

I tend to dislike main characters a lot of times, I don't like the usual loveable, funny, optimistic, silly protagonist who you know that by the end of the tale they will be the one standing proudly after hard training and pure will and heart <3. It's boring to me.

And tbf, Cloud's nothing special the first half of the game, just being a cool dude, maybe even a player-insert character, UNTIL, something's explicitly off with him, he becomes slowly into this unreliable character, starting to lose himself without noticing, beating and almost killing one of his dearest friends, and the cherry on top being unreliable in what he told us earlier about the past and his/their background, that by itself is eye catching enough.

One you get to know what's the actual truth in the lifestream sequence aka the best part of final fantasy 7, you'll know the actual Cloud's personality, one who beats himself too much for things that aren't his fault, one that wants to go beyond to prove himself that he's worthy and only after that the people and girl he loves will acknowledge him, one that fails to do that, one that was mentally weak to achieve his dreams, one that was ashamed to show his face for that -even if those 2 woman who were waiting for him would accept him nonetheless-, one that tries to accept himself and assume the responsibility his weakness created upon the world, one that cherish his friends with all his heart, one that embraces his real self to stop running away and encourage others to enjoy their moments with their loved ones as much as they can and give them the freedom to choose to join him or not.

Suddenly this half overlycool half self-insert character has more depth than what everyone would expect, you see him at his lowest point in a comatose in Mideel in a powerful scene/moment, and that's when you realise "oh fuck, this is not a normal protagonist".

As a man myself, I was always so uncomfortable with the idea of trying to be intimidating/strong/cold/ or basically anything that doesn't involve "showing weakness", not to mention crying ("man tears"? What kind of stupid term is that), so when Cloud's mind was shown to us with no boundaries with any wall that hides the real fears+embarrassment+motivation, when Cloud admits this out loud at the highwind to everyone, how fuckin memorable was that for me you can't imagine. I'm probably more proud than ever about my vulnerable moments instead of putting a facade.

(Also how fuckin intimate is for Tifa to travel around his mind revealing this, there's nothing sweeter than sharing both your flaw vulnerable humanity with your significate someone)

That's why Cloud's existence was and is so important to me and now more relevant than ever.

[something-tofightfor]

Are there any headcanons some writers have that you don’t agree with? What are some big ones? Do you disagree because they don’t fit your perception of the character(s) or because they don’t fit the character, period?

This is a loaded question, ma’am.  Well, the first thing I’ll say is this: people write what they want to write. They characterize people the way that they want to, and they focus on the traits that they want to when they build their characters. This also goes for what people choose to read, too! Fanfiction allows there to be something for everyone, and that’s amazing. 

It doesn’t matter what genre or fandom, there are always so many interpretations of things to provide a variety of content by a lot of really talented writers - but that doesn’t mean that every single story or headcanon is going to be something that every reader agrees with. And that’s life - it’s no different than published work or TV or movies... which is why we write and read in the first place, right?

There are a lot of characterizations of certain characters that I don’t agree with that I’ve seen and read - but I’m sure that the same goes for people that read my work too.  (Under a cut because I am wordy)

I’ll answer your second question first:  I think a lot of it is that they don’t seem to fit with what we know of characters in canon, and it kind of bothers me when people consistently throw away every aspect of canon just because they don’t like them. There’s a huge difference in reshaping things to work in an AU (what I’m doing with Billy’s injuries in Steel City) or a to give something a different outcome (Logan’s choice to seek help instead of self-destructing in HCtS) and flat out re-creating the character to make them fit into a specific narrative.  When something is a flat out AU, I can look past it much more easily. In that scenario, you’re supposed to look at things as completely different. Sure, names will be the same, maybe professions, certain parts of the backstory... but an AU is a license to change a ton - and when done properly, they can be amazing.  And while I think that everything fanfic writers write is an AU to some extent, the truth is that not everyone reads stories because they want a complete turnaround from canon and from what we know, so everything in a story being different than expected is jarring. That’s a personal preference - definitely - but you asked. I don’t read a story because I want to know how a completely fictionalized version of Billy reacts to XY and Z. I’d like to see him worked into a scenario that’s different - but see how HE handles it. 

Take Logan out of Westworld? He’s just a businessman with some serious familial issues and an addiction problem. Benjamin completely removed from Julia and the Days? He’s a middle-aged man with a shady past and no money or solid place to stay. There are certain core characteristics that need to be kept, otherwise, it’s literally just Ben’s face and you’re Mad Libs-ing in a job and a personality.  And to answer your first question, there are many. And again, it’s just a personal preference because I try to keep my writing as in-character as I possibly can ... so when I read, it’s hard for me to disconnect from that. So while I don’t want to call any specific writer or story out here because that isn’t the point, there are a lot of overarching headcanons and characterizations that it’s really hard for me to get past.

The biggest one - and I know, know, KNOW I’m going to get shit for this one - is that everyone is so quick to write these guys wanting kids and to settle down. Of course, we want to imagine Billy and Logan and Ryan and even Benjamin healthy and happy and with people they love... but the truth is that not everyone’s definition of a happy or fulfilled life includes kids... or marriage. So being quick to include kids or the desire to have kids or just the feeling that children are necessary pulls me out of stories a lot. 

I actually don’t even read ones where I know the characters have kids, because I just don’t identify with that Reader character or that chosen lifestyle. ** The exception is Logan with Emily, because he’s the best uncle ** 

Love is another thing. With Billy and Logan in particular - it’s hard for me to comprehend them going from 0-60 in no time at all and just... being over the moon for someone and then expressing it. Especially Billy. Logan in canon is so much closer to being ready to love someone because he at least knows what love looks and feels like - he had his mom and he had Juliet. Billy didn’t. Benjamin is the only character we’ve seen that foolishly falls in love quickly. And Ryan? You gotta stay in contact with someone or stay in one place long enough to fall in love. You might know you have feelings for someone really quickly, but it’s not just meet - go out to eat once - profess love - drop everything - get married - pop out kids. 

Individual characters:

Billy: 

Without a good reason, Billy’s not going to meet someone and immediately fall in love with them. He spent 20+ years keeping people out, and there’s no way in hell one night is enough for him to drop his defenses entirely and accept someone into his life.  Billy using pet names pulls me out of a story really fast, especially in bed. A sarcastic ‘sweetheart’ is about all I feel like you’d get out of him. I don’t think he needs to rely on talking to someone in bed in order to keep them in the moment. He says NOTHING in bed with Madani, and again with Krusty, and he was straight-up playing Madani, so if he was one to use pet names and dirty talk to bait someone... it would have happened.  Billy never opened Anvil so that he could shower other people with gifts. His money is meant to be his own, and while I don’t think he's stingy, I don’t think he’s going to drop obscene amounts of money on someone, even if he’s in a relationship with them (in canon - and EVEN for HNH reader). Romance - in the knock you off your feet sense - is not EVER going to be in his wheelhouse. 

S2 Billy is not a child. Stop treating him like one. In the beginning, maybe...but the more he learns and grows and remembers, the emotions that he has aren’t tantrums - they’re a very real mixture of fear and anger and misunderstanding. He literally doesn’t know why he did what he did or how everything went wrong - but that doesn’t make him a child. 

Logan:

Logan is more than a sex-crazed millionaire. That is a front. And I know that he’s going to be great in bed and very hands-on with his partners, but canon Logan uses sex and excess to keep people AWAY...not to pull them closer. 

Logan doesn’t want or need extravagant gifts.... because he can get anything he’d ever want for himself. It’s more about the thought than the money for him.  Logan is a lot of things, but him being a dick and belittling someone for being of a different socioeconomic status really bothers me. 

Ryan: 

... Very few people write for Ryan, so there’s little here that I take issue with, except maybe that in some of the stories I’ve seen people seem to confuse his lack of a formal education with him being uneducated in general.  Benjamin: 

Benjamin is impulsive but he is not stupid. 

Caspian:

Every time someone writes Caspian as being hellbent on adhering to tradition and following the Narnian customs and rules of succession I want to rip my hair out.  Don’t sit there and try to tell me that a King has to have a blood heir when the Pevensies are proof that ANYONE can be a King or Queen of Narnia, no questions asked. They weren’t even FROM Narnia, and they got thrones. It’s not about blood - it’s about integrity and a person’s true desire to lead the people and keep them safe and happy. 

** One more overall thing that takes me out of a story faster than anything is the use of Y/N. Maybe I’m an idiot, but every time I see those I think “yes/no” and not “your name”... and it throws me. **

I’m gonna step off my soapbox now. BUT. I will end this by saying: 

As much as I disagree with some of these qualities and traits in writing - when they are done super well, I don’t even notice them. Some of my favorite stories are “Y/N” inserts. One of my favorite Logans calls his girl princess. There’s a coffee shop AU that I absolutely loved and it changes the main character COMPLETELY.  It’s all subjective. I’m not saying any of this to offend anyone, and so I hope that if any other writers read this whole thing and feel as if I’m calling them or their choices out - that isn’t the point. I’m not trying to hurt feelings or pick apart your writing, but this is how I look at characters and the way people portray them when I choose what I want to read.

I write for a living. Like, actual get-paid-to-put-words-on-paper writing. I have to look at details for my work. Things have to make sense. There has to be clear connecting threads. And that makes it much more difficult for me to completely disconnect from that mindset when I write or read. I can’t help it.  TLDR: Write what you want to write. Read what you want to read. Think what you want about these characters and stick to it. But know that not everything you post is going to get the kind of engagement you hope for - because not everyone is able to suspend disbelief about the characters they’ve spent HOURS growing to love and carefully thinking about when you change 95% of their canon characteristics to fit your plot.