#causative forms

[languagestudymaterials]

Japanese transitive and intransitive verbs

(A semi-complete guide)

This #japanese grammar post is going to be full of proper linguistic discourse. Don't shy away from it, though. I'm sure it will shed new light on the topic.  Transitive and intransitive verbs seem to be easy to grasp at the beginning. The explanations are rather straightforward, and the examples are understandable.

However, as you advance with your studies, you realize that this basic knowledge you learned at the beginning isn't enough anymore. You start encountering new transitive-intransitive verb pairs, and it turns out that the potential form is also regarded as 'intransitive verbs', the English translations use completely different grammar points because there are no equivalents, there are nuances that only Japanese intransitive verbs can convey, etc.  

This post will cover the basics we all know (English and Japanese), but also concepts that helped me understand how these verbs really work and why they should be discussed in more detail. 

Before we dive in

Japanese grammar books (not textbooks, proper grammar books) tend to discuss this notion from a different perspective than English grammar books. English grammar books usually explain this concept in relation to the syntax of a sentence. Japanese grammar books focus more on the semantics (meaning) of a verb; the syntax doesn't matter that much.  Stefan Kaiser in his books writes:

Japanese uses a large number of transitive and intransitive verb pairs. When a transitive verb is used, the implication is that the subject is responsible for the action of the verb, but the corresponding intransitive verb implies that something happens for which nobody is overly responsible or to be blamed (p.674). 

Simple, right? Besides, this is what we learn from our textbooks and other online sources. Stefan Kaiser also points out that 

[...] differences in point of view are seen in the way things are expressed, for instance, when English uses expressions such as 'they catch the offender' [active voice] or 'the offender gets caught' [passive voice], Japanese uses neither the active/transitive, nor the passive, but the intransitive (p.674).

This observation is further proved by the following example:

犯人は早く捕まってくれないと不安です。 (捕まる = intransitive verb)  If the culprit doesn't get caught soon, I'll be worried.  (get caught = passive voice) 

I'm pretty sure, many learners would use 捕まえる (transitive) in its passive form to translate the English sentence into Japanese. I know I would do it. Or, I wouldn't even consider the verb's transitivity. I'd choose the first verb from the list and make it passive.

From my understanding, the Japanese language 'decided' that there are also cases where things aren't exactly actively or passively done by someone (active vs. passive voice). There's this state between those two grammars that is captured by the Japanese intransitive verbs.  

Note: Intransitive verbs are often referred to as mediopassive verbs.  

In English, transitive verbs require an object. In Japanese, though, you can use verbs as stand-alone words; no need for an object.

Consider these sentences:  

Do you have a dog? (Transitive verb = have; Object = a dog)  

This is a perfectly correct sentence in English. There's a subject, a verb, and an object (SVO).  Now, imagine saying this sentence in a context. Someone randomly asks you:

Do you have a dog?

And you want to confirm that you are a dog owner. You want to use a full sentence (not just Yes, I do). You say: 

Yes, I have a dog. (Transitive verb = have; Object = a dog [it])  

Can't you just say: Yes, I have? Why include the object, while from the context it's clear that you have a dog (and not a parrot)? Because the syntax of an English sentence requires you to use verb + object combination. That's how it is. The syntax of an English sentence is rigid, you can't just randomly omit words.  

Many Polish and Japanese speakers make that mistake. They omit objects in their English sentences because their native languages allow them to do so. When I ask my Polish students: Do you have your homework? They usually answer: Yes, I have. It's an understandable answer, but grammatically incorrect.  

Conclusion: English transitive verbs must have an object.  What about Japanese, then? Let's consider the same question and answer: Do you have a dog? I have it. 

犬を飼っていますか？(Transitive verb = 飼う; object = 犬) はい、飼っています。 

As you can see, the answer doesn't include 犬 (いぬ) Why? Because the syntax of a Japanese sentence is more flexible (unlike in English), and using verbs without their objects is totally acceptable. It's clear from the context that we're talking about a dog, no need to include that information in every sentence.  Conclusion? As long as the object is clear from the context, you don't need to attach it to your verbs. 

Okay, now that we know that both languages consider this grammar from two different perspectives, we can move on to more details.  

Overview of English (in)transitive verbs

These features helped me realize why I struggle with learning Japanese transitive and intransitive verbs.

(1) Verbs in English can be transitive and intransitive at the same time, and there is no change in the spelling. These verbs are called ambitransitive.

I stopped the car. (transitive) The car stopped. (intransitive)

(2) Students know how to use them intuitively (in most cases). Since the verb form doesn't change, there is no problem. 

(3) The sentence structure will tell you if there is an active doer. Who stopped the car? I did; I'm the active doer. If there's an active doer, the verb is transitive. 

(4) Transitive verbs can be used in the passive voice. 

(5) Intransitive verbs cannot be used in the passive voice. 

(6) Some types of verbs are never transitive (be, seem, snow, thunder, sleep, dream, etc.) 

(6) Changing the verb tense (Present Simple ⇒ Present Continuous) won't change the meaning of the (in)transitive verb or its role in the sentence.

(7) Transitive verbs can take direct and indirect objects.

(8) Intransitive verbs include information such as when, where, and how I performed the action.

Now, on the "good" stuff!

Japanese (in)transitive verbs – basics

Let's start with the information will all are familiar with.  

Verbs in Japanese come in pairs, that is transitive and intransitive pairs. Transitive verbs take the particle を and intransitive verbs the particle が. 

Transitive verbs are used when there must be an active doer; a person performing the action.

Intransitive verbs, though, when action can happen without anyone's involvement. 

Verbs of movement are intransitive, but they take the particle を (and other particles too).

Since there are actions that can happen on their own and at the same time someone can cause them to happen, we ended up having multiple verb pairs to show this distinction. 

Consider these classic examples:

ドアを開ける ドアが開く

The first sentence tells us that a person is performing the action, and the second one that the door just opens by itself; we don't know if someone caused this action.

Notice that the verb ending changes from ける to く, unlike in English (in English, it is just 'open' for both sentences).

This example shows us that the concept is pretty simple to grasp. The only obstacle is that you need to memorize twice as many verbs as in English (unless you have some ultra language instincts and intuition that will help you come up with a (in)transitive verb pair without looking it up in a dictionary). 

Another obstacle (totally subjective, though) might be that while translating from English to Japanese, you will be forever confused as to which verb you should use in Japanese. After all, in English, the verb forms don't change, and you don't need to actively consider if someone is performing the action, or if the action happens by itself; you just say what you want to say, and most of the time you'll be correct. In other words, you learn the word 'open' and you can start using it without thinking much about its transitivity. 

Characteristic features of transitive verbs

(1) There are transitive verbs which have an intransitive pair: 

始める(t) / 始まる (in) 残す (t) / 残る (in) 切る (t) / 切れる (in)  

(2) Some verbs are transitive and intransitive at the same time (噴く)

(3) Some verbs are transitive, and they don't have their intransitive pairs (食べる).

(4) Transitive verbs tell us that we are performing an action on a given object. We do sth to it/with it.

(5) Transitive verbs can be changed to passive voice.

(6) Transitive verbs, which have an intransitive verb pair, can be used to talk about cause and effect. Cause – transitive; effect – intransitive. I opened the window = cause; The window is open = effect.  

Characteristic features of intransitive verbs

(1) Verbs of movement in Japanese (go, walk, run, leave, etc.) are intransitive, but they take the particle を (and others). The particle will be translated to across, through, toward, around, etc. We do not affect the thing itself (transitive verbs show this nuance). When I walk through the park, my walk doesn't change the structure of the park. It's more about performing movement against the place (leaving the place, or arriving at the place). 

(2) Intransitive verbs describe states (the door is open = state). 

(3) Intransitive verbs cannot be changed to passive voice unless we want to use passive voice to express the "I'm the victim here" nuance or when we speak using keigo. 

(4) Intransitive verbs tell us that an action is happening/happens, but it doesn't affect anything directly (things don't get destroyed, change their color, etc). 

(5) Some verbs are only intransitive (for example, those that express natural phenomena, to freeze 凍る). 

(6) Some intransitive verbs have their transitive pairs, but the transitive pairs are used in literary works, in some dialects, or considered archaic ( 凍る [in] / 凍らす[t archaic(?)]). 

(7) Intransitive verbs can be used in their causative form to show that someone was involved in the action (The lake froze vs I froze the lake); 凍る ⇒ 凍らせる. 

Intransitive verbs vs passive voice 

Okay, we already established that intransitive verbs cannot be changed into passive voice. In this section then, we will look at the differences in meaning between transitive verbs in their passive voice and intransitive verbs. After all, transitive verbs in their passive form and intransitive verbs focus on the action (not the doer).

Let's use the classic example of an open door. 

ドアを開ける (active voice; transitive verb) ドアが開けられる (passive voice; transitive verb) ドアが開く(intransitive verb)

To make it more clear, let's add some context to it. There is this job called a door attendant. Their main duty is to greet guests and open the door for them. If we asked them, what their duties are, they could simply say:  I open the door. (active voice) ドアを開ける.

However, they could say the same sentence from a different perspective. The door is opened by me. (passive voice)ドアが私に開けられる. Well, I do agree that to say such a sentence, our door attendant would need a special context, but it is possible.   

So, when do we use the third option that the Japanese language has blessed us with? (ドアが開く)

As we already said, intransitive verbs describe states or actions that happen without anyone's involvement. The third sentence in Japanese means that either:

someone has already performed the action of opening and now the door is open (a state) or

the door opens automatically and our door attendant is redundant.

This sentence can be translated as:

The door opens. (intransitive verb in English).

The door is open. (adjective; this might not be the most obvious translation; however, to make things sound natural in English, we could use an adjective to translate it.)

It is important to remember that when we use transitive verbs in passive voice, we want to convey the nuance of "someone is involved but we don't need to know who." Intransitive verbs, on the other hand, completely ignore this nuance and focus solely on the action. 

Translation problems 

Causative forms

There are cases when Japanese intransitive verbs have their English equivalents (see examples above). However, some Japanese intransitive verbs don't have their equivalents in English, but they need to be somehow translated. Let's consider these examples and their dictionary translations:

[in] 逃 (に) げる to escape    vs      [t]  逃がす to let escape [in] 枯 (か) れる to wither      vs     [t]  枯らす to let wither [in] 落 (お)ちる to fall            vs      [t]  落とす to let fall

English translations have one thing in common, namely the causative verb let. These are not the only ways to translate these transitive verbs into English, but they are fairly common. 

To escape in English is both transitive and intransitive at the same time: 

The boat sank but the crew escaped. (intransitive as there is no object after the verb) We need to escape the jungle. (transitive because there is an object after the verb).

In the previous section, we have (in)transitive verbs that overlap in both languages. They are match pairs, and there shouldn't be many translation problems. The only difference is that Japanese has two words, while English only has one. 

In this case, though, both English sentences will be translated using the intransitive verb in Japanese. Why? Because, as I mentioned at the beginning, it's not about the syntax, it's about the meaning these verbs carry. 

Intransitive verbs in Japanese show us that the action is not directly affecting anything - the crew escaped, but they didn't do anything to the ship; escaping the jungle won't affect the jungle; the jungle will remain as it is after our escape. ボートは沈没したが、乗組員は逃げた。ジャングルから逃げる必要がある。 Well, the second sentence isn't the most natural-sounding one, but it's a literal translation. The second は in the first sentence is to show the contrast. If you are like me, you would look at the English sentences, identify which verb is transitive and which is intransitive, look for the respective pairs in Japanese, and then proceed with the translation. Well, we would be horribly wrong because the transitive verb in Japanese shows that there is someone actively involved in the action, and the object is directly affected by the action. 

To let escape is a causative form. We cause something to happen; we allow something to happen; we give our permission for something to happen.

It's my fault. I let the culprit escape. 私は犯人を逃がした。 

In this sentence, there is a doer of the action (I) and an object (culprit) that got affected by the action. The culprit was imprisoned, and now they are free. The same logic applies to the other two examples (to let wither; to let fall).  

When it comes to translating Japanese verbs into causative forms in English or vice versa, things can get even trickier.  Again, if you're like me, you'd see let in English, think it's a causative verb, and conclude you need to change your Japanese verb to the causative form. You would then look up how to make causative verb forms and proceed with the whole endeavor. 

As it turns out, some verbs in Japanese are inherently causative (examples above), and unlike in English, they already have their own separate verb forms. 

So, there are verb forms that can be changed to causative forms by adding an appropriate ending, but there are verbs that are already causative in their meaning, and adding a causative ending to them would make them double causative, which makes no sense.  

Note: This post will be either updated or I will add a link to my blogger platform where I will discuss this topic in detail.

[zuzu-draws]

[The Strongest "Hear Me Out"]

+ bonus Yuuji POV:

Apparently this boy ain't traumatized enough!!!🗣️🗣️

[somanyfandomsorkinafs]

(I am ~buzzing~ with ideas…. Allow me to release some)

Once Danny was an adult, he decided to join Ellie in her ‘permanent world tour’. It’s better than staying in Amity where the opinion of Phantom hasn’t gotten much better. Besides, the portal caused the veil to get weaker, allow ghost to wreak havoc where ever they want.

He’s met a lot new ghost cause of this too. Old as Mycenaean Greece to non humans who came to Earth and died there. Danny’s learnt so much from them that he’s basically a walking in Encyclopaedia.

So, Danny’s decided “fuck it.” and has it became a part-time history teacher. It’s fun! He knows the details by heart and is able to make it more fun than just droning on about the same old wars and whatever. He enjoys it, the kids enjoy it and the ghosts having their stories told!

Of course, this does cause some problems when people try to correct him. Danny’s argument? “I got them correct sources.”

And when anyone asks him how knows his sources are correct? “My source was there when it happened.”

Cue the dc world thinking that Danny’s just some immortal guy whose decided to use his immortality for good(TM)

[egophiliac]

Final manifestations for Book 7?

I'm trying REALLY hard not to build up any solid expectations, because I wanna go in ~fresh~! they're already so far away from anything I thought would happen (not in a bad way, I'm just accepting that I'm on Miss Yana's Wild Ride at this point and we're seeing this thing through 'til the end, by gum). so it's nothing too major, but:

they've been handing new crying expressions out like candy lately, I want to see some delicious Malleus tears.

honestly I want everyone to cry buckets. their tears sustain me. the more Silver angst specifically I get the happier I am.

SILVER!!!! 👏 VANROUGE!!!! 👏

just let him have this. the poor boy's been through so much. let him have his big "I'm proud of you, son" moment with Lilia.

I'm 100% expecting Grim's arc (and probably whatever's going on with Crowley) to be its own episode, but a nice hook to leave us hanging on would be good!

a nice hook though, please, I don't think I can take another "Grim is attacking us! now wait eight months to find out what happens :)" cliffhanger...

some Meleanor? as a treat? just a little bit, a tiny quick flashback or something, please Twst I just, I just want to see her again. let her have a little ghost cameo like Dawnathan Knight got. Lilia and his kids are all having their big group hug or whatever and she can gently fade in to be all like

(turning asks off until I'm done playing, SEE YOU ON THE OTHER SIDE Y'ALL)

[haliaiii]

Rewatching miraculous and decided to do some redesigns for fun :)

Also my self indulgent au where Kagami is a solo vigilante hero who shows up every now and then to save our dynamic duo in peril

[planetsandmagic]

"even if no one else accepts you, I'll live with you"

[marzipanandminutiae]

I hate "it's not trying to be accurate!" arguments for historical fiction or historically-inspired fantasy clothing choices that just. don't make sense logistically

why is that girl in Br*dgerton tightlacing her stays? what is she reducing- her upper ribcage? not only can you not tightlace in those (hand-bound eyelets can't usually take that strain, in my experience), but there's no reason to because your waistline is under your boobs. and unlike most of the series, they actually commit to the empire waistline for the court presentation gowns. small waists don't matter when NOBODY IS SEEING YOUR WAIST

why no chemise, in so many productions? fantasy/lack of concern for accuracy can't make things not chafe. chafing is not a matter of accuracy; it's a physical reality. did a wizard give everybody in the kingdom Anti-Chafing Spells?

just because you don't WANT a linen underlayer beneath a medieval tunic doesn't mean sweat won't get to outer garments and damage them- or make them need laundering, which weakens the fibers -at a time when all clothing is handmade, custom-fitted, and created from hand-woven fabrics and thus a HUGE investment

you're not just throwing accuracy to the winds as a design choice; you're ignoring How Textiles And Bodies And the Realities of Your Technology Level's Fabric and Laundering Capabilities Work

[dcxdpdabbles]

DC XDP Fic idea: Gamer Boy

Mr. and Mrs. Fenton are well known for turning objects found around the house into ghost-fighting gear. This was partially to save money on materials and partially because the Fentons were geniuses like that.

They had no trouble changing an object's entire purpose. It was awe-inspiring if you didn't live with them and misplaced something.

What happened to the TV remote? It's now a controller for the defense of house security weapons.

What happened to the third chair at the dinner table? It's now the main anchor for the ghost shield at the top of the house.

Where were the forks? Melted down to create the Spector-Glider jetpack, allowing any hunter on the go to fly right after the ecto-foes!

Danny learned to keep everything he wanted to be left alone in his room (Jack and Maddie had a rule not to bother the kids' safe spaces); otherwise, it would somehow become gear. His room was messy, but he knew where everything was and when he placed it there.

They vanished if he didn't.

It was odd to be so well aware of his things, but it was a fact of life he accepted growing up in the Fenton Household, like the food coming back to life. When they came to visit, his friends knew he had a strict rule of leaving everything in his room.

So, really, there was no reason for this mistake to happen. Sadly, he's gotten a bit careless since the whole Phantom thing. This is his downfall. See, it started the day Tucker brought home a cool new mobile gaming console, lending it to Danny after his parents refused to buy it for him due to his grades.

He had been excited to curl up in a ball on his bed and play the mobile version of Doom. No computer needed, connecting to the world wide web and with a ton of new updates- some even inspired by him when he went into the game last time, and some developer saw him- it was everything he wanted to spend his Friday afternoon on.

Then, a new ghost yells about wanting to be the best showgirl this town has ever seen and starts Can-caning into buildings. She was from before Amity Park was even a town or a city. She was a ghost from the late eighteen hundreds who had arrived in what would have been his hometown with the few settlers who had tricked her.

From what Sam discovered, she had been promised a stage, her name on the headliners as the best performer, and riches beyond belief. What she got instead was a bartender job where the men laughed and mocked her dreams. They wanted something pretty to serve their drinks and would not pay her for it.

She was working to be fed and to keep a roof over her head.

She was too poor to leave and had no family willing to lend a hand after her father warned her that if she ran off to chase her dreams, he would cut her off.

Danny could understand why she hated the sight of this place flourishing and booming when in life it had been her cave but he couldn't let her break it all down. The fight with her last hours then days and finally weeks before he was able to put her away in the Zone.

He had been so exhausted that it wasn't until Tucker asked for his console back that he realized he had had it for a whole month and had not gotten past the main menu.

The worst was putting it in the living room drawer on his way out for a fight. That was a week ago. Rushing home, Danny was relieved to find it still in the same place, untouched by his parent's fingers.

He was supposed to return it to Tucker the following morning, and since no one else was home, he could at least leave it on for a few hours. Not bothering to change back into Fenton, Danny floated in the air, eyes dropping but determined to enjoy this game if it killed him.

The second he powered it on, a woman's voice beeped in a familiar chilling tone.

"Ghost detected. Activating FentonTrap."

He tried to drop it, but it had a similar concept to the Fenton Thermos. His hands were stuck to the metal, and thrashing about wasn't doing anything but fling him through the air.

Before he knew it, he was sucked right into the screen. He screamed, but no one was around to listen. Just his luck. The gaming console turned into a ghost bear trap, falling the second he was sucked into.

It landed in Jazz's cardboard box of old things she had set aside to donate. She was moving out for college and felt it was good to give it away to the less fortunate.

Danny panicked inside the gaming console, floating into a box of darkness with nothing but the screen acting like a window to see out into the real world. Unlike when he entered the game, he had no control over his surroundings or the settings.

He waited a few hours, and as soon as Jazz came down from her bedroom the following morning, he tried screaming as loud as he could to get her attention. But she didn't react. Not even when he pushed his ectoplasm into the screen, holding it would do something.

The game was off. Jazz wasn't a gaming type of person, so she felt no need to turn it on when she was opening the box with tape. Danny could do nothing as she loaded it into her car and drove it to a nearby Wayne Foundation donation center. He hoped someone would pick him up and turn on the console so he could get help.

It was the very latest system. Someone had to be tempted.

But no such luck.

He was moved through hands, everyone assuming that this was only donated if it was busted. It didn't help their assumptions that the darn thing randomly beeped and cried out, "Ghost detected!". Danny tried repeatedly to get someone's attention, but he always failed and was moved between centers across the country, watching time move on without him.

Being inside the GhostTrap was a strange pain. He didn't need food or water, but he felt starved. He missed the sun on his skin, the voices of people speaking to him and not around him, and his family.

A family probably losing their minds looking for him. Danny Fenotn had vanished at fifteen years old, and the earth kept turning. He was stuck there, never aging, never moving, and always watching as years passed.

He stayed long enough for the console to become outdated, and people stopped even considering taking him home.

Eventually, Danny was pushed into the retro gaming boxes, sealed up, and moved across the states. He ended up in a pawn shop in a bigger city, placed in a glass case facing up. I was far more interested in him than the community depot the Waynes had him in.

He watched daily as various shady people entered Crime Alley's best pawn shop and traded multiple items for cash. He had stopped trying to get people's attention at this point. A little over a decade of inability to communicate did that to a person.

Danny sat back, watching people from below place cash on the counter items and wonder about them. Sometimes, they would peer down at him, getting close enough to fog up the glass, but never ask for him.

Until one day, a tiny little boy wandered in, clutching a few dollars. He said he got the money, and Hans (the pawn shop owner) didn't ask. He just counted out the bill for the tiny thing and told him what he could buy with it.

Danny was shocked to see those blue eyes sparkle with glee when they landed on his system. The boy was told that it might be busted because Hans was a good man to children, but he happily claimed he had never had a video game before, and a broken one was better than none.

The boy clutched the game tightly to his chest, slipping him into his pocket with great care, and ran home. Not that Danny could see where that home was. All he got was an eyeful of lint and a half-eaten lollipop.

It didn't stop his heart from leaping in his chest as the newfound hope he had long ago given up on bursting into flames along his rib cages. The second the boy was in his home, he washed after his mother yelled at him to bathe and eat, and he powered on Tucker's system after nearly a decade.

At once, Danny's surroundings changed into a bright light, and his powers could finally pass the screen. He rushed at it, feeling himself slipping through the traps as powering on the console seemed to be the same button as "release".

He flies out, throwing his arms wide open and laughing because, finally, after so long, he is free. He spins in circles, bathing in the feeling of air, even if it's a bit stale. He strains his eyes to listen to the city outside after everything has been so muffled, just seeing the real world.

The boy was pressed against the wall, his wide blue eyes staring up at Danny in suppressed fear. He was obviously on the poorer side, with his mattress on the floor and clothes so faded they might as well be white with a bit of color stains, but Danny didn't care.

"You set me free!" He tells the child, floating before him, "Thank you!"

The boy's mouth opens and closes- isn't it odd that he hasn't heard his name so far- before his wide blue eyes widen. "Are you a genie?"

"Hmm?" Danny wants to talk to him properly but is too busy taking everything in. He is feeling the real world again, seeing color, and feeling the walls.

No wonder his old foes kept trying to come back here. The world was a wonderful place to be in.

"You are! Like the one Aladdin found! I know my first wish. I wish my mom was sober."

Danny doesn't know who Aladdin is, but that... is a sad wish. Oddly enough, he does know how to make it come true. He had been studying under FrostBite after realizing he couldn't be an astronaut anymore and had found that his ectoplasm had a side effect of healing humans.

In theory, it should make her sober.

He considers the boy's earnest and hopeful eyes and thinks I do owe him.

"Alright, bring me to your mom. I'm Danny, by the way. Danny Phantom."

"I'm Jason!" Jason cheers, rushing to the door of his small little bedroom and grabbing Danny's hand on the way. He's practically dragging him to a small living room.

There, leaning against the wall, is a woman, her head bobbing side to side, muttering things under her breath and looking like a mess. There was a needle near her leg. This makes Danny grimace, especially with how easily Jason accepts it.

He places his hands on her face- reeling at the feeling of other humans again!- and pushes his ectoplasm into her body, removing anything he can find that shouldn't be there. He's repairing the damages done by the drugs to her body as he does so.

It might not stop her from doing more in the future, but the addiction is gone. She will no longer crave it.

When he pulls his hands off her, Jason lets out a little gasp by his side. Already, his mother looks healthy. Skin no longer shrunken, hair growing back, skin smooth and blemished free, and a rosy tint to her cheeks.

Now she's just a pretty woman nappin' against the wall with her son holding her hand, looking like he just witnessed a miracle.

Danny isn't sure how he can explain that she could just start up again and tear apart everything he fixed. It feels wrong to speak it as the boy snuggles close to her, crying silent little tears.

"I know what I want my next wish to be" Jason whispers. He looks Danny straight in the eyes when he says, "I wish you were my big brother."

And that is sad, too. But it gives him a reason to stick around and ensure she doesn't put this kid through this again. Besides, he's been missing for twelve years and hasn't changed much. He's scared to go back and has nothing to return to.

Danny shifts into his home form, making the little boy gasp again. "Do I pass as your brother?"

"Yes! You look a lot like me!" Jason beams, "Mom will be so excited to meet you!"

Oh,, he will ensure she is. After all, he needed to scare her straight. Maybe he can find a job to help her get Jason all the games he wants in the world.

Danny Fenton went missing all those years ago. The World kept spinning, but now Danny Todd was spinning with it.

[decaffeinatedpartymuggoop]

People talk about how “overpowered” and freaky some of the physical feats in PJO and HOO are but I think people forget that all demigods inherently have enhanced, speed, agility, and strength. So at lot of these physical feats actually make a lot of sense in their “power scaling.”

And I know a lot of people like talk about the Lois Arc jump because that is insane but there are a lot of other feats that show off the enhanced attributes some of the other demigods have.

Like, Hazel ran after a Arion, the fastest horse alive for a WHOLE day. Hours upon hours on end. And even if Arion WASN’T the fastest horse he’s still. A horse. That Hazel was able to keep up with. And then run all the way home.

Reyna EASILY knocks away giant werewolves with a knife and used her javelin like a pole vault. Annabeth managed to fight Kronos, a whole ass Titan, to a standstill. And she’s been shown to perform moves only professional acrobatic and gymnast can do. Piper threw a fifty pound shield at Medea and was described to move fast as a viper.

Jason had dodged arrows that have appeared out of no where, no warning, and Percy has side stepped bullets. BULLETS.

Not to mention that with the Lycaon and werewolves they were all out running and keeping up with WOLVES.

So, yeah, demigods have freaky physical feats.

[poorly-drawn-mdzs]

...Turns out gay sex actually was the solution.

(This is basically a redraw, come read the real deal over at Tiger Tiger)

[haeoflii]

MY LITTLE MAGE: WONDERLAND IS MAGIC

if you think abt it, Twisted wonderland and MLP: Equestria girls are kinda similar.

• Both of the protagonists travelled through a mirror to another world

• they have an animal-like companion (spike and grim)

• made friends along the way

• had to fight someone who overused their magic and let their negative emotions consume them (the overblot victims and the she-demons)

• the victim of the overused magic becomes the protagonist's friend

• both protagonists are tasked with uniting the people around them (twilight being the princess of friendship and Yuu being the "beast tamer"?)

but maybe I'm just overthinking this and I'm just a big MLP loser

Also I picked riddle because he's in the equestrian club and I thought it would be funny

[rdps01]

oopsy daisy

[egophiliac]

I know we're not on the Hearts chapter but, I have a feeling the SSR will be Cater? But also him having the tear animation, since I have a feeling his dream will be a bit like Ruggie's q-q

I'm leaning towards either Cater or Ace, personally! Trey and Deuce have kinda already had their character arcs -- though someone else did mention to me that they thought it might be Trey, because so far all the vices have gotten one. though that might just be coincidence. we'll find out I guess!

my red-string-on-corkboard theory is that Ace is gonna get his arc + UM during whatever goes down with Grim, so while I could be completely wrong, I think it'd be nice if it were Cater's time to shine! ...also I am VERY curious as to what his dream is gonna be. 👀 like, I don't think he's gonna be all angsty or anything, he's a pretty cheery guy even though he pretends to be more vapid than he is, but...what would he be like if he were less. y'know.

(also I kind of want him to get the focus just because I think it'd be a shame if all he got was a super-quick 'oh his dream is to have a billion followers or whatever, now let's go on to the next person'. c'mon Twst. give him some love.)

[walrus-tusk-615bc]

Imagine your polycule’s cottagecore gf goes on a vacation, comes back as an evil sorceress and kills the majority of your kingdom’s population, then resurfaces again like 1000 years later, traumatized, but with cool fairy powers while the evil sorceress version of her is still out there somehow. Would that be fucked up or what.

[te4k3ttle]

Is this loss

[spookberry]

Canonically Danny would do anything a pretty girl asked him to do if she bat her eyes at him enough

(Previous)