#but we all know things don't always go as desired or planned etc. etc.

[werewolfsister]

PSA: COMIC DRAMA

I've been slowly receiving critical, entitled, and passive-aggressive messages about the way I've been writing my comic! I wanted to address this behavior.

That being said, the majority of my readers have been nothing but positive! And when they spot a problem, they're kind about it. I really appreciate this; thank you to those who choose to be civil.

I'm making this post to address some issues, complaints, and questions I've seen. Let's take a look & see what we can discuss!

READ MORE UNDER THE CUT!

🦈-> I want you to use my character in your comic, but you're not using them! Sometimes, a character doesn't quite fit my vision for the comic-- even when they're designs that I love! I really do try to use as many people's characters as possible. I think it adds to the world & makes the comic feel more full of life! But I can't accommodate everyone's desires.

🐟->You're using my character in your comic, but you're not giving them enough screen time! Similar to the above issue, sometimes I don't think focusing on a particular character for any longer will serve the story well. Ultimately, I have final say on what happens in the comic. My advice is, if you feel your character isn't appearing enough, make your own content! Draw, write, craft, etc like I mention farther down below!

🐠->You said you were going to use my diplomat/character(s), but you only drew them in 1-2 panels. Why aren't you using them more? Similar to the points above! I was never planning on going into a TON of depth with the diplomats-- the comic focus also drastically changed, as I mention below.

🐡->You're using characters in the story that I don't like! Ahh that is too bad, but! In that case, you can always take a break from the comic & come back later to check if the characters are no longer being used, or maybe stop reading the comic altogether. However! If you have concerns with how the character is portrayed because of legitimate sexual/violence/illicit/illegal issues, then that's another issue entirely and you should let me know.

🪼->I thought this story was about rescuing Kenne, but now she's not even in the comic! I don't like the way this story is going! This is a big issue some people are having and I completely understand. There's been a lot of things going on behind the scenes that I haven't explained, which must be generating a lot of confusion. Originally, @kenneduck and I were collaborating closely on this comic. Recently, the dynamic shifted, and we're now working on the comic separately. @kenneduck is now responsible for the part of the story that heavily features her characters, i.e. Princess Kenne's perspective of the rescue, her rescue effort, and what's happening in the Domain of the Luminous trench. I am now working on a different angle of the story-- the diplomatic efforts of Zora's Domain in their attempt to negotiate for Princess Kenne's return. So, the story is still the same... the focuses have just changed and split!

🦑->You reblogged my fan art and/or linked it in your comic directory-- does that make my content canon? Oooh, this is actually kind of a tough one! Normally, if something is in the comic directory, I consider it to be canon to the story. So, if you've drawn something, and I add it to my directory for a comic chapter, I'll consider it to have happened in real time. THERE'S AN EXCEPTION! And it may be confusing, so I'm genuinely sorry! If you have drawn something where you are heavily modifying someone else's character--this means cosmetic changes, giving the character children/spouses/family, killing the character, altering their personality-- WITHOUT THEIR PERMISSION, then I cannot accept that as canon. It's still fantastic that you drew/wrote/created something and I will probably put it in the MISCELLANEOUS section of the comic directory. I'VE MADE MISTAKES ON THIS! So, I've since updated the directory. And, sorry for all confusion on this issue! If you've made something & intended it to be canon, let's talk about it!

🐳->I want to collaborate with you on your comic, can I do that? That's awesome! Maybe in the future, but right now I'm not taking on any more partners. Maybe you can make your own separate additions, with your character(s) like I mention below!

🐙>I want to make fan art, can I do that? You absolutely can. Go for it. This was originally meant to be a very interactive comic, so draw/write/create away!!!

🦀->I want to draw my character(s) doing something in the world of your comic, can I do that? You absolutely can. Go for it! Like I mentioned above, however, I may or may not deem it canon to the events of the comic. But even if I don't, I'll add it to the MISCELLANEOUS section of my comic directory! ...as long as you don't alterate someone's character without permission! If you've made something & intended it to be canon, let's talk about it!

🐬->I want to make a character based on a Domain you created/idea you drew/etc., can I do that? Of course! Go for it. I love seeing what people make!

I know this is a lot of text, but it's better to be comprehensive! Please, keep in mind, I'm just one hobby artist making a comic for fun, with the spirit of interactivity and collaboration in mind. But it's impossible to keep that spirit going when people feel entitled and demand things of me that I am not obligated to give.

I queue out my pages several weeks in advance with the help of the people I'm working with, so what you see in the comic is the product of a lot of thought and work. You're getting something for free here, y'all. It ain't so serious!!!!

Anyways, thanks for reading this! And for reading the comic! Peace out ✌️

[actualaster]

Playing HZD and HFW back to back now for my series replay, I’ve got a few Mechanics Wishlist items for if we do get a 3rd game in Aloy’s story.

Currently 8 12 of them.

The climbing system was refined massively in HFW, like amazing job there to the devs!  I'd like to see them continue to improve on it, tighten some things up a bit, etc.  There's still some oddities once in a while and all, getting stuck, etc.

Hybridize the fishing mechanics.  I like being able to just grab a fish in the water, but it's a huge annoyance to keep swimming after a fish that keeps dodging you XD  If possible, it'd be nice to have the option to both catch them by hand or snipe 'em.

Return the datapoint indicator to the HUD at the up alongside the waypoints, machine sites, campfires, etc.  In HFW I found that I was missing them a lot more often because the overworld indicator was just not as notable.  I'd like to see it return and expand the range.

Extend the time machine weak points remain highlighted!  Or maybe have a "remain highlighted indefinitely within X range" option?  They never seem to remain highlighted long enough for me, I have a hard time making them out sometimes...

Return the "discovered campfire" icon to green, especially on the HUD navigation at the top.  Or another color.  Anything but "brighter white vs slightly darker grayed out for undiscovered one".  Maybe settings to change the colors of icons?

Amazing job on the accessibility options, by the way, did great work on those!  Be nice to see those continue to expand!  Maybe the above 3 points (3-5) could be folded in under customizable options in the future?

Retain some form of the gliding mechanic--if Aloy has to lose all her gear again or something, I get it but it'd be nice to have something to replace it return early on because that was invaluable to navigation once you unlock it.

Hybridize the crafting systems, maybe?  I liked the ability to craft upgrades on the fly from HZD rather than needing a workbench...  Maybe some sort of portable workbench you can craft or buy for a decent cost, or for limited uses?

Keep the "people will tell you about stuff at shelters and camps in the wild allowing you to get sidequest and other location markers before you get close to them yourself" feature! Especially if they expand the number of extra missions and quests and errands you can pick up.

PLEASE do not bring back "tie some of the skill points to fully max the tree to a board game" feature. By all means, keep that as a way to get skill points, but also let there be ways to obtain them all through other means such as leveling and the other sorts of quests. It's a huge pain if you just suck at it no matter how hard you try. (Yes yes, NG+ but it'd be nice to get them all first play lol)

Maybe less underwater stealth segments. They are. Hard and also so very different from tbe rest of the game because you CANNOT fight anything. Or at least offer some limited underwater combat options? Special weapons for underwater combat?

A way to mark custom locations on the map besides our single waypoint! It would be great to be able to put a stamp on the map to mark favored hunting locations for certain machines so its easy to tell at a glance (for those of us Bad at maps and remembering where we were)

[elysiansparadise]

Hi !! I was wondering if you could do Mars in the 10H? 🤍 I looked at your masterlist and read almost all of it— YES, I AM (HEALTHILY) OBSESSED WITH YOU 🍰, your page, content, aesthetic, etc— and I haven't seen the placement yet 🍓 I saw your post to ask the ones you may have not done yet.

Thank you so muchhh!! We appreciate your efforts to complete it 🤍

Awww, hello love! You are so sweet, thank you so much for your words. 🤍

Mars in the 10th house

Many of these natives have a strong desire for success, a need to be in control of their lives and not let anything or anyone seek to interfere in their affairs. Courageous, ambitious, cunning and strategic, many of them are good at long-term planning, however they will always prefer to act rather than continue drowning in excessive planning. For them it is important to be proud of themselves, they want to achieve things on their own and achieve their goals. Some of these natives have difficulty celebrating their achievements, they only feel relieved to have completed their tasks and wonder what’s next. They are competitive either with people who work with them or even with versions of themselves from the past, since there is a strong drive to want to improve themselves and be better than before. They do not believe that things magically happen, rather they seek to make them happen. They are decisive, they know perfectly well what they want and what they don't want to deal with. They are people who think what is necessary before deciding something. They can become recognized throughout their lives for their decision, their strength, courage and determination. People know they can't mess with them. They will not hesitate to defend themselves or those in their charge if they feel threatened, they do not care about gender or age, because if you want their respect, you have to earn it with actions.

They give the impression of being very self-confident, they have strong-willed and intimidating vibes, they are usually seen as sexy or seductive and attract a lot of attention, as they seem to be perfectly content without someone else. Their independence, will and attitude are seen as irresistible. They can attract attention easily, and many of them can attract without intending or realizing it people who compare themselves a lot with them and who compete with the natives. They never settle for the minimum and if they can aspire and have better things, they will go after it. It is difficult to take them by surprise because they are constantly alert. One of the things they hate the most and that provokes their anger is being compared to other people, people who spend their time complaining all the time without doing anything about it and people who don't take responsibility for their own actions. 

These natives find ambitious, hard-working people who take great care of their appearance attractive. They are attracted to the desire to get ahead and self-improve. Furthermore, for them it is crucial that more than just physical attraction and feelings of love, there is mutual admiration between them and their partners. They are very passionate and very sensual people in the most intimate sphere, they make sure to make their partner feel safe, confident in their bodies and very desired. Power can seem very attractive to them, from finding people in important positions attractive in whatever field they work in, to people who have this powerful vibe. High sex drive, they can become more attractive as the years go by. They are not afraid to be dominant or let their partners be dominant. They like the theme of one of the two being dominant. They like the idea of ​​taking things slowly, filling their partner with caresses, flooding them with pleasant and sensual sensations, for them it is crucial that both they and their partners enjoy the moment and not feel rushed or pressured.

-> Go back to the masterlist

[syzthefrizz]

Tips for writing dream sequences (from someone who has really vivid, weird dreams on a frequent basis)

My biggest pet peeve with fictional dream sequences is that they make too much sense!! They're too relevant! There's not enough random crazy stuff! That's not always unrealistic per se, but you are missing out on some of the fun ways you can reveal information about your character's mindset, fears, struggles, and future.

Most of my dreams have a goal or objective driving the plot, and it's usually urgent. Ex. "escape the huge storm on the horizon", "find a place to sleep for the night in an unfamiliar town", "find a bathroom". This is especially true of stress dreams.

Everything going on in the dream makes perfect sense to you during the dream. It doesn't feel like reality per se, but you think it is. You're living in a house full of vampires that could eat you at any moment? Seems legit.

Emotions and situations from the dreamer's life can/will find their way into dreams, with varying levels of subtlety. The dream could be about the stressful event itself, or it could be some sort of exaggerated metaphor. Ex. I was worried about whether I was a competent CS major while I was still trying to find a summer job/internship, and I was worried about what my professors must think of me. Such a good student on paper, still without summer plans. I dreamed that I ran into my professors all having lunch together at a restaurant (during a dream with a completely different storyline), and I was wearing my pajamas. They judged me.

Certain things are very hard to do in dreams. This could vary from person to person. For me, it's always driving (the brakes never work right), flying (I can't stay off the ground for very long), and running (it's like trying to run through waist-deep water).

People with PTSD may dream about the traumatic event happening differently than it actually happened. (Take this one with a grain of salt - I don't suffer from PTSD, I just research it sometimes so my blorbos can suffer accurately).

You can have a string of loosely connected or disconnected dream sequences back to back, each with an entirely different plot, setting, etc.

People can have reoccurring themes or plotlines in their dreams, which are often connected to their lives/psyche somehow. I frequently dream about running away from tornadoes and being in situations where there's some catastrophe coming but I'm the only one who understands that there's a problem and nobody will listen to me.

It's common for me to have a dream setting that I KNOW is someplace I'm familiar with, but it doesn't actually look like that place at all. Ex. "I dreamed that we were at my house, but it didn't look like my house..."

Dreams can end in cliffhangers. Sometimes I wake up right before I'm about to eat something delicious.

Sometimes people have dreams about doing things that they would never, ever do in real life, and they wake up feeling disgusted. This is Not a manifestation of their secret desires (*glares at Freud*).

Images are the most memorable parts of dreams. I forget the specific plot points, but I can still picture dozens of liminal spaces my brain has created, even years after I dreamed about it.

Dreams will fade from memory very quickly unless the dream had a strong impression on you, you write details about it down or you tell someone about it before you forget.

If you realize you're dreaming during your dream, sometimes you can control the dream going forward. This is called lucid dreaming. I've done it accidentally a couple times, and it's really hard to "hold on" to the dream and control it. I usually wake up soon after starting. With practice, you can get better at it.

Sometimes a normal/good dream can turn into a nightmare, and vice versa. Most of my dreams aren't really good or bad, they're something in between.

Your subconscious brain is CRAZY intuitive. We can argue over the existence of prophetic dreams (I've heard so many crazy stories), but at the end of the day, your subconscious brain knows things that you don't consciously know. If your character is in love with someone, their subconscious brain will know even if the character doesn't. Relationship problems? Deepest darkest fears and insecurities? Your brain knows. A dream predicted the downfall of my first relationship eight months before it happened, down to the reason why we failed. You can absolutely foreshadow this way. A character might subconsciously know what the consequences of their or other people's actions will be, understand things about the situation they're in, know things about the people they're interacting with, and more, despite their conscious realizations.

There are plenty of ways to make a dream sequence relevant to your story, but don't forget to add in some fun, random details. Character A is secretly in love with Character B? Have Character A dream about Character B confessing feelings to them while in a Vine Nostalgia themed restaurant over a plate of mac-n-cheese. The details are the fun part, and you can get as weird as you want. I once ran into my aunt in a dream, and she was wearing a backpack with a bunch of (fake?) hands sticking out of it, making a fan that rose above her back behind her head like some sort of peacock feather costume piece. I was so freaked out that I woke up. I dare you to get weirder than that.

Not everyone's brain works the same way. I have vivid, random, detailed, memorable dreams on a frequent basis. When I describe them to people they often ask "what were you on?". My roommate only remembers her dreams when they're nightmares. I have some friends who say they don't dream. Other friends have really boring, mundane dreams about their normal lives. Some people have weird dreams but only once in a blue moon. It's a good idea to decide off the bat what kinds of dreams your character has, and how often they remember them.

That's it for now, but I might make a part two if I think of more things to add. Feel free to reblog with your own personal dream expertise!

[remcycl333]

HOW DO I GET INTO A STATE?

after posting my states post, i've been getting a lot of asks asking me how to get into the state, despite already having explained how to get into a state in the post.

i think the issue is that for so long the loass community has become overrun by a sort of grind culture with affirmations, where people have become convinced that you need to put in an immense amount of effort before you can get your manifestation in your 3d. i.e. affirm 10k times, flip every thought, etc. but manifestation has always been EFFORTLESS. so you need to get used to the idea that you don't have to work 24 hours a day 7 days a week in order to get your desire. manifestation is not a TRYING process!

so here is how to get into your desired state:

intend.

that's it! its as easy and simple as that.

but what does it mean to intend?

intend: have (a course of action) as one's purpose or objective; plan.

for example, say that you want to read a book tomorrow. that is you intending to read a book tomorrow. you may not actually do it, but you still intended to do it.

but with states, you don't actually have to do anything to get into a state. JUST intend.

to make it easier on you guys, bc i get that it's hard to tell if you intended to do it or not, whenever you realized you slipped out of your desired state, you can say something like:

"i am in my desired state now"

"i am in the state of ____"

"i am in the state of the wish fulfilled"

"i have entered the state"

"it is done"

etc!

it's not necessary to say these things to get into a state, but if you want to say one of them in order to assure yourself that you actually successfully shifted into the state, feel free!

how do you know if you've slipped out of the state of the wish fulfilled?

-you're thinking negative thoughts about your desire

-you're doubting

-you're checking the 3d

view these things as tools. they are there as indicators that you slipped out of the state and you need to shift yourself back to your desired state. these are all just thoughts, and they have no power unless you give it to them. you don't need to flip those thoughts, or freak out bc "they ruined everything" (they didn't), or "start over"

just go back to your desired state!

where do methods come in?

you can use methods to MAINTAIN the state of the wish fulfilled. you do not do methods to get into the state. as we have previously covered, all you need to get into the state is intention.

you do not need to do methods every time you get into the state. intending is enough. however, if you are having a hard time staying the state (you get into it and then immediately fall back out bc doubts come back), you can do methods to help maintain it.

methods include affirmations, scripting, visualizing, vaunting, inner conversations, etc.

pay attention while you do these methods. focus on conjuring the feeling of the state of the wish fulfilled, aka the feeling of knowing.

feeling ≠ emotions

the feeling of knowing can be a feeling of calm, peace, contentedness, relief, etc.

it is NOT happiness, sadness, anger, etc. those are EMOTIONS.

once again: methods are useful to help you maintain the state of the wish fulfilled, they are not what gets you into the state.

hopefully this clears some things up for you guys! <3

[pygmi-says-hi]

how to write romantic tension

we all love enemies to lovers but some of you get to the lovers part so fast you don't even finish typing 'enemies'. enemthey'refuckingnow to lovers. which is ok if that's what you wanna read but personally, my favorite part is the tension.

So...

Off we go!

What makes a good enemies to lovers story?

Believable tension, likeably irritating themes, and potential. Among other things, but this is what I want to talk about with the 'tension' perspective. There needs to be a good reason, obstacle, and rapport. If they're mad at each other just because, idgaf.

I want to write this but I dunno how to frame the tension?

It's kind of a tricky trope, to be honest. Enemies/rivals/foes however you wanna pitch it, takes an interesting twist on seductive emotions.

pride. a feeling of self-sufficiency, power over somebody else, or superiority. How would this play into a relationship type deal? Well:

Pride in a relationship or in regards to another person can involve a feeling of equivalence. "Do I feel unworthy of them?" "Are they out of my league?" "will the way people perceive me change if I go for it?" Social insecurity is a big aspect, and so the frustration that comes with that leads to friction because of the character's insistence on keeping their dignity. which leads me to the next point...

vulnerability. Attraction to another person is accompanied by a feeling of vulnerability and openness. This is always a hard position to be in, especially if extenuating circumstances make honesty impossible (power imbalance, politics, etc). If a character feels too vulnerable and exposed, they might shield themself with aloofness and sharp words.

desperation/yearning. They have to want each other. the only thing stopping themselves is each other. It's overcoming the above emotions to reach the point where they have no choice but to accept it. Throughout the whole deal, there should be an undercurrent of desire.

When all of those come together, it creates an emotional battle. This battle has several war tactics (hittin with the allegories today dayum)

banter. a favorite of all. wonderfully tense and combative conversation that highlights the reason for disagreement and the romantic tension. 10/10

self-sabotage. like, ohthey'resoclosetheirhandsaretouchingoooohnope. someone chickened out, heard something from someone that made them reconsider, plans changed, they felt angry and ruined the whole deal. back to square one. it's like edging your readers. (ew but you know what i mean. bring em up to bring em down)

miscommunication. "I thought you hated me." "only because I thought you did too..." love it. beautiful. or, there was miscommunication years ago that led to a deep rift when actually, it was entirely unfounded.

and many more...

Another important point:

There needs to be progress. Slow and steady wins the race, but even slow means going forward. If you throw too much tension and obstacles in the way, it gets old really fast. Give them baby steps to take. It'll keep people interested.

Internal turmoil:

Oh, that wonderful period when they know it's inevitable but they're so terrified of it happening....pick an emotional direction.

Are they scared? Hiding from their attraction? Are they angry? Frustrated that they can't have them/became attracted? Are they desperate? So in love that they act out of pure lust?

What is the character's opinion of what is going on? Pick reactions and convo that corresponds with that. Enemies to lovers doesn't always mean sass-battles and hate sex. It can also be someone cold and cut off slowly warming up. Or somebody shy and critical becoming relaxed and open-minded. there are sooooo many opportunities for good emotional depth, spice it up a little!

Things to improve on:

Working on banter/bickering. This is really funny, but the banter should have some kind of meat to it. random back-and-forths are a nice palate cleanser, but so often it just sounds petty. Incorporate plot and past disagreements with it. it'll add depth to the relationship without needing to do a prologue or exposition paragraph.

Not just making them hate fuck and then be head over heels. (I mean if you wanna write/read that, go ahead, but if you're frustrated with the transition stage, I gotchu.) It is a weird moment of going from 'fuck you' to 'fuck me' to 'ilysm'. AWKWARD STAGES ARE OKAY!!!!! It's gonna be a bit of a new thing, esp for the characters. Great opportunity for wholesomeness; if they're trying really hard to get better but don't know how?? UGHH I EATTT IT.

hopefully this provides some pointers?

xox keep writing, comment/message any questions or requests!

[am-i-the-asshole-official]

WIBTA for asking my SO to do something that they have trauma around?

I don't know when this will be posted but as of writing we are about 2 weeks post valentines day. Ages and genders irrelevant, we're in our 20s and queer.

So I have not been with Jordan long, but we knew each out for a few months as friends before we got together, and have been close pretty much all of the time we've known each other. This is to say, I know them pretty well despite us not actually having been dating that long.

Because we were already friends I knew going into the relationship, without Jordan specifically saying anything, that they had plans on Valentines day. They got tickets to a concert I wasn't interested in a decent amount of time before we got together.

Obviously, not an issue in the slightest, and neither of us brought up anything regarding Valentines day. It was a week day, so I was working all day, and then the time of the concert meant there was no possibility of meeting up after, just not meant to be this year. I thought we were in the same boat just silently agreeing that the timing wasn't right but that it wasn't a big enough deal to even be worth bringing up, especially in such a new relationship.

Some backstory on me: I'm a hopeless romantic and have a kind of cute aesthetic? I like dressing in bright colours, and some of my favourite outfits have prints of hearts, flowers, and cherries. Needless to say I really enjoy the aesthetic of Valentines day, and I've always kind of fantasised about being able to spend it with someone I have romantic feelings for. I've only had two romantic relationships before this and the first one only lasted 6 months and didn't make it to Valentines day, and in the second we both contracted the same bug and were horribly sick throughout February.

Obviously I don't think you should only do things for your SO on Valentines day, but I think it would be fun to have the chance to really get into it! In the past I've organised Valentines day events with my other single friends where we dress in pink and have heart shaped foods etc and those have been great, but haven't quite satisfied my desire to have a Romantic Valentines.

So, despite the fact that my SO was busy, I wanted to do a little something. I do digital art, so when I got home from work I drew a pun Valentines card featuring Jordan's favourite character. It took a few hours and I was pretty proud of how it came out. I knew they were at the concert still, but I texted it to them, so they could see it after.

They responded that night and their first message was just "oh." I've known Jordan long enough that i read the tone to be "oh, now I to have a conversation I didn't want to have." They went on to explain that they associate Valentines day with some past trauma. I won't give any details here, but the tone of the conversation was that they don't celebrate Valentines day because of their trauma, and this seemed like a very final stance.

Now. I don't think I'm TA for drawing the art and sending it, this had never been brought up before, so I didn't know I was crossing a boundary.

I do think Jordan is slightly TA for not saying anything about my art that I worked hard on, but only slightly bc I assume the trauma response just kind of took over.

But my question is, WIBTA if I asked my SO to celebrate Valentines day with me in future even though it's something they have trauma around?

I'm not planning to force them or anything and it doesn't even have to be in the next few years, but thinking long term it feels really gloomy to me to have to miss out on Valentines forever when my SO could be making new memories with me so that mentions of the holiday are less painful.

I don't expect them to just "get over" it magically or anything but I want to ask if it's something they'd possibly want to work up to? I swear I'm not trying to be dismissive their response is fully valid and I don't want to imply my silly fantasies are more important than their traumatic reality I just want to know if this would be an asshole move or not.

What are these acronyms?

[angelsdean]

Also, since I'm divorce arc posting today, what if i said Dean wasn't wrong to say this:

CASTIEL The plan changed, Dean. Something went wrong. You know this. Something always goes wrong. DEAN Yeah, why does that something always seem to be you?

LIKE !!!!! Sure it was harsh and if emotions weren't heightened already and Dean wasn't still dealing with the very recent death of his mother and that grief (anger being a stage of grief!) and ALL the Chuck shit on top of that AND his own complicated feelings re: Jack's death (bc Dean was Not going to kill him, despite Chuck trying to manipulate him into doing that) he probably wouldn't have said that to Cas but like?? he's not really wrong.

You can easily trace a lot of the major season conflicts as a long line of dominoes starting with Cas's s6 betrayal. Leviathans. Purgatory. The tablets. Angels falling. Lucifer getting out of the cage via Cas possession. Etc etc. And most of the time Cas was doing things from a place of good intentions in his POV. Trying to fix things or spare others the burden of doing the hard thing. But still, these plans often backfire for Cas. Going it alone, not letting Dean (+ Sam) in on his plans, it usually does not end well !!!! They are TEAM Free Will for a reason. The show (and Dean) continuously emphasizes the importance of team and family and not going it alone. So, while what Dean says to Cas in this scene is definitely a harsh pill to swallow and not something I think Dean would say to Cas in normal circumstances, he technically isn't wrong. And that's what makes it such a heart-breaking scene.

And even more-so, he's saying this but he still, at his core doesn't want Cas to leave. ("Of course I wanted you to stay.") At the moment he needs space and time to process his grief re: Mary, and all the other stuff going on, but he still wants Cas there and ultimately wants to fix things. ("I'd rather have you." "We can fix this." "I was there where were you." etc etc)

But to fix things they need to address his huge persistent, recurring issue between them: not communicating effectively and Cas continuously leaving, going rogue, and/or deciding for them when to involve Dean.

Dean wants to work together, as a team. Dean wants to be involved. Dean wants Cas to not just up and disappear and "deal with things" on his own like he always does. Cas, in his own POV, sees his actions as perhaps a form of care. He's protecting! He's taking on the hardships! Also, his hubris, wanting to be the strong protector type. Wanting to be a warrior. Powerful. Securing "wins." And these desires stem from his years as a soldier of Heaven, of equating worth with Results. Not something Dean has put on him or required of him.

But Dean doesn't see Cas's actions the way Cas perceives them. We as the omniscient audience know more about Cas's motivations than Dean does too. Dean often just sees Cas leaving, prioritizing the mission and shutting Dean out. However, I do think it's important to note that Dean is also usually willing to give Cas the benefit of the doubt, defend him, and forgives easily / implicitly.

They both care deeply about each other and don't maliciously mean to press on each other's specific insecurities and traumas but like, Dean is abandonment issues boy. And Cas keeps leaving. Or ignoring his calls when their daily lives are a constant life or death battle because they are literally living in a horror show! Dean is not unreasonable to be worried when he doesn't hear from Cas for days, weeks, months on end. He's not being "clingy" or "demanding." Expecting some base form of communication from the people you care about is normal in any relationship. Cas refusing to communicate in these moments IS a problem between them.

So, when Dean says, "Yeah, why does that something always seem to be you?" re: Cas being the "problem" it's harsh yes! But it's pushing them toward addressing this recurring issue (Cas going rogue often = plans backfiring) and the root of that issue which is Cas continuing to leave to do things on his own, change the game-plan without running it by anyone, and keeping others out. This moment is a breaking point. Because Dean, under normal circumstances, is generally one to defend, forgive, and move past Cas's mistakes. Cas himself says it in this very scene: "You used to trust me, give me the benefit of the doubt."

But at this point something needs to give, they need an explosive moment to just bring all these issues to light. It's a rupture.

Yes, Dean might "still blame [Cas] for Mary" but Cas also knows deeply, as he expresses to Jack, that Dean needs time and space to process his emotions. That he feels things more acutely and intensely but that ultimately he usually comes to a place of acceptance / forgiveness / is able to move on.

That's what Dean wants and needs in this moment. He needs space to deal with his feelings and his grief (clearly in the anger stage of it). And he also wants to finally address these issues! But Cas is also struggling himself and in his own mind he's feeding old insecurities. He let Belphegor get under his skin. He thinks he's not needed or wanted anymore. So, he does what he tends to do. Leave.

CASTIEL Well, I don't think there's anything left to say. [Castiel makes to leave.] DEAN Where you going?

Cas decides to leave and Dean immediately asks where are you going? Because even now, feeling how he does, he doesn't want Cas to leave.

What Dean wants is to have a confrontation. He wants to get to the root of their issues. He asks Cas why didn't he just stick to the plan. And emphasizes the concept of WE, of being a team. "We would've figured it out....after. With Rowena." He wants them to stick together, work together. But he's struggling. He's grieving. And still, he wants Cas to stay, of course I wanted you to stay.

And I say it all here in this post but the whole "I left but you didn't stop me" is just, Cas really? From Dean's POV he sees Cas's leaving as a choice Cas makes. He respects his choice and doesn't ask him to stay because he also does not feel he deserves to ask people to stay for him. He is always putting his own wants and desires second to those of others. He thinks, if Cas wants to leave, who is he to stop him?

Anyways, I think too much of divorce arc puts blame on Dean or makes Dean out to be "the bad guy" and "the reason" Cas leaves and the one who needs to "grovel" and apologize / be forgiven. But Cas is not blameless. Cas leaves because Cas leaves. Cas leaves because he chooses to and because he does not want to confront the realities of the situation or his own role in their issues. And after Cas leaves he continues to bury his head in the sand and be avoidant (thee core issue!) while also going out and working a solo case in an effort to secure a "win" and prove to himself that he's still capable of getting things right and not always failing.

And all of this, the complexity, the layers, Cas's stubbornness and flaws, is deeply delicious to me. Cas is not a blameless innocent little baby who got his feelings hurt by "big meanie Dean" in this situation. He is someone who heard a hard truth from someone he cares about and made the choice to leave instead of confronting the issue. And throughout it all, they both still deeply care about each other. It's evident in everything they do. And they want to work it out, but are both at different places and struggling with their own feelings too.

[stop-breaking-my-heart-telltale]

A while ago, you wrote that you were planning on writing an essay about the "subtextual queer-coding" of Louis's character... I want it bad, CJ.

I've said that a few times now; to quote myself from my Javier's bisexuality essay, "-one day I'll crawl out of my bog to write my analysis on the queer-coding/subtext of Louis' character because if I read "lmao Louis is such a Straight" one more time, I'm going to let the gators take a bite out of me just so that I can feel something other than irritation for once."

Dramatic, but that's how I felt in the moment of writing that essay.

I have two twdg essays I'm working on with other ideas on the backburners, not to mention essays and other projects for other fandoms on my side blogs, among more personal works... so y'know what, anon? For you, I'll do a impromptu mini-essay right now since I don't know when or if I'll ever have time to dedicate a full-length deep-dive essay to the topic.

Also, big thank you to @pi-creates for once again providing me with screenshots!

Louis is bisexual-coded and CJ's gonna prove it [probably]

First thing's first: queer-coding, what is it?

Just so that we're all on the same page, here's the basic idea: implications that a character is queer through intentional [but not always] subtext, and/or the use of stereotypes to indicate a character's queerness without outright stating it. It's been around forever; look up the history of The Hays Code to learn more, but essentially the film industry was like, "That's it! no swearing! no more blasphemy! no drugs or alcohol! and definitely no homosexuality! good, clean, god-loving movies only!"

So, what were writers and film makers to do? Why, they code their characters, of course.

There's a lot to learn about the history of queer coding, the good, the bad, the in-between--but I'm not here to give you that lecture. I'm here to talk about Louis.

Ah, Louis. My favorite TWDG character. Love him. Adore him. Written countless thought pieces on him. Definitely bisexual.

Well, to me he is, anyway.

It's like a spidey-sense in the back of my head, I look at Louis and I go, "I know what you are."

When it comes to interpreting media, my stance is that while authorial intent is important, it doesn't dictate my interpretation.

I lean more into "Death of the Author" in all the media I consume, whether that be books, movies, TV, video games, etc... unless there's a circumstance where I feel learning more about the author would benefit my reading of their material... hence why I care little for what the writers/devs of TFS say about the story/characters as I don't want their influence, yet I'm reading all of Tillie Walden's books in order to better understand the Clementine books for my analysis.

As a bisexual myself, it's true that I may just be projecting onto my favorite character due to my desire to see a bi4bi couple in one of my favorite video games. That's how most headcanons come to be, no? We wish to see ourselves represented in characters we love, especially when we feel mis/underrepresented in media.

I believe Louis has some queer coding going on. I don't believe it's intentional, but it doesn't need to be in order to exist. It's there, I feel it when I play the game, no one gets to tell me otherwise.

First let's tackle the idea of, "how can Louis be bi if he's never seen flirting with any guys?" ...because I have a feeling that might come from the same people who say "he's such a Straight," y'know?

We know for sure that Louis likes girls--he has a crush on Clementine no matter what, and he makes a point of saying he's never had a girlfriend before... so if he's bi, why doesn't he also point out that he's never had a boyfriend before?

Because Clementine's not a boy.

No, really, it's that simple. Clementine is his only love interest in TFS, and having him bounce around flirting with everyone wouldn't be in character for him. He's friendly, sure, but friendliness and being flirtatious aren't the same thing.

But if he's bi, why wouldn't he flirt with his best friend, Marlon, or with Aasim? Mitch? What about the great chef god Omar?

I don't know--why doesn't he flirt with Brody? Or Ruby?

Again, I must point you to my essay on Javier and how much I disapprove of this notion that all bisexual characters have to "prove" they're bi by flirting with all genders--if they aren't running around DTF with everyone, then are they really bisexual???

First of all, stop that. A lot of people, usually straight, are under the impression that bisexuality is about who and how many people you're dating/sleeping with when no, that's not it.

Second, why would he flirt with them? He's not that type of character, and none of them are his love interest. His love interest is Clementine.

In ep1, during the card game, Louis asks Clementine if she's ever had a boyfriend [he wants to gauge her interest in boys since he's a boy], and he says she can ask him if he's ever had a girlfriend before [letting her know he likes girls] and that he hasn't, by the way. Hint hint.

Louis has no reason to add that he's never had a boyfriend, either. The game's making its intent clear with this: Louis is a potential love interest for Clementine.

It does this with Violet, too. It's just different. Violet doesn't need to explicitly state that she's only into girls, the game goes to great lengths to show us this through the writing. C'mon, we all know what "Minnie and I... we were close," really means. Your spidey-senses were tingling, especially if you're queer, too.

If you go fishing with Violet and Brody, you've told the game you're more interested in Violet than Louis at this point, so you find the heart with her and Minerva's initials carved in it. That's the game making another thing clear: Violet likes girls, she's the other potential love interest for Clementine.

Y'know, in case all the "Louis or Violet" choices weren't enough of an indication.

The first card game is usually what I see pointed at when someone goes, "lmao Louis is such a Straight" for asking Clementine that, and I'm like... this? Are you sure?

Honestly, my theory is people really want Louis and Violet to fit into the straight himbo/lesbian friendship dynamic, which like... you can still do that if he's not straight. I'm just sayin'.

"But CJ, how else would we know he's not straight if he doesn't show attraction to boys?"

By looking at literally everything else about him. He doesn't need to openly flirt with other boys to be bi. Bisexuality is more than that, it's a personal queer experience. There are things in the subtext of his character, and TFS in general, that lead me to believe he is.

Heteronormative thinking could be playing a part: "cis/straight's the default until proven otherwise." Hence why some need more "proof" of him expressing interest in people who aren't female...tbh I think some people are just dumb and miss the point of headcanon in fandom culture. It's not about what's objectively true with heaps of evidence, it's about looking at canon and interpreting it through our personal lens... but whatever it's fine, ignore me, I'll just continue on then-

I believe the Ericson crew don't operate under that line of thinking.

I touched on this a little before, but TFS's narrative is steeped in queer themes; an oppressive older generation who uses force to try to shape the Ericson crew to be like them, and if they fight back, they're punished; found family and acceptance, love in a world that doesn't want you; the troubled youth of Ericson being abandoned because parents didn't want to deal with them, sending them away to be "fixed." There's no getting away from it.

I think Louis puts it best when you appeal to him in ep1: "This is how adults do things, not us."

They're a generation who only had each other, abandoned by the adults who were supposed to love them, supposed to make them better. They're a generation of genuine acceptance when it comes to each other. Clementine and AJ are able to integrate with them because they're the same way. When AJ sees the heart with Violet and Minerva's initials in it, he doesn't question how two girls could be together, he just says, "Oh. Love." and then he moves on. He grew up differently than you and I, they all did.

We also need to consider where Louis came from before Ericson.

Louis has an artistic hobby in music, something we haven't seen before in TFS as we're often too busy trying not to die to explore hobbies. The most we see of something similar is when Mariana listens to music on a cassette player.

TFS introduced characters who have interests they pursue outside of survival, and they're more artistic things. Louis plays piano and writes music. Tenn's an artist who reintroduces AJ to drawing. Aasim writes and openly journals about the days as a record. Omar takes great pride in his cooking, which is an art in of itself. Violet mentions not being into arts and crafts, but she still makes Clementine a pin when you take her route, and she wants to dance with Clementine if they're romantically involved. Minerva had a talent for music, and Sophie for art when they were there, too.

I don't think I need to tell you that many look down on the arts--I think we're well aware. We're also aware of the stereotypes of men in the arts, no? "A boy who likes art?? Son, why can't you be normal and like sports!?" That nonsense.

Louis grew up wealthy with parents who gave him everything he ever wanted, except for one thing. As he tells it, he wanted singing lessons so he could be a real musician, but his father denied him; "You get to be happy, or you get to be rich, can't be both."

Huh... can't be both, can't have both, can't like both... where have I heard that one before?

Alright, maybe interpreting the use of the word "both" here as a metaphor for bisexuality is a major stretch. I know, but listen, in my experience there's always this feeling of "pick one" when it comes to outsiders who don't understand. The fact that Louis' father tried to teach him a "dad lesson" in this specific way is... interesting, to say the least.

The implication is that Louis was a spoiled brat and his father tried to teach him that you don't always get what you want in life... but why draw the line at music, specifically? Music is something his father could've thrown money at. Louis could've had the privilege of the finest vocal coaches at such a young age. He could've become a glowing success and never ended up at Ericson.

Music isn't gendered nor is it inherently queer... but I often wonder if his father would've had the same approach if Louis came to him and said, "I want to be a professional baseball player," instead. After all, in many circles it's more sociably acceptable to have a son who plays baseball, or any sport, rather than a son who takes singing lessons, no? And the fact that his father presents it as a "choice" between the arts and conformity.... C'mon, it's representative of a "choice" people try to enforce on bisexual people: pick the "gay" option and face the consequences, or pick the "straight" option and adhere to easy heteronormativity. That's not how that works, by the way.

But I digress, it's probably not that deep, but still.

Louis' response to all of this was basically, "Fuck you, I'm gonna destroy your marriage. That'll teach YOU a lesson." Real chaotic bisexual behavior here... Okay, I joke, but he's always been one for the dramatics, I suppose.

What I'm getting at is the concept of a character, typically masculine, enjoying the arts only for their more conservative family to disapprove makes an appearance in a lot of stories containing queer themes. It's understandable to raise an eyebrow at Louis for having a backstory like that, even if it's "not the point."

Now, let's examine his relationship with Clementine.

I will die on the hill that clouis is bi4bi.

Louis is peak bi love interest energy.

When we think of a typical straight male love interest, what do we think of? Specifically in the romance genre? I don't know about you, but I read a lot of romance, and well... the leading men tend to have some things in common. Y'know, he's unbelievably handsome and broody. He's an asshole but it's kinda hot? I guess? Not really, but the leading lady's into it. He's what you'd find under the definition of "toxic masculinity" but it's fine, she's going to fix him! With her love! He's really not that bad, he's just sad about his tragic backstory! And also, he's really hot!

Every time I pick up a book and I get the sense this is where it's going, I take a moment to debate with myself whether I'm willing to power through this in hopes that the book does something actually interesting with it... it usually doesn't.

Louis doesn't exactly fit in this mold, which in my opinion, is a good thing. Instead, he's charismatic and friendly. He cares about people and isn't afraid to show it. He watches over AJ until Clementine wakes up, and gives him his food after AJ eats all of his. He's interested in music, but he's not a weak survivor. He struggles with his self-esteem and the guilt of his actions hurting those he cares about. He's hurt and traumatized over Marlon's death and it causes him to lash out, but he gives Clementine a genuine apology. He strives to be better for her, AJ, and everyone at Ericson.

He's sweet with Clementine even before they're romantically involved, and if she doesn't share his feelings, he accepts that. He doesn't feel entitled to her. He isn't the "Nice Guy" trope.

He respects her autonomy, and admires the strengths she has rather than feeling threatened by them. He doesn't get jealous or possessive. He's never physically aggressive with her, and he never makes any sexist comments about how she can't do this, or how she needs to do this, because she's female.

It's the fact that he'd like Clementine no matter what. Louis feels like someone who likes who he likes regardless of gender.

Louis is soft, something that can be construed as weak, even though that's far from the case. It's not just his personality, either; let's take a quick look at his physical appearance.

Louis has a softness to him; long hair, freckles all over his face, his lips are fuller, he's tall and thin but not exactly broad in the shoulders, especially when compared to the other men in TFS. His appearance isn't considered intimidating, and I wouldn't say that his traits lean heavy into the masculine.

We joke about him being so fashionable in the apocalypse, but his long jacket is more evocative of "fashion over function," a stereotype often thrown at feminine fashion... though I suppose you could argue that's where he keeps Chairles so it is functional.

There's the way he presents himself, and yes, even the way that he stands at points, I have no other explanation for other than, "......it's the vibe, there's bisexual energy there."

Look, I'm no body language expert, okay...

...but c'mon, what is this?

I know it's dumb, but there's something to it, that's why so many of us make the "Louis ain't straight, look at how he stands" jokes.

All of this contributes to the subtext of Louis being a bisexual character. It's not about how many genders he openly flirts with, it's about how he's written, both as a character and as the male love interest. It doesn't matter how intentional it was because it's there, I recognize it.

Again, I'll reiterate that this is how I interpret TFS, clouis, and Louis as a character. As a bisexual myself, I'm going to have bias toward this topic. At the end of the day, it's fiction and Louis is a character, y'know? Headcanon is all in good fun, and I'd like to hear y'all's thoughts on this subject.

I don't know what else I can say other than, "Dude, just look at him!"

[robotlesbianjavert]

Why do you think the makima reveal worked while the afo-tenko reveal didn't?

let me share an anecdote of me reading chainsaw man as part one was rolling. upon the release of chapter 71: bath. man makima has been really hot and sexy but also very sketchy and ambiguous this entire series i wonder what she obviously has planned for denji. but look denji is prioritizing his friendship and care for power over deluding himself into thinking he can has a real chance with a woman like makima, as many teenage boys delude themselves into thinking. whatever she's planning it doesn't matter because friendship and found family trumps all! me reading chapters 81: paw & 82: always eat a hearty breakfast, as they came out. i'm ending it all.

like honestly, part of the reason that the makima reveal works so well is that it's much more integrated into the story. obviously denji is the main character focused on throughout the entire story, and his developing dynamic with makima is highlighted throughout. but my experience, as i followed the story, was so focused on thinking about "what does makima have planned" that i missed the enormity of what she'd already done.

not only do we spend more time with that dynamic, but it's also so well entwined with the overall ideas of the story. one of things i love csm part one for is how tightly written it is - fujimoto had a strong idea of what he wanted to do from beginning to end. while i'm sure there was some massaging and diversion throughout the actual creation, i think it's apparent that fujimoto knew what he wanted to do with the characters and what he wanted to say with the story. one theme that is present throughout is what quality of life denji desires, how the standards for a satisfactory life keeps escalating as denji has more life experiences, as he fulfills more goals and has to find something new to satisfy him.

and that's directly entwined with makima's plans for denji - to satisfy his idea of a happy life, escalate that standard, and break him by taking it all away. that's baked into his relationships with aki, power, pochita, everyone - it's the central conceit of the entire story. it's very on the nose, and also one of the most engaging takes on a protagonist's relationship with his villainous pseudo-parental figure.

and basically. we know that makima's intentions for denji are sketchy all along, but it's difficult to deduce what exactly her plans are. then you learn, it's so much deeper and more horrible than expected, and it actively enriches the story, it's organically thematic. the kind of thing that made me immediately reread csm from the beginning with this knowledge in mind.

in comparison to shigaraki, while one of the if not theeeee central character, is still an antagonist/deuteragonist. he is cruelly forced to split share panel time with deku and bakugou and all might and whoever else, and accordingly we spend a lot less time specifically with shigaraki & afo than we do denji & makima. this isn't a bad thing - look at how much discussion shigaraki and afo's relationship has generated throughout the years, because what matters is what details are shared about them and how. you can say a lot about a story with very little!

i think it's also a matter of how expectations for each plotline were set up - with makima and denji, you know she's plotting, but you don't really know in which direction, why, how, what, etc. the tidbits you can meaningfully speculate off of aren't enough to come up with something better than what fujimoto had planned. i had simply carelessly thought she needed denji loyal to her for Whatever reason, not that she was going to dig so deeper into what we as readers knew about his past.

in comparison to bnha. listen remember way back when a big selling point for bnha's writing was for how it apparently subverted superhero and shonen tropes without being a grimdark deconstruction like idk. the boys or something. ultimately the problem there is that bnha only gets so far into that subversion before snapping right back to the norm of those genres, ie rah rah heroes so cool villains so vile whatever.

so with afo and shigaraki specifically. like for one, we know from basically the start that afo fucked with shigaraki's history in one way or another. he knew tenko was nana's grandkid, he conveniently was around when tenko was wandering helplessly through the streets. and when we know that from the get go, there's only so much you can to that before it gets a bit much. in comparison to where the twist with makima is that she didn't directly impact denji's past, but has enough knowledge of it to manipulate him in the present.

so when we get the "afo is possessing shigaraki" plotline in the PLF raid is less "WHOA who could have seen that coming" and more "ugh. so we're going there?"

the care that denji also had for aki and power is also both 100% organic on denji's part, while still being intended by makima, which is meant to make her manipulations hit that much harder (and also why things got tripped up with power. denjipower real forever). while with shigaraki and the league we as readers are in this weird grey area? afo is trying to lay claim to all of shigaraki's choices and development, which extends ambiguously to his relationship with the league, but the closest we get to afo actually using this against shigaraki is him overloading spinner with quirks? which can still screw afo over - after all, spinner certainly didn't wake up kurogiri the way that afo intended! i am holding onto that! but it still leaves the league as "collateral" throughout the manipulations in comparison to aki and power.

also like. i just want to know more about afo & shigaraki's relationship. we see the sum of makima & denji's relationship throughout the series, but afo & shigaraki's is left to either backstory, vague implication, or comical evil in the present. it's not that the story needs to show us a bunch of sappy shit, but it would also hit harder if we saw more of that emotional enmeshment, more reason to shigaraki to trust and respect afo that wasn't Obvious Evil, to make that betrayal an actual betrayal rather than a. yeah of course afo, obviously evil and manipulative man, would do all of that.

and going back to expectations. it was just cooler when there was more subversive expectations. like afo doing the mentor sacrifice at the kamino fight, letting shigaraki and crew get away and accepting the end of his era in favour of shigaraki's, versus all might who was still struggling with letting go of his legacy and handing it off to deku, something affirmed when toshinori, in his all might get up, visited an imprisoned afo who by all accounts was cool with shigaraki doing his own thing. until he wasn't? idk.

i guess basically. where csm succeeded with the makima reveal is that it showed a clarity of vision and foreplanning. bnha failed because it didn't enrich what was already there, pounded on what was already apparent in in cartoonish ways, and every alternative interpretation of the relationship was more engaging and original, and it's basically a clumsy shortcut to some of the things that horikoshi wants to say but simplified so that he can push his rah rah heroes so cool agenda.

also makima was innately sexy through all of that. while afo is my chewable barbie doll. it be what it be.

i feel like i had more to say but i sat on this too long and when crazy. again, it be what it be.

[brf-rumortrackinganon]

Do you really think Meghan actually wants to make and sell products? And that she wants to create a brand that has a real marketable potential?

Everything we have seen so far, right from 2O12/13, when she first hit some recognition with with suits, all she has ever wanted was to famous. And by association, be known as beautiful, desirable, intelligent and high value.

All her ventures were geared towards increasing her own social capital - the people she knew, the places she was seen at, what she wore, what she used, the activities she did as leisure, her knowledge of all things fine, elite, luxury.

All financial benefits she recieved were though her social capital. She did not undertake any activity that would add to her craft as an actor, which she apparently has a degree in. No auditions, no plays, no training workshops, no new longterm projects, no producer gigs or interests even after she had some financial security etc

Even the Tig was more like documenting an extended luxury vacation. All her focus was geared towards finding a rich guy with a luxury lifestyle, to settle down with. Her long term plans did not include acting, getting better projects or stable long-term business ventures.

And for all intents and purposes, she seems to have got what she wanted. We may side-eye her that she bagged Harry of all the rich eligible men she could find, we may even question her quality of life. But, she seems to be living it up pretty good.

She is miles from where she was. Harry is bringing in all the money and even if they go broke, that is never make money from their ventures, Harry's BRF connection is always the backup plan. At least financially.

She gets to live is a huge place, she is back in LA. She only ever wears designer wear. Everything she does is scrutinized and talked about, good or bad. She gets entry into places and circles she could never have imagined herself in.

Al she wants is be in special shows or docuntaries where she is the centre of attention. So she will never do a show about a charity or something. The money will keep coming in.

And a divorce settlement is always a viable option. Plus Harry is the one who has made a fool of himself infront of everyone that cared about him.

So, I don't think she cares about what products she seels, whether they could have long term money making potential etc.

She is living her dream life. And the past 7 years have only fuelled her entitlement.

So, I don't think she cares if Roop fails. Or the products are stupid.

Meghan wants to be so fabulously filthy rich and famous she never has to work again in her life. She thinks she is literally just one idea away from having it all, and we know that about her because the second she realizes it's not working, she bails.

Just look at her track record:

2011: Producer Wife

2012 - 2013: Suits

2014: Lifestyle influencer (The Tig) and humanitarian activist (Ice Bucket Challenge)

2015: Foodie

2016: Humanitarian activist (March), Tennis fan (June/July), Royal girlfriend (November)

2017: Better than Kate (January), Health/Beauty influencer (April/May), Royal almost-fiancee (June/July), Africa (August), Duchess Material (Sept/Oct), Royal rulebreaker (Nov/Dec)

2018: Shy Di (Feb/Mar), Bride (Apr/May), Country Girl (June - Aug), Global Superstar Di (Sept/Oct), New Young Mother (Nov - May 2019)

2019: New Young Mother (continued), Feminist Who Supports and Inspires Women (summer), Nobody Asked Me If I'm OK (Sept/Oct), Glam Military Wife (Nov)

2020: Protecting My Peace (January), Revenge Tour (March), Helping the Hungry Because Everyone Else Is (April), New Young Mother Again (May), Black Lives Matter (summertime), Author and Content Creator (autumn), Hot Military Wife and Nobody Asked Me If I'm OK Part 2: Miscarriage Edition (Nov)

2021: New Young Mother Part 3 (February), Still Protecting My Peace (March), Lilibet (June), The Bench, Humanitarian Activist and Time Magazine cover model (Sept/Oct)

2022: We're Still Royals Platinum Jubilee edition (springtime), Podcaster/Socialite (July/August), We're Still Royals Mini-tour edition (pre-HLM September), Grieving Granddaughter-in-Law (September), Humanitarian Activist and Netflix Superstars (December)

2023: We're Still Royals Coronation edition (March through May), Di-Chased-By-Paparazzi-in-New York (May/June), WME Superstar (June), Author and Content Creator (July/Aug/September), Hot Military Wife Dusseldorf Edition (Sept/Oct), Red Carpet Fashion Superstar (autumn)

2024: We're Still Royals Invictus Games in Canada Edition (February), Goop Wannabe (March), Duchy Originals Wannabe (April)

[sailorblossoms-snowbaz]

Baz & biting Simon

(And why I think it’s ok if he never wants to do it)

I never thought about this before (maybe because I don't get the appeal of a vampire's bite, what with all the blood and the stabbing and being poisoned and the pain, but other people finding it hot isn't my business) (neck kisses though... that I get). I have seen the arguments in favor of Baz biting Simon, ranging from "I think that would be good for Baz's character development" to "I personally think it's hot." I accepted them (hell, I might have even thought of or written a biting scene considering the former, I don't remember) and that was that... until I saw the arguments in favor of respecting that Baz doesn't want to bite Simon.

For starters, one needs to consider what biting Simon would mean. People have read Baz's vampire nature as connected to his queerness – he often thinks about them in the same breath (very grimly including "which one is the one getting me discriminated against right now" scenarios... "I don't know if Daphne means me getting cured of the vampirism or the gayness" kinda puts homophobia on the same level as being against vampirism).

In that vein, Baz being alright with biting Simon as part of sexy times is seen as synonymous with Baz fully embracing his queerness; Baz loving every part of himself just like how Simon loves every part of him. This is where I would usually call it a day, but... actually, I don't think it's right to completely lean on the vampire identity as synonymous with his queer identity 100%. As a metaphor, it's not the only thing it can represent (I once read a good meta that saw the ways he has to plan around it etc as a metaphor for disability). In a more literal sense, the books give you enough to question the WOM's treatment of vampires. But seeing vampires in Las Vegas getting smart about drinking blood without killing doesn't erase the predatory nature associated with them... so I think it's a delicate conversation that needs to know where to draw lines, where to connect, and where to separate things.

I think much comes out of the scene where Simon says there's "nothing about you I don't want." But one also needs to consider that, while Simon absolutely means it (which is a powerful thing to convey to Baz, who has always felt he's loved in spite of who he is) when asked about why he wanted Baz to bite him, his answer to that specific question is not "I think that would be good for you" but "I personally think it's hot" (even if wanting to be with Baz when he hunts and "they should see him draining a deer!" or something highlights that it makes Simon happy and proud to see Baz getting his needs fulfilled without shame, "I want him to bite me, specifically" is more about Baz's hotness, compared to Simon wanting to try kinky stuff). And you can see that without him having to say it: when Baz is asking him about past sexual experience, Simon keeps trying to change the subject, eventually going to "I want to focus on actually sexy things, so you should let me watch you drink the nasty little rats I lovingly helped you catch."

So eventually we arrive at: it makes Baz uncomfortable to be asked this. It causes him distress, even. The fact that Simon would be into it, by itself, or even as motivation is... not a good reason to challenge Baz's feelings. One should never do anything they don't want or feel comfortable with sexually for someone else's sake. Centering Simon's desire over Baz's comfort is... well. Even more when Simon himself is just discovering desire and what it means to him – at this point, he doesn't actually know what he would be into, so he's just saying shit. All Simon actually knows is that he's into Baz, and all Baz-related things are a turn on (just like how Baz is like "wouldn't have considered myself a tail guy, but since Simon has one..." before giving him a tail job.) More importantly, I think Simon means it when he promises he won't bring it up again upon noticing Baz's distress. Simon wants to take care of him and make him happy – he won't push Baz to do anything that makes him uncomfortable (especially since Simon has experience with unwanted sexual situations, which has very likely contributed to his issues with intimacy) (I have many posts about that, finding them though...)

Then comes the point about self-acceptance. About how Baz deserves to love every part of himself as much as Simon loves him. Realistically, a lot of us have parts about ourselves that we don't like, parts that we can't change, but become okay with them by negotiating with them. Perhaps not really comparable, but just for the sake of giving an example: disliking one's body shape, but learning how to dress in a way that flatters it. Finding features we like and highlighting them. Learning how to manage bad moods.

I don't really think Baz needs to bite Simon to find any sort of self-acceptance. Baz is a natural caretaker. He has a soft heart. Even in a fight where he's in actual danger, he holds back – he doesn't want to hurt others (and only snaps if Simon is in danger or gets hurt). The predatory nature of a vampire goes against Baz's very core. And an essential part of that predation is in making humans targets. In putting humans at the bottom of a food chain. This is not something Baz can separate from a vampire bite, and he's not the type to be into about whatever role-power-play shenanigans that someone else could get out of that. When someone in Las Vegas is taking a sip, they have enough practice to let the human walk away alive, but for convenience – they don't give a shit about the actual human (I imagine people died in the process of figuring out when to stop and in mastering the control required for it). On top of that, Baz has trauma around hunting (killing) in a way that hurts him (pets). Simon is the person Baz loves the most – what Baz needs is not to put himself in a "predatory role" when Simon is the target. He doesn't need to put Simon in a position where there is even the slightest chance of Simon getting hurt, and worst of all: of Baz being responsible. Just the thought it's traumatizing for him. When Baz chooses to only eat certain types of animals (because pets too feed into his self-hatred) he's already negotiating with something about himself he doesn't like. He's turning something he hates about himself into something he can accept. Into something he can live with. I do think Baz has issues he needs to work on, but I don't think modifying his diet is required. The way in which he figured how to solve his drinking needs is pretty good when considering Baz's essence, his wants and needs. When considering how Baz wants to live his life.

Which takes me to health and immortality. Another argument in favor is that Baz will look more "healthy" if he were to drink human blood... but what else is there? Are optics important if Baz is still able to function healthily with his dietary choices? The only other thing human blood brings in this universe is immortality, something that's so unthinkable it's actually paralyzing for Baz. I've seen the idea that Baz should embrace that too; I disagree, and I fail to see an argument strong enough in favor ("it would be cool" for him? the hell it would). Immortality too goes against Baz's very nature: the idea of outliving everyone he has ever loved, for someone like Baz, would be the worst kind of torture. The fact that drinking human blood is the key to living forever just means there's actually not a single reason strong enough for Baz to have a change of heart. On the contrary: it's a good reason to fucking double down on his stance. "He could just take a little sip; enough to gain some color but not enough for immortality" But why? He can barely control when his fangs drop, why would he bother doing all that, when it implies trial and error with something that could risk Simon's safety? He wouldn't do it even if it meant just Simon getting a bit dizzy and shit.

Finally, there's the argument on why people would rather respect Baz's wishes. The thing that made me reconsider every single point in favor of biting and not finding them as strong as this. It's very simple, really, so I'll be brief here: it's the idea of having a boundary or hard line that others can't understand... that others believe it's something to "get over," that "can't be good for you," and needs to be changed. Something one "should grow out of," which heavily resonates with people who are in the acespectrum (I think the writing in these books are very ace friendly) or who are aromantic, or don't want to drink alcohol or do or want anything that society pressures us to do or want or else "something is wrong with us."

Baz not biting humans is a boundary that matters to him, even if biting doesn't end in death... His own experience with getting bitten sucked ass, anyway. It changed him in ways beyond his control – his boundary is how he gains control of who he is, and how he sees himself. It provides comfort. So when the author says "I might change my mind someday, but I think this boundary is important for him to maintain" and wants to honor that, I'm inclined to support it.

[villainsandvictimsalliance]

>They are really following the “saving child shigaraki” path 💀

No? Well, yes, but Deku seeing what happened to Tenko and talking to Tenko was always going to happen, it doesn't mean that only child Tenko gets saved lol. Tenko is Shigaraki's origin, his core, his genuine ideas, his honne (true feelings and desires). Of course Deku has to understand and save Tenko to save adult!Tenko, lol. Nobody seemed to complain when child!Ochako was talking to child!Himiko and etc., so what's up with some people's attitude now? 😭

I think the fandom is a bit paranoid because they really fear some theories.

I sometimes entertain those theories just to fuck around and create what ifs. It's a mere childplay. "Oh what if the school burned today and we all graduated earlier" type of mindset. The odds of it happening are non-existent, but c'mon. Unless you plan to burn the school yourself or you know someone will try, the odds are almost zero.

"but somewhere in the world a school burned—"

Sure, some mangas decide to end things the worst way possible only to cause shock, to fuck with fans, for money, sometimes simply because they don't understand their own stories. Even the big mangas is subjected to that. The author can go bananas for whatever reason and give you a terrible ending.

From my perspective, Horikoshi has rarely lost sight of the story he wants to tell. If he opens a plotline, he takes care to close it later. We got our traitor, we got the resolution with the Todorokis, we got AFO, class 1B, the villain comebacks...

Even when there were moments I knew Horikoshi went a little on the tangent (like Stars and Stripes) he was quick to return to the main issue. In bnha, to get an answer for your question you only have to wait for the manga to explain it— or in some cases, check the spin-off. If the answer is not in bnha itself, it normally is in the Vigilantes manga.

When someone asks me "Hey Shan, do you think that is possible?" the correct answer is always yes, because as long as the story is not over anything can happen. Objectively speaking, yes, it is as possible as anything else. As long as you're alive a lightning strike can hit you. A shark can bite you. An alien can come for you. The odds are there.

Now, is it probable?

No, not much.

Turning Tomura into a child to erase his crimes and resolve Deku's role within the plot is not only the lazy route, but also a disservice to the story. People don't resurrect out of nowhere in bnha. Limbs don't grow again. This is a story where the consequences are permanent. Even saving Mirio had a cost. There are only a few characters that can magically heal and their participation is soo little, it's almost as if they weren't there.

Each story has rules. You don't care about the real life rules or your own law code or whatever; you care about the inner rules of that story.

So far, Horikoshi has taken care of not breaking the inner rules of bnha. Why would he do so now?

Another bnha trait is that it doesn't stay stagnant on a plotline that is interesting yet irrelevant to the main story. It also doesn't hurry the story if it needs to go down a certain path. It will happen on its own time, after the events that need to happen had happened too. Example: saving Tomura has been a whole process. If Horikoshi were to turn Tomura into a child, why would he show all that he has shown us?

That's 'cause Horikoshi is explaining Deku's choice of saving Tomura. I know the trend of separating Tomura from Tenko, but it's absurd. They are one and the same. The kid is the adult and vice versa. You save the kid version, you save the adult one too. In order to save the adult one, you need to save the kid first. And if you went all the way to save that person, why would you want to erase all of it and turn them into a child again?

Isn't the story about how Deku giving little Tenko a chance? Isn't the story about Deku telling others they can do the impossible? Didn't Nighteye say that Deku could change the future and now we see him also changing the past, if only to allow the present to be a little more bearable? Livable?

I'll say this here: the theory that dictates that the heroes will turn the villains into kids to save them and the villains will stay like that has absolutely no foundation within the story.

If it happens, it's bad writing.

Horikoshi uses the kid images as symbolism. It is meant to represent the core of a person. It's the part of them that would never change, the part of them that dictates their dreams and goals, what they hate and love, who they are. It's the most basic of their forms, their essence, their soul if you want to speak on those terms.

Heroes are meant to connect with those parts of a human in order to save them, because the job of a hero is not only saving the body, but the human as a whole. To preserve hope, to heal past wounds and give people a reason to smile. To help people laugh as a kid again, to bring back their wonder and their innocence, to fight the apathy and the cynical part of themselves.

Bnha is fantasy. People have powers. The dead can communicate with the living. Of course that the heroes can talk with the childhood versions of the people to heal their past traumas.

Easy as that.

I can't say for sure if the villains will live or die. I only have my opinion (they'll live), but I am not the author. Horikoshi can have an epiphany tomorrow and kill everyone in the story with a meteor. Idk.

I can only say that Horikoshi has presented a cohesive and coherent writing, one that follows the lines it dictates to their natural conclusion. If things stay like that, there's no need to fear none of the crazy theories circulating the fandom. At the end of the day that's all they are, theories.

[spaceorphan18]

Hi! I have a question about your fanfic Head Over Feet (it’s really good by the way). What made you decide to have Blaine be the one who is married with a husband who is very different to Kurt, while Kurt struggles to commit to a serious relationship?

Hi! Thanks for the question, Nonny, with as much Glee conversation as I get, I don't usually get things that discuss my writing, so I really appreciate the question!!

Also, just in case anyone is worried, yes, I am still working on it. I was working on the chapter the other day. I know I've been a little sidetracked (oops) but I promise, it's a passion project I'm still planning on finishing. :)

So, first of all, the structure of Head Over Feet is a mirror to Season 6, and my intention was to implement a lot of the characteristics and plot points that Season 6 had. One of those elements is that Blaine is (seemingly) in a committed relationship. While Kurt kind of flounders because his no matter how hard he tries, his heart is already at a fixed point.

I also liked to imagine what kind of place Blaine and Kurt would be ten/fifteen years down the road had they not had each other.

One of the elements of Blaine's character is that he did want to be married. And yes, in the show, he wants to be married to Kurt. But there was a romantic ideal about marriage in general. It is a big deal for him, and a goal he wanted to achieve. And I think a Blaine without Kurt would still try to latch on to someone who held those same ideals. I think Blaine -- finding someone who would be good enough -- would jump at the chance at marriage, whether it was truly the right person or not.

And... I'd like to point out that -- there's this kind of misconception about relationships sometimes. That they only have meaning if it's your one true person soul mate, etc, etc, etc. And I don't necessarily think that's true. I think Blaine and Sean's marriage helped Blaine heal in a lot of ways -- in the way that I actually think Blaine's relationship with Karofsky helped him heal.

Blaine being married to someone else, and for so long, will forever remain a part of him. He won't regret being in that marriage, and Sean will have always had an impactful moment in his life, even if the two of them get divorced.

Like the show -- I wanted Blaine to have some time to mature and grow and learn how to be in a functional relationship that didn't need to the epitome of perfect. And even as it ends, Blaine and Sean end on good terms, the same way Blaine and Karofsky ended on good terms. It was an important relationship at the moment, but it isn't the most passionate, the most love filled, the most soul searching relationship. And that's okay.

I also want to point out, I did subtly throw in a nod to Kurt. Sean is a fashion designer for Broadway. That was completely intentional, and while Sean is a lot different (I think Blaine wanted to move away from someone with the same personality) there are ways we keep finding the same people, and Sean's profession was one of those ways.

(Also - as an aside, I purposely made Sean a big and bulky guy - somewhat to mirror Karofsky, and also because Blaine would choose someone who didn't remind him of Kurt.)

Likewise, I intentionally made Ian (Kurt's bf) a professional piano player as a nod to Kurt finding someone who had nods to Blaine.

So, on the flip side we have Kurt. Kurt is one stubborn guy -- and he did a serious, serious relationship when he was younger and decided that he would not do that again. He is very, very protective of his own heart, and he has no desire to ever put himself through that pain again. So he walls himself up and plays it safe by making sure he never gets in too deep with someone else. If he lets someone else in, there is always the possibility that his heart would break into a thousand pieces again when he and Blaine broke again. And consciously or not, he won't go through it again.

This is also a Kurt who didn't deal with the fact that he made a hasty mistake in calling off the wedding. He firmly believed he wouldn't get married until he was thirty. Didn't believe that marriage would work. And if he gave in, if he allowed someone in his space and in his heart, he'd have to face up to the fact that he fucked up. And he spends a lot of time trying to reconcile that his head and his heart are in two different places.

Much like Season 6, though, Kurt is quicker to return to Blaine than vice versa.

The thing about Klaine is this... Back in season 2 and 3, Kurt had an almost blind faith that his relationship with Blaine would work and Blaine had doubts, and then they ended up breaking up because Kurt didn't realize he had to put in work in his relationship, and Blaine didn't trust it enough. By the time Season 6 comes along, it's clear that the dynamic had flipped. Blaine had too much faith that marriage would fix all their issues, and Kurt was the one who had doubts -- because his heart had been broken before.

So, I wanted to take that dynamic and layer it onto the fic. Kurt figures out that he doesn't have doubts - that he knows Blaine is the one and he knows it'll be hard work. While Blaine learns that he needs to be skeptical and take his time to rebuild.

The upcoming part of the fic -- the last five/six chapters deal with this... and it's something I wish they had done more of during the actual show. In coming back together, it doesn't necessarily solve the issues they began with, so now that they are able to have a relationship again -- how do they fix what was broken before? How do they make sure it's the right fit this time and that it doesn't break. So that's the trajectory of the final chapters.

Anyway... I suppose that kind of scratches the surface of your question, Nonny! Characterization is very important to me, and I wanted to make sure I was making logical progressions of the characters in a post-Season 5 world where they didn't return to each other, while reflecting on elements we see in Season 6 only set 10 years down the road.

I hope that all makes sense! Thanks for the question, I always enjoy chatting about writing! :)

[shiftinglover]

I know nothing about DC, but wanna try shifting there, anything I should know that you can tell me as heads up so I don't make a stupid mistake or anything to avoid in particular?

There are so many things I could say for this one.

First of all, my universe and that one you’re going to may be different and thus have different problems, people, events, etc. so, while some of this advice might be great for my universe, but I hope it also works for you as well.

Mentally recognize/script/or have a job that you make FANTASTIC wage/money at. Or that you’ve been building up your savings since you were a child. Money is great to have and not to worry about.

Also, mentally recognize that you might have healing abilities, great mental/physical support system, and etc. this will severely help you. Even if you’re not a vigilante or whatever you want in your desired reality. It’s great to have. Maybe make sure that you have been studying various languages, practical knowledge (like how to undo knots, etc), have some self defense training, and have some common sense since you were a child in your DR. Having a great mental and physical support system will literally do you wonders, trust me. Maybe recognize that you have a dependable therapist and friends/family for your emotional and mental health. It sounds foolish but seriously, it will help. Especially if you’re planning to be a hero/vigilante or something. Or not. Whatever you do imma support you. ♥️

Please, please, please do not make the League of Assass*ns as one of your enemies unless you can’t avoid it. Or Deathstroke. 😭💀

If you are a superhero/vigilante/whatever, have multiple suits. At least two.

I know it’s tempting but don’t start a semi-serious prank war with Tim Drake. Save yourself.

Remember that people in different universe will act different. Bruce Wayne is not going to look, act, be exactly like how ours is in this universe. You may have an idea of your relationship with them or how they act already, and that’s awesome! Just keep in mind that they might not be exactly how they’re portrayed in this universe via movies, shows, comic books, and so on. It doesn’t mean that they’re terrible or anything but that they are still people. Just like how we are in this universe, they are people too.

Cities sometimes literally stink. So yeah. Just a heads up. Especially Gotham. The Batfamily (if you ever deal with them) are usually always at war/sibiling fighting with one another. But unless you grew up with them or have very strong ties, they are all very weary of others. So are the Superfam and the Arrowfam. <- they’re not always kind of fighting with one another but they’re cautious of outsiders. After all the things they’ve all been through, it’s understandable.

Do NOT go to any of the Robins/former Robins for relationship advice. Ever. Go to Lois Lane instead.

Prepare for a lot of exercising and training. There’s no way around it. 😭 I’m sorry- good luck bestie.

Most importantly: make mistakes.

It’s how people learn. It’s okay. It’s how we grow. There is nothing wrong with making a mistake. You are allowed to. I made tons and will probably continuing doing so. There’s nothing wrong about that, it’s just how we grow. You got this. Hope this helps.

♥️ Have fun shifting! ♥️

[sarnai4]

Empathy

There's something I realized about Hector's story in Netflix's Castlevania (spoilers ahead). What happens to him is poetic justice. Hector didn't want Dracula's plan to work which, at first glance, is a good thing. Keep humans alive, please and thank you. I don't want to go out via blood rain or night creatures; however, his proposed alternative wasn't better. He was on board with a plan to keep humans as cattle where they'd be forced to breed with one another, getting ripped apart from their loved ones by those in charge. The sheer amount of physical, mental, and emotional trauma this would put everyone in is immeasurable. Yet, Hector acts as though it's a better option. The "nice" option because death is too horrific. At that point, death is a mercy.

Isaac even calls him out on this. It's a fascinating part of the episode to me because we see their beliefs. Hector views the vampires as cats who play with their food. It's all innocent. He's almost condescending in this, acting like these powerful creatures are mere beasts like a tiger in the jungle. Isaac recognizes that it's not innocent. For the food, being played with is traumatic. I think this is because of their backgrounds. What I described earlier for what would happen to people can be applied to slavery as well. Being treated as less than and getting mutilated for the sake of someone else's desires was the fate of many slaves. Isaac probably saw this happening to people and maybe his own family. So, he knows death can be better. As he told Dracula, it "always sounded peaceful to (him)." He could see how cruel the suggestion Hector had was, but the other man couldn't. When Hector learns he made a mistake in trusting Carmilla, what happens to him? Nearly the same as he wanted for the world.

Hector is beaten, humiliated, etc. He goes through so much heck that Isaac (who had made it a personal goal to kill him for his betrayal) basically said, "Sheesh, what more can I do to you that they haven't? You've suffered enough." Hector gets broken down on such a deep level that I eventually feel bad for him. I just couldn't immediately because that and worse is what he wanted for others. He wanted children to see their parents be taken away to have the blood drained out of them. He wanted people to live every moment in fear, waiting to be eaten. We even get a glimpse of the horrors from those awful siblings who came to Alucard. THAT'S what Hector's vision does to people. After he gets a very small taste of it for himself, he's able to become a better person. I didn't love is character, but he was a good character. Unfortunately, he had to learn empathy the hard way.